“Learning (Shakespeare’s plays) …in school was a bit of a bore.”

I don’t feel like a person who takes risks. Yet there’s something within me that must provoke controversy because I find it wherever I go.

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

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.

People are always asking me to do Shakespeare – at home, at colleges, on film locations, in restaurants. It’s like playing a piece of music, getting all the notes. It’s great therapy.

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.

It surprised me, the feeling I got when I won the Oscar for ‘Scent of a Woman.’ It was a new feeling. I’d never felt it.

I don’t understand the hatred and fear of gays and bisexuals and lesbians… it’s a concept I honestly cannot grasp.

We’re charlatans in a way, we’re magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style.

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

There are people whose sense of reality is very strong, who have a sense of honesty.

Sometimes you’re fighting corporations and forget that people can talk to each other.

Love is overrated. Biochemically no different than eating large quantities of chocolate

I personally think if you’re given four months instead of four weeks on a play, with the people who want to work that way.

All due respect, and trying to be as modest as I can be: I am a dancer.

All I am is what I’m going after.

You never open your mouth until you know what the shot is.