“I don’t talk politics and I don’t talk philosophy or anything like that, but if you look at my work, you might get an expression of me as a person.”

Love is overrated. Biochemically no different than eating large quantities of chocolate

I personally think if you’re given four months instead of four weeks on a play, with the people who want to work that way.

All due respect, and trying to be as modest as I can be: I am a dancer.

All I am is what I’m going after.

You never open your mouth until you know what the shot is.

In America most everybody who’s Italian is half Italian. Except me. I’m all Italian. I’m mostly Sicilian, and I have a little bit of Neapolitan in me. You get your full dose with me.

If you have the opportunity to meet someone as an actor, it’s just great fodder for you. It’s wonderful source stuff that we die for.

When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story.

It was a way of escaping the responsibilty of what was happening.

You’re in a conversation and everybody’s agreeing with what you’re saying – even if you say something totally crazy. You need people who can tell you what you don’t want to hear.

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.

Actors are always outsiders. It’s necessary to be able to interpret – and that gets distorted when you become famous.

The interesting thing about this is I don’t know what my vision [ in Salome the play and Salomaybe] is yet about.

If you get all tangled up, just tango on.

You take a guy like George Clooney who goes out there to Darfur, and gets things done! That’s magical. He’s done a great thing.

Jamie Foxx does a good rendition of me. It’s a real gift, mimicry of that kind, the tonal thing. It’s sort of like having a talent for playing an instrument.

I don’t want the world to give me anything for my books except money enough to save me from the temptation to write only for money.

A mistress never is nor can be a friend. While you agree, you are lovers; and when it is over, anything but friends.

The final test for a novel will be our affection for it, as it is the test of our friends, and of anything else which we cannot define.

You are always naked when you start writing; you are always as if you had never written anything before; you are always a beginner.

Now it is a funny thing about life. If you refuse to accept anything but the best, you very often get it. If you utterly decline to make do with what you can get, then somehow or other, you are very likely to get what you want.

Love is, after all, a selfish thing; and it throws a black shadow on anything between which and the light it stands.

I don’t want to do anything over again, ever again. I want only to do what I haven’t done. There’s no “again.” There’s only the future. I hate the past – especially my own past.

Is anything sadder than a trainThat leaves when it’s supposed to,That has only one voice,Only one route?There’s nothing sadder.Except perhaps a cart horse,Shut between two shaftsAnd unable even to look sideways.