I hope this series is good work, but it is in the half-hour medium, which is limited to a kind of mediocrity that sponsors are just dying to have right now, and the public, for some reason, is unconsciously demanding.

There was never any effort made out there to improve the artist.

I just knew how to do the one thing I did, and whether I did it well or not depended on who the director was.

So I'm in that half-hour business where the most money is, so that eventually I feel like the people that put on the Dupont show, like maybe my artistic effort is going to be a little different.

Keep doing what you've been doing and you will keep getting what you've been getting!

Very often on some of this stuff when I'd have to go to work. I'd just give the script a cursory glance. I had no training, and I was a quick study, so nobody knew how involved or not involved I was. But I look at that stuff now and I can see I wasn't involved, and I wasn't very good.

I remember Mr. Mayer very well. He sort of liked to be the father - no, he liked to be treated like you thought he was Daddy, but he didn't treat you like Daddy at all.

To me, the series was the end of the actor, when the series ended.

A nice, steady job I don't need that bad. I'm not that satisfied with it.

I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.

In those days, even as a boy, I watched some people that I knew were living way beyond their means.

So if I keep making mistakes on Broadway or tape or film, producing, directing or acting, I can go along and do it - so long as I'm not investing too much capital in these things.

There was only so much television you could do.

So then you have to say to yourself: Do I want to be rich, or do I want to do good work?