Al Pacino Quotes
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[Ocean's Thirteen] is a great group, and it was an opportunity to work with Steven Soderbergh. But mainly? It was shot in L.A. and I want to be next to my kids. So I've been doing everything that has to do with being next to them, close to them.
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Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
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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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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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I haven't encouraged [Julia Marie Pacino] or discouraged her. I let her go her own way. I did say to her that I thought that she had a real gift, and it's a good idea to know that. It's always good to go with your gift.
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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. Waiting around and doing these lines over and over and finally having to go in and loop the lines and dub them.
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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, 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 don't talk politics and I don't talk philosophy or anything like that, but if you look at my work, you might get an expression of me as a person.
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Show me a bad script and I will show you a big payday.
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Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
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I'm naturally shy but I've done this [movie Salomaybe] so much and you get better at it than you would think.
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We live in a world where the more you're working, the more things you do. It's a workaday world.
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On any given Sunday you're gonna win or you're gonna lose. The point is -- can you win or lose like a man?
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I'm so shy now I wear sunglasses everywhere I go.
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There are a couple of times I would've liked to have married. I think I made a mistake, especially once.
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I have a life and do a lot of things, and so far my work has been my life. If I was a painter no one would question me about my age. I'm an artist, I hate saying that.
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I would say I am more concerned with the plays I'm going to do than the movies. I'm more comfortable in a play. In film, there's always a certain sense of control, of holding back. The stage is different ; there's more to act. There are more demands put on you, more experiences to go through.
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It's never really that much fun for me to do movies anyway, because you - you know, you have to get up very early in the morning and you have to go in and you spend a lot of time waiting around.
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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. There's something to learn from it. I've had movies that have failed colossally, so you kind of analyze your failures: What kind of failure was it? A failure because it's misunderstood by others? A failure because you misunderstood it yourself?
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I probably write a poem every 50 years.
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I 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.
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Forget the career, do the work. If you feel what you are doing is on line and you're going someplace and you have a vision and you stay with it, eventually things will happen.
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A lot of acting is private time.
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Actually, the person I related to was James Dean. I grew up with the Dean thing. Rebel Without A Cause had a very powerful effect on me.