I regard myself as a beautiful musical instrument, and my role is to contribute that instrument to scripts worthy of it.

[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.

I loved journalism until the day my journalism teacher, a man I revered, came by my desk and said, 'Are you planning on going into journalism?' I said, 'Yeah.' He said, 'I wouldn't.' I said, 'Well, why not?' He said, 'You can't make a living.'

I am not a method actor, though I studied for a year with Lee Strasburg.

It's like an athlete. He has a string of hot years, and then he fades into nothingness. The actor doesn't necessarily fade into nothingness. After his hot years, he fades into a different category.

Never stand still. Only stand still enough to learn, and once you stop learning in that stance, move off. Always keep yourself engaged, in theater, in whatever job you can get. If you can't get an acting job, then go backstage. Or take tickets. But be around actors because that is where you will primarily learn.

My first job was with an auto plant, Kansas City - they treated you like slaves. From there I went back to Chicago, worked in steel mills, drove a cab, stuff like that.