[when asked by James Lipton on Inside the Actors Studio (1994) what attracts him to funny hats] I don't know, maybe I just read too much Dr. Seuss as a kid.
[asked if he is a romantic] Am I a romantic? I've seen Wuthering Heights (1939) ten times. I'm a romantic.
[about being dragged behind a carriage in the woods on Sleepy Hollow (1999)] I wasn't afraid of getting hurt. I was just afraid that the horses may relieve themselves on the journey.
I'm shy, paranoid, whatever word you want to use. I hate fame. I've done everything I can to avoid it.
When kids hit one year old, it's like hanging out with a miniature drunk. You have to hold onto them. They bump into things. They laugh and cry. They urinate. They vomit.
This is a rumor-filled society and if people want to sit around and talk about whom I've dated, then I'd say they have a lot of spare time and should consider other topics... or masturbation.
The character I've played, that I've responded to, there has been a lost-soul quality to them.
Sure, I find it touching, honestly, but awards are not as important to me as when I meet a ten-year-old kid who says, "I love Captain Jack Sparrow" . . . that's real magic for me.
The term "serious actor" is kind of an oxymoron, isn't it? [Like] "Republican party" "airplane food".
On a film you start to get closer and closer with the people you're working with, and it becomes like this circus act or this travelling family.
If you turn on the television and see the horrors that are happening to people in the world right now, I think there's no better time to strive to have some kind of hope through imagination. I think it's a time to close your eyes and try to make a change, or at least hope to make a change, or we're going to explode.
I suppose nowadays it's all a question of surgery, isn't it? Of course the notion is beautiful, the idea of staying a boy and a child forever, and I think you can. I have known plenty of people who, in their later years, had the energy of children and the kind of curiosity and fascination with things like little children. I think we can keep that, and I think it's important to keep that part of staying young. But I also think it's great fun growing old.
All the little films I've done that were perceived by Hollywood as these obscure, weird things, I always thought could appeal to a larger audience. I mean, box office is such a mystery to me that I can't . . . you know . . . I have enough trouble doing my own gig.
[asked why he hides his looks behind strange wigs, fake teeth and girly squeals] I think it's an actor's responsibility to change every time. Not only for himself and the people he's working with, but for the audience. If you just go out and deliver the same dish every time . . . it's meat loaf again . . . you'd get bored. I'd get bored.
We had been shooting [Charlie and the Chocolate Factory (2005)] for about a month, and I was beginning to get nervous because there weren't any phone calls. I called my agent and asked, "Has no one called from the studio to complain or say, 'Hey, what's he doing?' or 'Hey, he's freaking us out?' " And when she said, "No", I thought, "Christ, I'm not doing enough! Something's wrong!" Then some of the studio brass came over to the set, and they were sitting in my trailer and I was all decked out as Wonka with the little bangs. And I just had to know. So I said, "Okay, who was the first one, when you started seeing the dailies, that got a little worried?" And there was this beautiful 30-second silence. And [Warner Bros. president] Alan Horn finally said, "Yeah, that was me". I felt better instantly.
[on Gene Wilder's comment on the remake of Willy Wonka & the Chocolate Factory(1971)] Hearing about that was disappointing, but I can understand where he's coming from, I guess. The one thing I didn't understand was that apparently he was quoted as saying, "Well, they just did this for money". Well, hey, man, where have you been? When didn't they ever do anything for money? Nobody's ever made a film in the history of cinema where they weren't expecting some return on their dough.
[on his daughter, Lily-Rose] I see this amazing, beautiful, pure angel-thing wake up in the morning, and nothing can touch that. She is the only reason to wake up in the morning, the only reason to take a breath. Everything else is checkers.
[on director Tim Burton] He can ask me everything. If he wants me to have sex with an aardvark in one of his next movies, then I will do that.
[on reactions to his directorial debut] You know what was traumatizing, what was very, very strange in terms of this film I directed a few years back called The Brave (1997). Well, I guess I wouldn't say traumatizing, but I would say weird: at the premiere of the film the reception of it was beyond any expectation that I had. I had no idea I'd be looking at [Bernardo Bertolucci] or [Michelangelo Antonioni] sitting there watching my film. And then to receive the applause that my film got, it was so incredible. And then the next day the majority of the American press just turn it into this horrible thing. Once again, everybody is entitled to their opinion, man. Maybe it's a bad film? Maybe it's a good film? To me it's just a film. It's something I needed to make.
I started out as a guitarist in the early '80s. I hooked up with a guy who idolized James Dean and he gave me a copy of the Dean biography, "The Mutant King", which I thought was really interesting. While reading the book I watched Rebel Without a Cause (1955), and I thought, "Wow, this guy really has something", and I was hooked. I wasn't really into acting at the time - but James Dean was the catalyst.
I don't have a mental picture of the houses we lived in because there were so many.
[on being an uncle] My sister Christi had a baby when I was 17, and I had just heard about crib death. The horrible thing was that it wasn't understood. For some unknown reason the baby would stop breathing. So I would sneak into where the baby was sleeping and put my hand in her crib, hold her little finger, and I'd sleep on the floor like that. It was stupid, I'm sure. But I thought the warmth of my hand might help, that maybe if she felt my pulse it would remind her to breathe.
Marlon Brando is maybe the greatest actor of the last two centuries. But his mind is much more important than the acting thing. The way that he looks at things, doesn't judge things, the way that he assesses things. He's as important as, uh... who's important today? Jesus, not many people... Stephen Hawking!
There's nothing - you know - nothing else like music. Nothing that touches us on that, uh, that deep level. Music can open up so many emotions that we didn't know we had. It's the magical thing about musicals, you know, on the stage or on film or whatever. Love songs. They work so well because music touches us, emotionally, where words alone can't.
As a teenager I was so insecure. I was the type of guy that never fitted in because he never dared to choose. I was convinced I had absolutely no talent at all. For nothing. And that thought took away all my ambition, too.
