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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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The only thing in this world that gives orders is balls.
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I’ve always been in the theater. I’ve always gone to it. That’s been my way to cope.
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Women have always had equal importance onstage, and working with them must have altered my sensibilities.
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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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Sometimes you’re fighting corporations and forget that people can talk to each other.
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You need some insecurity if you’re an actor. It keeps the pot boiling. I haven’t yet started to think about retiring.
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So that you and the audience are giving to each other, in a sense. It’s an extraordinary thing. It’s wild turf up there.
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An actor basically likes to be asked to do something, no matter what position he’s in. It feels more natural. Sitting and waiting is more gratifying.
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I have a life and do a lot of things, and so far my work has been my life.
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The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires.
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My own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
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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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Sometimes the only way you can get an audience is at an audition.
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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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I thought it was time to show some of it, to show some of my feelings about things and what I preferred at the time. I prefer them still but not to the extent I did at the time.
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I wanted to be a baseball player, naturally, but I wasn’t good enough.
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