The camera can film my face but until it captures my soul, you don't have a movie.
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.
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.
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.
You don't get to know anybody in a movie until after it's over. You work less together in a film than you do onstage.
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.
People are always asking me to do Shakespeare - at home, at colleges, on film locations, in restaurants. It's like playing a piece of music, getting all the notes. It's great therapy.
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.
[Julie Marie Pacino]is a great ballplayer, which I wanted to be. She did make four films by the time she was 14 but we're not going to talk about that.
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