Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
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.
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 destroy the painting as soon as I can see what it is. When I can make out something in it, I destroy it because it's no longer coming from my unconscious.
I didn't want the book [of memoirs] out, naturally - Larry [Grobel] knew that for 20 years, 15 at least, I didn't want anything written about me. Then, you know, things happen, finally it's OK and I trust Larry. Nothing about it is salacious in any way.
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.
[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.
Jamie Foxx does a good rendition of me. It's a real gift, mimicry of that kind, the tonal thing. It's sort of like having a talent for playing an instrument.