There was only so much television you could do.

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

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.

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.

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

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

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.

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.

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

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

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

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.

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.

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.