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The actor becomes an emotional athlete.
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I don't think actors should ever expect to get a role, because the disappointment is too great. You've got to think of things as an opportunity. An audition's an opportunity to have an audience.
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My early career was a real rush of movies and stardom - it was almost overwhelming.
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That's the way to live - around people who care. It may be a tough ride, but something is going to come out of it.
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Opinions I have about anything are in my personal life.
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Sometimes the only way you can get an audience is at an audition.
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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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I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.
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An actor basically likes to be asked to do something, no matter what position he's in. It feels more natural. Sitting and waiting is more gratifying.
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I wouldn't be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.
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I turned down a lot of films before I made my first one. I knew that it was time for me to get into movies.
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I found that speaking live to people, young people, about what I liked and what had been happening to me was very good for me. I was quite overtaken by success and fame. I was one of those types who responded to it in a negative way. It was not easy.
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I can see [ talent or curiosity for acting] in my oldest daughter [Julia Marie Pacino]. I don't know how long she'll run away from it, but it's there in her.
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Man is a little bit better than his reputation, and a little bit worse.
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A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. 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.
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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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Be careful how you judge people, most of all friends. You don't sum up a man's life in one moment.
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When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
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I was never very happy with performing; it didn't turn me on much.
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Larry Grobel has the illness of all writers, he can't help himself. You're talking to him and all of a sudden, you say, "He's puttin' that in his cash register!"
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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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When I was doing 'Scarface,' I remember being in love at that time. One of the few times in my life. And I was so glad it was at that time. I would come home and she would tell me about her life that day and all her problems and I remember saying to her, look, you really got me through this picture because I would shed everything when I came home.
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It's not personal, it's strictly business.
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I’ve always been in the theater. I’ve always gone to it. That’s been my way to cope. Early on in my career, I remember running - fleeing - to the theater as a way of coping with all the meshugaas that was going on for me.