You're not a man until your father says you're a man.

Goldie [Hawn] is one of the sharpest ladies I've ever worked with. She doesn't miss a thing. She's my greatest audience. She laughs at all my stories and in the right places, too.

It was a bit of a lark when I agreed to do [Smokey and the Bandit], and I knew we'd have fun if we could get Jackie Gleason.

But then when I'm in a halfway successful movie, it irritates the hell out of the critics in New York, because they'd like to kill my pictures if they could. So maybe I'm pretty good in the movie. Then they use all these words like I'm 'surprisingly' good, or 'shockingly enough,' I'm good. It's like I crawled out from under a magazine and they're surprised I can act.

We got Sally Field onboard [in Smokey and the Bandit] and it changed the entire dynamic. About a third of the way into filming, I was in the car with Sally and there was this little moment where we kind of looked at each other, and then we both turned and looked over at Hal [Needham]. He gave us a thumbs up and said, "Yeah!" And we kind of knew there was some magic going on.

There are three stages of an actor's career. Young, old, and "You look good".

Smokey and the Bandit was the first picture [Hal Needham ] directed, and I knew he could handle it. I had just directed Gator, and he saw my style and used that as a pattern.