Sure, I miss some things about the stage. The thing I like is the immediacy. But then I complain, 'I gotta do the same part for six months.'

There's a bit of a problem. The script that I like, the network doesn't like. The script that they like, I don't like.

I used to dread somebody saying, 'Whatsa matter with your eye?'

You think you're in another civilization, another time, and then you see antennas coming out of these hovels, and your mouth falls open when you see the descendants of the Incas shouting 'Columbo! Columbo!'

I love Chicago. It's one of the great cities. I'm crazy about the town. It reminds me of New York when it was at its best, the New York that used to be and is no more. I love the architecture, the old stuff and the new stuff.

I used to take girls out on a date to Night Court. And I'll tell you, most girls, they got a kick out of going to Night Court. 'Cause you get a lot of laughs... and it's cheap.

What wouldn't have happened to me if I hadn't ended up in Hartford, Connecticut.

There isn't an Eskimo who doesn't love 'Columbo.'

Strange thing, this television.

I'm secretly very stuffy.

Oh, I was some efficiency expert. On my first day, I couldn't find my own office in Hartford and wound up in the Post Office.

Certainly, you envy the guys that have done all kinds of things, a variety of good scripts and good directors. Then again, having worked with Cassavetes has satisfied a big part of that.

I never turned a part down when they offered me money.

Along came a police lieutenant named Columbo, and my life would never be the same.

I once did a film in Russia because I wanted to see what the hell was going on there.

I've been there a thousand years, and I never felt comfortable. Beverly Hills - when I first saw it, I thought they put it up this morning. You got to pack water to get to the drugstore.

Acting is like golf: analysis leads to paralysis.

If you were brought up in the '40s, a kid in Ossining, New York, hanging out at the poolroom and stealing, how can you think, 'Here I am in Ossining. I, too, can be a movie star!'

Everybody wants to be a movie star. I bet if you ask that guy would he like to be a movie star, he'd say, 'Sure.'

Most people think glamor is happiness.

The more simple my life is, the happier I am.

In 1978, I had a near-fatal car accident in the Bahamas. There was a point when I could have lost my right arm - but it was good because it forced me to slow down and take a break.

Everyone wanted to play like Eric Clapton in the early to mid-'60s.

If there's ever a live record that deserved to be mixed in surround sound, it's 'Frampton Comes Alive.'

I'm sure that I am enjoying my sobriety. And respect it. If you've been through what I've been through, then you really do treasure it.

Some might say I didn't pay enough of my dues, and I think I've paid my dues.

Everybody wants to be on the front cover of 'People' and 'Rolling Stone.'

I was on 'The Mike Douglas Show' twice. I was on the cover of practically every magazine in the United States. I never said no to anything. I told everything to everybody. I gave everything away, and when you give it all away, you have nothing left.

People love to play 'Baby, I Love Your Way' at their weddings. They even play it for births and deaths - whatever the occasion, it seems to fit. Over the years, it's been used in lots of movies, and it's been covered by other artists more than any of my songs. I've written a standard... which is pretty incredible to me.

I love to be a hermit.

It got to the point where I couldn't afford to borrow any more money to lose. Know what I mean? That was just before 'Frampton,' my fourth album. As we were recording it, I was very down and depressed.

Music is now becoming 'free,' and it's very difficult for new artists to start.

When I go to do a show, it's my time; it's all about me. You've come to see me. You haven't come to see me if you're in an armchair watching a video. It's very distracting.

I write about what happens to me. It's all there. I couldn't do it any other way.

I was only a teenager when I played with the Herd and Humble Pie, and I was still in my early twenties when 'Frampton Comes Alive!' came out. That was an immense amount of work in a relatively short period of time. I needed to stop for a while and grow up, but I didn't do that.

I had so much out there, the world was going crazy about 'Comes Alive!' I didn't need to go and rush into something else. You're only as good as your last record, so don't put one out for a while.

I love staying at home and not seeing a guitar for ten days... but then I love that feeling of picking it up again.

The reason I wanted to play guitar was because I saw Buddy Holly and then our own homegrown Shadows on TV in 1957 or '58. I wanted to learn to play guitar so I could do what they did and be in a band.

Your own material is your identity, and I think that's what you need to stick to.

I'm lucky that I enjoy playing live; it's my passion to do that. There's certain artists that never want to play live. They just want to be in the studio. Good luck, because there is no income.

After 'Frampton Comes Alive!' became a huge success, I really needed to take time off to work out what the hell just happened. Instead, I just kept working.

I used to jam with Steve Marriott of the Small Faces.

The perception that I was just a pop star was pushed upon me by the public, and it's very hard to change the public's perception even though I never really pushed aside the musician aspect of my career. After I released 'Fingerprints,' my peers reassured me that I was on a level that I always hoped I would be on.

I wrote 'Show Me the Way' in the morning and wrote 'Baby, I Love Your Way' in the afternoon of the same day. I've been trying to figure out what I ate for breakfast that morning ever since!

I'm lucky. I've got my own studio. I can make my own music, but not many people can do that. I will always be making new music, because that's what I have to do; that's why I'm here. I will always do that.

I formed Humble Pie when I was only 18. We were one of the first 'supergroups,' with Steve Marriott of The Small Faces on guitar and Greg Ridley of Spooky Tooth on bass. With Humble Pie, I tasted American success for the first time.

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.

I was allowed a freedom as a baby boomer to do whatever I wanted to do. My parents were able to give their permission because they just felt, 'Why not?' I joined my first band and dropped out of school.

The 'Frampton' album sold better than all of the other solo records that I'd had, put together. It was over 300,000 copies, so that was a good signal that we were poised for my first gold record.

Most of everything I've ever written actually was written on acoustic. 'Do You Feel' was written on electric. 'I'm in You' was written on piano.