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

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.

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.

But you know what? There’s far more pain involved in rolling over, far more pain in hiding.

The mind controls so much of the body. We are much more than flesh and blood; we are complex systems. Patients do better when they have faith that they’re going to do better. That’s why I always tell my patients and their families not to neglect their prayers. There’s nobody I don’t say that to.

The key is never, never work. Nothing is more aging than work. It’s not only the strain of getting up in the morning for work, but it’s the resentment that settles on your face

1992 is not a year I shall look back on with undiluted pleasure. In the words of one of my more sympathetic correspondents, it hasturned out to be an Annus Horribilis.

We are more than just flesh and bones. There’s a certain spiritual nature and something of the mind that we can’t measure. We can’t find it. With all our sophisticated equipment, we cannot monitor or define it, and yet it’s there.

[M]y work, which I’ve done for a long time, was not pursued in order to gain the praise I now enjoy, but chiefly from a craving after knowledge, which I notice resides in me more than in most other men.

For more than two generations, my family had never achieved their ambitions. Their talents were unappreciated and unused. They deserved better. They hadn’t done anything wrong; they just had some bad breaks.

The negro has suffered far more from the commission of this crime against the women of his race by white men than the white race has ever suffered through his crimes.