I found a movie called “Light in the Piazza.” I finally made the movie with Olivia de Havilland and myself, but initially there was no way I could make that movie, so I went to work on becoming that character. They told me they had an Italian [actor], and I said, “That’s a Cuban boy!” His name was Tomas Milan. I thought that’s the craziest thing I’d ever heard: They have a Cuban who’s going to play an Italian, and I can’t play it because I’m an American.

While I put forth the suntan and the teeth and the cavalier attitude, I've survived under the worst of eras and times, and I've always had a good time doing it, because I never really took myself seriously, nor did I take life seriously because it is already terribly serious.

That's a yellow card for Cazoria. So the next time he's involved in Europe, he won't be.

I've always had good friends and people know that I've got no ax to grind.

There are two schools of thought. A manager would tell you that must make them realize you're a dedicated actor and I took a totally different route than that. I never ever took myself seriously.

You do a movie [where] you like the script [and] it has something to say that you care about. And there are certain people in this industry that you kind of stick with. Guys like [“The Congressman” producer] Fred Roos. They call you, and if you’re not working, that’s what you do.

My mother was a star-struck girl from a little town in Arkansas who had gone to finishing school in New York, and whose mother had given her anything she ever wanted.