It's never really that much fun for me to do movies anyway, because you - you know, you have to get up very early in the morning and you have to go in and you spend a lot of time waiting around.
I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.
I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.
Women have always had equal importance onstage, and working with them must have altered my sensibilities. I've never felt sensitive to the whole issue, because being macho has never been a problem with me.
Failure's relative. I've always felt, even early on, if I lose the freedom to fail, something's not right about that. It's how you treat failure, too. There's something to learn from it. I've had movies that have failed colossally, so you kind of analyze your failures: What kind of failure was it? A failure because it's misunderstood by others? A failure because you misunderstood it yourself?
Shakespeare is one of the reasons I've stayed an actor. Sometimes I spend full days doing Shakespeare by myself, just for the joy of reading it, saying those words... I do Shakespeare when I am feeling a certain way.
When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice. At one point he took the robes he was wearing and just started flipping them up in the air, out of nowhere. And later, an actor said to him, "What was that, George, what were you doing?" And he said, "They were sleeping." You're always trying to catch them.
I once asked my oldest daughter [Julia Marie] if she thought about changing her name in school and she said, "No, I'm a Pacino. That's my name." I just wondered how it would feel, how people would treat her, but she's adjusted so marvelously.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.