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.
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.
At this point in my career, I don't have to deal with audition rejections. So I get my rejection from other things. My children can make me feel rejected. They can humble you pretty quick.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
It surprised me, the feeling I got when I won the Oscar for 'Scent of a Woman.' It was a new feeling. I'd never felt it. I don't see my Oscar much now. But when I first got it, there was a feeling for weeks afterward that I guess is akin to winning a gold medal in the Olympics.
The hardest thing about being famous is that people are always nice to you. You're in a conversation and everybody's agreeing with what you're saying - even if you say something totally crazy. You need people who can tell you what you don't want to hear.
"To be or not to be is" [by William Shakespeare] beyond anything I can comprehend. I understand it on a superficial level, but the depth of it just boggles my mind. I think it's probably the greatest of all speeches ever written.
If I find something and feel as though I can contribute to [it] in a way and feel I'm in it, whatever that means, I'm expressing something that I feel is a way to exercise my talent and help communicate a role as a human being in a movie, I will do that.
My grandfather was a provider. Work, any kind of work, was the joy of his life. So I grew up having a certain relationship to work. It was something that I always wanted.
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?