I was never a part of the Actor's Studio, because two friends of mine started it in 1947 and by that time I'd gone to California.

You have to compromise all the way. The only thing that counts is the result.

I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.

Hoods are good parts because they're always flashy and attract attention. If you've got any ability, you can use that as a stepping stone.

Kazan was an old friend, I met him in 1938. He picked up radio jobs for eating money, so I met him on a couple of radio shows. Later on I was in a play he directed.

Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.

A lot of actors said they hated the studio system, but I loved it. It was like a college; it was a great place to learn.