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.
Many years ago, in the late '70s, I toured colleges along the East Coast and I presented a kind of show where I got a lot of books and poetry and pieces of [William] Shakespeare and other writers that I admire, read it to the class and then afterward we would talk and I would answer questions. It was really a way of expressing and finding out about where I was at that particular time, so it was very therapeutic for me.
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.
I went back to the stage because it was my way of dealing with the success I had, my way of coping. It was a way of escaping the responsibilty of what was happening.
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.
I found that speaking live to people, young people, about what I liked and what had been happening to me was very good for me. I was quite overtaken by success and fame. I was one of those types who responded to it in a negative way. It was not easy.
Any project that I find encouraging that isn't attached to a studio, I can go to them, which I definitely would. You have to take an interest in what you do.
I'm not a violent person, never was, but I have this temperament that I've always displayed. I guess it has to do with my tradition and being Italian, we're very outgoing with our emotions.
Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
[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.
I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.