Pretty soon I'll start worrying about [my fame] because [my children] carry my name and they have that exposure. The whole thing is, they never asked for it, that kingdom.
Everything changes with age. The parts change with age, your feelings about them change, roles that I would've wanted to play 10 years ago, I don't want to play now.
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.
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.
I' ve won awards. And they didn't make me feel bad winning them. They made me feel pretty good. But it also did not make me feel bad NOT winning the Academy Award.
I went back to the stage because it was my way of dealing with the success I had, my way of coping. It was a way of escaping the responsibilty of what was happening.
Forget the career, do the work. If you feel what you are doing is on line and you're going someplace and you have a vision and you stay with it, eventually things will happen.
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?
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.
I've had very deep relationships that lasted for long periods of time with people - you could almost call them marriages, even though I didn't marry. But it was costly.