When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
People are always asking me to do Shakespeare - at home, at colleges, on film locations, in restaurants. It's like playing a piece of music, getting all the notes. It's great therapy.
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.
I can see [ talent or curiosity for acting] in my oldest daughter [Julia Marie Pacino]. I don't know how long she'll run away from it, but it's there in her.
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.
I haven't encouraged [Julia Marie Pacino] or discouraged her. I let her go her own way. I did say to her that I thought that she had a real gift, and it's a good idea to know that. It's always good to go with your gift.
[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.