The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.

The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.

A world without Tony Randall is a world that I cannot recognize.

I love the theater because I love the live audience and when we went three cameras we have a live audience in the study so we had someone to play to and react to. That laughter.

I know know why ... if something not broke, don't fix it. Twelve Angry Men was the perfect movie. The cast was just the best cast you could possibly get together. The director was Sidney Lumet, the best director around. So why they made the remake I don't know.

Time is very important to art and if you don't have the time to select, art goes out the window.

Walter Matthau made all the big money and he was wonderful as Oscar Madison on the stage. You couldn't beat him. I know because I replaced him on Broadway. He was just delightful.