I like women who can cook. That's first. Love is very important, but you've got to have a friend first - you want to finally come to a point where you say that the women you're with is also your friend.
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.
When I was younger, there was the sex thing. That's par for the course.When you're a movie star, it went with it. It's a kind of rite of passage, socially.
It's so funny when people who are not used to making movies get into it. You just can't believe how insufferably boring it is. Waiting around and doing these lines over and over and finally having to go in and loop the lines and dub them.
When I was doing 'Scarface,' I remember being in love at that time. One of the few times in my life. And I was so glad it was at that time. I would come home and she would tell me about her life that day and all her problems and I remember saying to her, look, you really got me through this picture because I would shed everything when I came home.
I was watching Revolution, and the things I did in that picture, holy smokes! I can't believe I did that, it's like another person. It's the thought of it, it's just appalling to me.
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.
We start to realize that there are anodynes in life that help us through the day. I don't care if it's a walk in the park, a look out the window, a good bubble bath - whatever. Even a meal you like, or a friend you want to call. That helps us solve all this stuff in our head.
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!"
We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
My weaknesses... I wish I could come up with something. I'd probably have the same pause if you asked me what my strengths are. Maybe they're the same thing.
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.