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A lot of directors straight out of film school are very technically minded, but they don't have an understanding of actors or how to talk to them.
Every person my size has a different life, a different history. Different ways of dealing with it. Just because I'm seemingly O.K. with it, I can't preach how to be O.K. with it. I don't think I still am O.K. with it. There's days when I'm not.
Call me a midget, but just be real. I am all for correct terms, but please don't tiptoe around feelings. Don't be too careful, because that shuts you off from people.
There are a lot of directors out there who are very specific, visual craftsmen, and while I have the utmost respect for that, they don't really communicate with the actors.
I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.
I do not fault anyone else who makes choices to play characters that they wished they hadn't... Because at the end of the day, none of us are happy with our jobs all the time.
When I was growing up in Ossining, N.Y., playing pool with the guys, the thought that any one of us might become an actor was as far-fetched as being knighted by the queen of England.
I had two ambitions: One was to be in The Actors Studio, and the other was to walk into a bar where actors hung out, and everyone would know that I was a professional actor and I would be accepted.
Children ran up to me shouting, 'Columbo!' At first, it gave me great pleasure, but later, I said to myself that those children should have had their own heroes instead of admiring a cop from Los Angeles.
My father's whole life was work. He had a retail store in Ossining, New York, and I mean, he was down there at 6:15 every morning. The store didn't open until 9, but he hadda be down there. That's all he knew.
In order to be totally spontaneous, you can't be too obsessed with accuracy, but if you're inaccurate in a drawing, it will look fake, and when you act, it will sound fake. You have to find miraculously some proper balance between the two, but there's no formula.
I'm makin' a lotta dough, everyone knows who you are, and who the hell cares whether you're typecast or not? Also, there's something wrong with complaining about being typecast in something you really enjoy doing.
Hartford had the Mark Twain Masquers, which was fantastic. They had been in business I don't know how many years. They knew how to build sets and sell tickets and put on a play. My day started at night. When I left the office, that's when my day began.
It helps an actor an awful lot when he looks like the part. There's nothing more disconcerting, that makes you more anxious or more insecure, than when you don't look like who you're supposed to be.
They wouldn't take me in the navy because of my glass eye. So I joined the merchant navy, who allowed monocular crew if you worked in the kitchens. You're not wanted on deck or in the engine room with one eye, but you're good to fire up the ovens and cook hundreds of chops.