[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'm not sought after. I never get enough work. It's the history of my career. There just isn't anything to turn down, let me put it that way.

The older I've gotten, the more the need to exert comedy no matter how tragic a character I may be portraying because they are essentials for presenting truth.

I can do lovers. I can do Sir Galahad types. I'm not going to limit myself in voice-overs to irascible old men.

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.'

[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.

As they used to say 'What if they gave a war and nobody came?' How worthwhile if they declared a day of peace and everybody came.