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I would say I am more concerned with the plays I’m going to do than the movies.

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Pretty soon I’ll start worrying about [my fame] because [my children] carry my name and they have that exposure.
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Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating.
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If you get all tangled up, just tango on.
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I used to say I wanted to genuflect to a woman, put her up on a pedestal higher and higher, way up beyond my grasp…Then I’d find another one.
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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.
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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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A lot of acting is private time.
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I’ve had very deep relationships that lasted for long periods of time with people.
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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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Without coffee something’s missing
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I’ve never cared for guns. In fact, when I did ‘Scent of a Woman’ I had to learn how to assemble one.
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I’m constantly striving to break through to something new.
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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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Many years ago, in the late ’70s, I toured colleges along the East Coast and I presented a kind of show where I got a lot of books and poetry and pieces of [William] Shakespeare and other writers that I admire.
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It had a tremendous influence on my becoming an actor.
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It would be hard to play a character you don’t like – for me anyway – or can’t find something in them to like.
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