When [Julia Marie Pacino] was 5 or 6 years old, we were in an Italian restaurant, and these people came by the table and they would start talking to me, asking me for my autograph and she just went under the table.
AL PACINOI’d probably have the same pause if you asked me what my strengths are. Maybe they’re the same thing.
More Al Pacino Quotes
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There is no happiness. There is only concentration.
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The story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I’m struggling with.
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Responsibilities are relative. My responsibility is to a character in a script, to a part I’m playing.
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Or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?
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We were doing Scarface many years ago…and I remember having my coffee and looking at the beach, the surf, and I saw a hundred people looking out into the ocean.
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What kind of failure was it? A failure because it’s misunderstood by others? A failure because you misunderstood it yourself?
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[Oscar Wilde’s Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that’s why I guess it’s semi-autobiographical.
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What’s this thing that gets between us and Shakespeare?
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If you can identify with people, you can empathize with people and therefore you understand things.
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Early on in my career, I remember running – fleeing – to the theater as a way of coping with all the meshugaas that was going on for me.
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I don’t like a lot of things like [Iraq], I never did. Being in a position of celebrity and having your words carry such unnatural weight…
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I’ve often said there’s two kinds of actors. There’s a more gregarious type and the shy type.
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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.
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Their minds, the way in which they se the world is so striking, the way they juxtapose things, the way they can see humor in people. There’s a liberation in that.
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It would be hard to play a character you don’t like – for me anyway – or can’t find something in them to like.
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It was a compromise. There was a sense that I could write my own memoirs, and Larry [Grobel] would help me down the line, or maybe not, maybe he was too close to me.
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“What was that, George, what were you doing?” And he said, “They were sleeping.” You’re always trying to catch them.
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I used to say I wanted to genuflect to a woman, put her up on a pedestal higher and higher, way up beyond my grasp…Then I’d find another one.
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I destroy it because it’s no longer coming from my unconscious.
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Chekhov was as important to me as anybody as a writer.
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I believe in one day at a time; you’ve got TODAY, that’s what you’ ve got.
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If I find something and feel as though I can contribute to [it] in a way and feel I’m in it, whatever that means.
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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.
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We start to realize that there are anodynes in life that help us through the day.
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Any project that I find encouraging that isn’t attached to a studio, I can go to them, which I definitely would. You have to take an interest in what you do.
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I found out how temperamental I am, yes. And that sometimes that can be kind of off-putting.
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