What kind of failure was it? A failure because it’s misunderstood by others? A failure because you misunderstood it yourself?
AL PACINODid you know I started out as a stand-up comic? People don’t believe me when I tell them. That’s how I saw myself, in comedy.
More Al Pacino Quotes
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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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Playing a character is an illusion, and I feel that when you know too much about a person, possibly part of that illusion is disrupted.
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There are a couple of times I would’ve liked to have married. I think I made a mistake, especially once.
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I wouldn’t be interested in [nowadays] television simply because I think it goes too fast.
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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.
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When I was a younger actor, I would try to keep it serious all day. But I have found, later on, that the lighter I am about things when I’m going to do a big scene that’s dramatic and takes a lot out of you, the better off I am when I come to it.
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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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You’ll never be alone if you’ve got a book.
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Sometimes you feel critics are wrong all the time, but I don ‘t take objection to it, because that’s the way it goes. They can be wrong, they can be right. They can be cruel, they can be kind.
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Anybody who cares about what he does takes risks.
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[Oscar Wilde’s Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that’s why I guess it’s semi-autobiographical.
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I want to be interesting in an interview just as much as I want to do well in a part.
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Waiting around and doing these lines over and over and finally having to go in and loop the lines and dub them.
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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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The fruit falls off the tree. You don’t shake it off before it’s ready to fall.
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Brian De Palma, standing there alone by the surf and they were all waiting for him. And I never forgot that because it represented to me what a director is, what a director does.
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And I didn’t think about the material as much. But sometimes I’ve thought about the material a lot and thought I was doing the right thing, and it didn’t work out.
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The play will invariably be different and stronger, and much more fulfilling and richer on all counts. There’s no doubt in my mind about it.
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Women have always had equal importance onstage, and working with them must have altered my sensibilities.
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You try to maintain a neutral approach to your work, and not be too hard on yourself.
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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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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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I’ve always been a bit squeamish when it came to that kind of thing.
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There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice.
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I don’t regret anything. I feel like I’ve made what I would call mistakes.
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When you’re acting for a camera, it keeps taking and never giving back.
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