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.
The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.
Women have always had equal importance onstage, and working with them must have altered my sensibilities. I've never felt sensitive to the whole issue, because being macho has never been a problem with 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'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.
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.
I wouldn't be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.