Los Angeles is where you have to be if you want to be an actor. You have no choice. You go there or New York. I flipped a coin about it. It came up New York, so I flipped again. When you're starting out to be an actor, who wants to go where it's cold and miserable and be poor there?

There's no independent satisfaction without the success of the film itself. The feel that you have done the best you can to support the film.

I have the ordinary experience of having the blender bottom come off in my room upstairs. I have the ordinary experience of being anonymous when I'm in an airplane talking to air-traffic control, and they don't know who they're talking to. I have a lot of common experiences. What's important is to be able to see yourself, as having commonality with other people and not determine, because of your good luck, that everybody is less significant, less interesting, less important than you are.

I don't do stunts - I do running, jumping and falling down. After 25 years I know exactly what I'm doing.

That [film What's My Line] was very useful to me because it had Branch Rickey in a social situation. Every other bit of film [42] that I had was him making a speech.

I don't want to be a movie star. I want to be in movies that are stars.

Some actors couldn't figure out how to withstand the constant rejection. They couldn't see the light at the end of the tunnel.