All due respect and trying to be as modest as I can be, I am a dancer. But I don't think I would be on 'Dancing with the Stars,' mainly because I would be too shy.
The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.
I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.
When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
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.
[Julie Marie Pacino]is a great ballplayer, which I wanted to be. She did make four films by the time she was 14 but we're not going to talk about that.
The truth is, you know, we need our anodynes. You know that word, anodynes? We need that in life some times. A good warm bath can be one for you, or a whatever.
[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.