If you can identify with people, you can empathize with people and therefore you understand things.
AL PACINOI was watching Revolution, and the things I did in that picture, holy smokes! I can’t believe I did that, it’s like another person. It’s the thought of it, it’s just appalling to me.
More Al Pacino Quotes
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My best advice to any young person is, if you want kids, be careful who you have them with. That’s my mantra.
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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.
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I was playing a part of someone dealing dope on a street corner – and there was a guy actually dealing heroin right there. I looked at him, he looked at me, and I got real confused.
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All due respect, and trying to be as modest as I can be: I am a dancer.
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I’m much more a European Italian than I am an American Italian, and I’ve always felt that that style of acting comedy is in me.
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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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The play will invariably be different and stronger, and much more fulfilling and richer on all counts. There’s no doubt in my mind about it.
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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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I just wondered how it would feel, how people would treat her, but she’s adjusted so marvelously.
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Failure’s relative. I’ve always felt, even early on, if I lose the freedom to fail, something’s not right about that. It’s how you treat failure, too.
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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.
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sometimes it’s better to be with the devil u know than the angel u didn’t know
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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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The literal, basic thing of the stage is really like a magnet. It brings me back to earth.
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You’re talking to him and all of a sudden, you say, “He’s puttin’ that in his cash register!”
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Romantic love can be a lot of crap, though, let me tell you. And it can hurt you.
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Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.
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When you’re reading some of the great plays, when you do what I call “taking up with a writer,” something happens.
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I don’t regret anything. I feel like I’ve made what I would call mistakes.
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At one point he took the robes he was wearing and just started flipping them up in the air, out of nowhere. And later, an actor said to him.
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I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
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I don’t understand the hatred and fear of gays and bisexuals and lesbians… it’s a concept I honestly cannot grasp.
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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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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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I think what you see [in Salome the play backstage] is an artist having this fit of temperament.
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I used to think of myself as a comedian. I’ve always admired comedians.
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