I realized that the studios didn't really understand their own system.

One works in this business - if one works. You do different types of movies.

And in reaching out and doing these new things you get into this strange kind of shape where you are better off than if you were just resting, because you're using things that wouldn't otherwise be mute.

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.

I'm not known as a singer, but in life I like to do things that are a bit beyond my reach to keep myself from slipping.

Entertainment was transportation. You were supposed to take somebody out of their seat and bring them back in. You’re not supposed to impose your values or your supposed knowledge to manipulate or control people. That was not your job. You were not supposed to use the bully pulpit of Hollywood to pound people with ideas. You’re there to entertain.

I remember a meeting I had at MGM. It was at the end of their reign. They say we have you under contract, and because you’re under contract, we’d like to you to work. I said, well, that seems fair. But if it’s a really good movie, they were going to give it to a particular actor that was not under contract. The bottom line was they were going to pay you more if it was a bad one and pay you less if it was a good one.