Between 18 and 19 years old [in the 1950s] I came to Paris. I studied art. And that experience really did change my life. I was living hand to mouth. I walked everywhere. I thought, this city is incredible but you really have to experience it by walking it.

When I started, I was an artist; I wanted to be an artist. I became an actor almost by accident. I acted for fifteen years and tried to produce. I looked for stories that were the story beneath the story that you thought you knew, like 'The Candidate'.

Health food may be good for the conscience but Oreos taste a hell of a lot better.

If you could ever do a project that really has magic in it, and justifiable magic, you should do it.

The important thing about a sport is the people who devote their lives to it.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

Essentially, my kids grew up with the emphasis on the environment because I became a political activist in about 1969 and it was not an easy time. Those were the days when the oil and gas companies pretty much controlled the show and anybody speaking about solar energy or carbon energy would get smashed down as being a radical or a tree-hugger or what have you. So I was out there feeling very often alone and my kids would get that.