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The thing is doing it, that’s what it’s all about. Not in the results of it. After all what is a risk? It’s a risk not to take risks. Otherwise, you can go stale and repeat yourself.

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[Salomaybe] is my presentation, my vision of the world. Not so much to satisfy the audience at large.
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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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It’s so funny when people who are not used to making movies get into it. You just can’t believe how insufferably boring it is.
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I guess it has to do with my tradition and being Italian, we’re very outgoing with our emotions.
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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.
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We start to realize that there are anodynes in life that help us through the day.
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I’ ve won awards. And they didn’t make me feel bad winning them.
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Either I act or I die.
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I do Shakespeare when I am feeling a certain way.
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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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I put comedy as much as I can into all my movies, if I can help it.
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When you’re acting for a camera, it keeps taking and never giving back.
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I don’t regret anything. I feel like I’ve made what I would call mistakes.
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I do not believe what I see on television. I believe a percentage of it, so it’s hard for me to discern. I don’t like what it’s doing to the world.
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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.
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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.
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