faye dunaway saw me in this play and told the great producer marty bergman.play, there was something in that play. it is a beautiful play. john casale was in it too. and i had been acting may be 10 years before that. i was quite young, my mid-20's. it just started to sale along. i did feel oddly enough, as an explorer in my work experimenting. and trying to learn more about the classics and myself in connection to doing things. i got a lot of joy out of that. i was in soho, which nobody could even find in those days. but i was in the village and to finally be lauded in a way, everything upped the stakes. and somehow, i was trying to preserve something that i thought i understood. i had found myself in another world. i thought it was a good thing. i still think it was a good thing. things happen that way. maybe something happened that was somewhat new, a new kind of person. they came out of the 60's, came out of this time in america. it was where people like me were given an opportunity or whatever. i don't know. it was a combination of things. i remember one

marty bergman, very wisely because i was drinking those days, too. it was kind of an apartment under the bank. both me and judith would be hitting on weed. judith molina, you know, she played my mother. they were all upstairs. i was downstairs alone. when sydney moved. we had rehearsed for months. he moved the actors along. he was pretty much about performance and stuff. when i would go up there, it absorbed me. i came back to the bank and sydney wanted me to reshoot. he saw the last shot that that fellow i was channeling in some way, whatever the character was, evaporated. it went out of me. it was gone. when i had to come back, i had to re-create something. we had to reshoot something. i couldn't get it. i couldn't get it. charlie: this is akin to the idea of how long does an act to -- an actor take a part with him? a week? a month? and once it evaporates, if you have to reshoot, can you recapture it? al: i have been doing it so long now. i let it go. i let it go. i used to go back when i was younger. i would come back. in the dressing room, i woul

they saw me in this play, and told the great producer marty bergman.hat play, there was something in that play. and i had been acting may be 10 years before that. i did feel, oddly enough, as an explorer in my work experimenting. nobody could even find it in those days. and then to be lauded in a way they upped the stakes. trying to preserve something i thought i understood earlier on. i thought it was a good thing. i still think it was a good thing. things happen that way. maybe something happened that was a new kind of person. they came out of the 60's, came out of this time in america. people like me were given an opportunity or whatever. i don't know. it was a combination of things. we had this scene in the studio. on his deathbed remember the time when they were doing this big thing? every teacher brought their student that they wanted to show how they were doing it. and i win this thing. remember when i came to see you, good stuff. and the teacher got up. they thought it was the worst. who do you think you are? what is this about? what was that?