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.
I had these little babies [my twins] and it gave me something so spectacular, such a feeling - I was so turned on and so excited by them that I wrote a poem. I had it on scraps of paper and the maid threw it out.
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.
Larry Grobel has the illness of all writers, he can't help himself. You're talking to him and all of a sudden, you say, "He's puttin' that in his cash register!"
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.
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.
[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.
I always had this thing, when I was younger especially, I didn't want to do movies that much. I found they took a lot out of you and they were exhausting for me in a lot of ways.
When my mother got home from work, she would take me to the movies. It was her way of getting out, and she would take me with her. I'd go home and act all the parts. It had a tremendous influence on my becoming an actor.