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.

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.

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'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.

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

You have to give people the opportunity to prove themselves.

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.

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'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.

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 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.

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.

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

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.

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.