Pretty soon I'll start worrying about [my fame] because [my children] carry my name and they have that exposure. The whole thing is, they never asked for it, that kingdom.
I was playing a part of someone dealing dope on a street corner - and there was a guy actually dealing heroin right there. I looked at him, he looked at me, and I got real confused.
I have a life and do a lot of things, and so far my work has been my life. If I was a painter no one would question me about my age. I'm an artist, I hate saying that.
We start to realize that there are anodynes in life that help us through the day. I don't care if it's a walk in the park, a look out the window, a good bubble bath - whatever. Even a meal you like, or a friend you want to call. That helps us solve all this stuff in our head.
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
[Oscar Wilde's Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that's why I guess it's semi-autobiographical.