Shakespeare is one of the reasons I’ve stayed an actor. Sometimes I spend full days doing Shakespeare by myself, just for the joy of reading it, saying those words.
AL PACINOWe live in a world where the more you’re working, the more things you do. It’s a workaday world.
More Al Pacino Quotes
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Actually, the person I related to was James Dean. I grew up with the Dean thing. Rebel Without A Cause had a very powerful effect on me.
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My first language was shy. It’s only by having been thrust into the limelight that I have learned to cope with my shyness.
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Certainly the movies were always in the air for me. I come from the era when actors thought it was a big deal to be in the movies.
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If you can identify with people, you can empathize with people and therefore you understand things.
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One of the things that made me want to be an actor more than ever was seeing a Chekhov play, “The Sea Gull,” when was 14 in the Bronx.
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I think what you see [in Salome the play backstage] is an artist having this fit of temperament.
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On any given Sunday you’re gonna win or you’re gonna lose. The point is — can you win or lose like a man?
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I’m naturally shy but I’ve done this [movie Salomaybe] so much and you get better at it than you would think.
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I like women who can cook. That’s first. Love is very important, but you’ve got to have a friend first.
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Larry Grobel has the illness of all writers, he can’t help himself.
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I understand the directors much more. I was always rebelling against them when I was a youngster, I didn’t want to be told what to do. I had no identification.
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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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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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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.
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Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating.
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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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There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
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I am more alive in the theater than anywhere else, but what I take into the theater I get from the streets.
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Man is a little bit better than his reputation, and a little bit worse
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I would come home and she would tell me about her life that day and all her problems and I remember saying to her, look, you really got me through this picture because I would shed everything when I came home.
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I destroy the painting as soon as I can see what it is. When I can make out something in it,
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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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That was the first thing I was struck by, not by the acting, not by anything else, but by the physicality.
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There’s something to learn from it. I’ve had movies that have failed colossally, so you kind of analyze your failures.
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Romantic love can be a lot of crap, though, let me tell you. And it can hurt you.
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It’s never really that much fun for me to do movies anyway, because you – you know, you have to get up very early in the morning and you have to go in and you spend a lot of time waiting around.
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