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

[Julie Marie Pacino]is a great ballplayer, which I wanted to be. She did make four films by the time she was 14 but we’re not going to talk about that.

I picked the wrong movie, or I didn’t pursue a character, but everything you do is part of you and you get something from it.

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.

The stage is different ; there’s more to act. There are more demands put on you, more experiences to go through.

I am a dancer. But I don’t think I would be on ‘Dancing with the Stars,’ mainly because I would be too shy.

Take a look at Israel’s history and you would know who the terrorist is.

They cost nothing, and they can be as real as you like to make them. You own your dreams and they are priceless.

Except if something was maybe a play on television or some great television script.

You try to maintain a neutral approach to your work, and not be too hard on yourself.

You need some insecurity if you’re an actor. It keeps the pot boiling. I haven’t yet started to think about retiring.

I’d probably have the same pause if you asked me what my strengths are. Maybe they’re the same thing.

It was a compromise. There was a sense that I could write my own memoirs, and Larry [Grobel] would help me down the line, or maybe not, maybe he was too close to me.

I probably write a poem every 50 years.

I’m an actor, and everything about me – the way I perceive things, the way I have seen the world – has been in relation to characters and how I would want to play something or not play it.

My early career was a real rush of movies and stardom – it was almost overwhelming.

I’m expressing something that I feel is a way to exercise my talent and help communicate a role as a human being in a movie, I will do that.

We live in a world where the more you’re working, the more things you do. It’s a workaday world.

Actually, the person I related to was James Dean. I grew up with the Dean thing. Rebel Without A Cause had a very powerful effect on me.

Their minds, the way in which they se the world is so striking, the way they juxtapose things, the way they can see humor in people. There’s a liberation in that.

I mean, I hate to gloat, but I’m extremely satisfied with my position in life and the way things have worked out for me.

It becomes more important to me as time goes on to make every album the best thing I’ve ever done, so it’s a lot of self-imposed pressure that also kind of slows me down a bit.

Sometimes what we imagine and the world aren’t different things.

It’s very evocative; it’s like a first cut because you hear ‘She walked to the door,’ and you visualize all these things. ‘She opens the door’ . . . because you read the stage directions, too.

That was the first thing I was struck by, not by the acting, not by anything else, but by the physicality.