“The camera can film my face but until it captures my soul, you don’t have a movie.”

Love goes through different stages. But it endures.

I hope the perception is that I’m an actor, I never intended to be a movie star.

We start to realize that there are anodynes in life that help us through the day.

I have a life and do a lot of things, and so far my work has been my life.

It’s easy to fool the eye but it’s hard to fool the heart.

I don’t like a lot of things like [Iraq], I never did. Being in a position of celebrity and having your words carry such unnatural weight…

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.

I remember weeping behind the camera, because I was so moved by the way they connected.

… photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated – as though it had created itself.

I grew up in the ’60s, which was a creative time, so it wasn’t that big of a stretch to go from a baseball bat to a guitar to a film camera.

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera.

The theater and film, they’re like two completely different mediums.

I was trained in the theater, so I really learned a lot about how to work with the camera, just technically speaking, it’s been an amazing learning curve.

I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.

I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.