Most profoundly deaf people have speech that is very difficult to understand.

In a very real way Norman [Lear] godfathered me into my career. He was the best mentor anybody could have ever had.

I had a very low voice for the character in the show. I said, That's not actually my voice. That's the character's voice. I'm being such an actor.

Spelling is very easy to practice yourself whereas signing is not. So I would sit on the subway riding around New York and I would spell whatever I would see. When I watched a movie I would spell words as they came up.

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.

If people don't actively knock the scenery over and they get the words out in something approximating the right order, you're moving on.

I moved out to L.A. in July and Hot L Baltimore started in September or October. So I had done a few things. I'd done a Mary [Tyler Moore]. I'd done a Waltons. I hadn't done a Rhoda yet I don't think.

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.

I used to be the youngest person on the set [of Bored To Death]. Now I'm very often the oldest person on the set. I feel lucky about that, to be honest. Lena [Dunham], by the way is a doll to me. So much fun to work with and really open.

I'm one of the handful of survivors of the guys I came up with.

You have to give people the opportunity to prove themselves.

After three days of shooting with Donald [ Sutherland], I was the only one he worked with for the first three days of the movie [The Winter Of Our Discontent] because of the crazy schedule. We [shot] a lot of this stuff, some of it incredibly intense and emotional. We had never had a conversation during that whole time. We didn't have time.

I've worked with a ginormous number of people over the years. What happens when you've been around for a while, when you run into people whose work you've seen and liked and they have seen and liked your work, there's a sense of you kind of know each other even though you don't.

You have to give access to people with disabilities but there is no requirement to hire them. What I mean by affirmative obligation is that producers must take the necessary steps to include opportunities for people with disabilities and a vast majority of them do.

I would never ever, ever, ever, ever do it again [All My Children]. It was the scariest thing I've ever done. I have such respect for people who do it, who can do it. What happened was they caught me at a good moment. I could use the money and this came along and it was with Susan and I thought, Susan Lucci. I have to do this.

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.

For example, the first time McDonald's put a deaf person in a commercial they saw a jump in sales. I think that happens with other kinds of disabilities and products and that is something that is being realized more and more.

I'm grateful I got the opportunity to do it because I know this now. If anybody ever asked me to do a daytime show again I would go no, no. I can't do that. Not because it's beneath me. It's above me. It's beyond my resources.