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.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
I have a life and do a lot of things, and so far my work has been my life. If I was a painter no one would question me about my age. I'm an artist, I hate saying that.
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.
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.
That's where humour lives for me. In the body. The Steve Martin kind of stuff or Jim Carrey, that's what I like. I've always felt that's what I would like to do.
[Ocean's Thirteen] is a great group, and it was an opportunity to work with Steven Soderbergh. But mainly? It was shot in L.A. and I want to be next to my kids. So I've been doing everything that has to do with being next to them, close to them.
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.