I was quite overtaken by success and fame. I was one of those types who responded to it in a negative way. It was not easy.
AL PACINOIt’s very evocative; it’s like a first cut because you hear ‘She walked to the door,’ and you visualize all these things. ‘She opens the door’ . . . because you read the stage directions, too.
More Al Pacino Quotes
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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 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.
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I understand it on a superficial level, but the depth of it just boggles my mind. I think it’s probably the greatest of all speeches ever written.
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I guess it has to do with my tradition and being Italian, we’re very outgoing with our emotions.
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I’m constantly striving to break through to something new.
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Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
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You want to finally come to a point where you say that the women you’re with is also your friend.
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I’ve never cared for guns. In fact, when I did ‘Scent of a Woman’ I had to learn how to assemble one.
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It was her way of getting out, and she would take me with her. I’d go home and act all the parts.
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I don’t need bodyguards. I’m from the South Bronx.
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All due respect, and trying to be as modest as I can be: I am a dancer.
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I never saw myself as a director. It’s certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
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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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You could almost call them marriages, even though I didn’t marry. But it was costly.
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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.
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