“Or try out what I learned and see how it worked with an audience, because where are you gonna get an audience?”

I thought, what’s going on? Did some whale get washed up to shore? So I stood up on the table to see what it was, and it was the director.

I’ve always been a bit squeamish when it came to that kind of thing.

The actor becomes an emotional athlete. The process is painful – my personal life suffers.

“What was that, George, what were you doing?” And he said, “They were sleeping.” You’re always trying to catch them.

I destroy the painting as soon as I can see what it is. When I can make out something in it,

I think what you see [in Salome the play backstage] is an artist having this fit of temperament.

After looking at Salomaybe, I don’t know who the hell the real me is. I think it’s closest now to the real me because for one thing, I’m used to this.

When I was younger, there was the sex thing. That’s par for the course.When you’re a movie star, it went with it. It’s a kind of rite of passage, socially.

[Ocean’s Thirteen] is a great group, and it was an opportunity to work with Steven Soderbergh. But mainly? It was shot in L.A. and I want to be next to my kids.

I come from the South Bronx – a true descendant of the melting pot. I grew up in a really mixed neighborhood; it was a very integrated life.

It’s childish. It’s also responsible. It’s illuminating, enriching, joyful, drab. It’s bizarre, diabolical. It’s exciting.

My first language was shy. It’s only by having been thrust into the limelight that I have learned to cope with my shyness.

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.

When I was younger, I would go to auditions to have the opportunity to audition, which would mean another chance to get up there and try out my stuff.

Be careful how you judge people, most of all friends. You don’t sum up a man’s life in one moment.

Our life is looking forward or looking back, that’s it. Where is the moment?

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.

[Salomaybe] is my presentation, my vision of the world. Not so much to satisfy the audience at large.

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.

Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they’re not used to?

Obviously given good health, and a continuing audience and a record company that allows me to do music.

The films an audience really enjoys are the ones that were enjoyable in the making.

A blogger should have the same ability to find an audience as a media conglomerate.

I prefer that for my own satisfaction over radio, there’s no audience. TV, there’s no audience. I need the response of the audience, even if it’s a silent response.