I mean God knows I've done tons of schlock during the course of my career and stuff that's been very low budget and really pressed for time, but I've never had an experience like this. I kept saying to people, "How do you do this?" I said to Susan [Lucci], "How do you do it?" I don't recall exactly what she answered me but it was something like "Close my eyes and think of England. You just do it."

I still to this day maintain that in that million-and-a-half feet of film [Heaven's Gate] that we shot, we thought we were making a great American film. I honestly believe that Michael [Cimino] was under a tremendous amount of pressure, and Michael's response to pressure from what I saw was to double down and to get more aggressive and to get more kind of arrogant, but I don't think it was real. I think it was the response to pressure.

I am so grateful for One Day At A Time, even though for years and years and years people would go, "Oh, you were on One Day At A Time." I [am on the show] for about seven months and then this haunts me for the rest of my life. No, I had no regrets.

I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.

I consider anybody who has been able to make a living in this business [movie business] without having to do something else for a living for any period of time let alone 43 years would be a miracle.

You have to give people the opportunity to prove themselves.

She [Susan Lucci] was extraordinary. She wouldn't look at the scene until you walked in to rehearse it. It was amazing to me. That's the impression I got anyway.