When [Julia Marie Pacino] was 5 or 6 years old, we were in an Italian restaurant, and these people came by the table and they would start talking to me, asking me for my autograph and she just went under the table.
[Oscar Wilde’s Salome screenplay] is not autobiographical in a sense where you go to my house and see my kids and stuff like that, but that’s why I guess it’s semi-autobiographical.
I don’t care if it’s a walk in the park, a look out the window, a good bubble bath – whatever. Even a meal you like, or a friend you want to call. That helps us solve all this stuff in our head.
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.
You sharpen the human appetite to the point where it can split atoms with its desire; you build egos the size of cathedrals; fiber-optically connect the world to every eager impulse.
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.
And I didn’t think about the material as much. But sometimes I’ve thought about the material a lot and thought I was doing the right thing, and it didn’t work out.
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