But I want to do good work, after this series.

But the working I would always want to do.

So I felt, well, I'll make the money and, with the money, do what I want to do.

From that, I became very anxious to produce something of my own.

They had to start shaving my chin when I was 12 years old because light started to pick it up.

They kept me in short pants as long as they could, until they were shaving the hair on my legs because it was beginning to photograph.

If it's boring, then it's tiring.

I never say too much about that in public interviews, because it disappoints the public to tell them you're not that crazy about a property you did that possibly they liked.

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

Well, they just don't know anything else except that one form of their business, acting, and they don't really want to learn any other part of it, or they would. Directing and producing and putting a show together is very creative, for me.

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.

People like Spencer Tracy held up because they had the background originally, but to this day they never have changed Mr. Gable's role, or most of them.

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.

They thought in terms of: whatever you had that started you at the box office, this was it.

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.

The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.

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

But I want to do good work, after this series.

There was only so much television you could do.

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

So whatever I might have started to learn at that age was all undone by the next director and next crew in the next cheap picture, because I was allowed to get away with murder.

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.

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.

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

A lot of people like to run in plays because it's a nice, steady job.

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

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.

I want to feel good, I want to feel proud, I want to feel that I give someone enough and that I get enough.

You should never feel comfortable. There is something wrong if you are. You should always feel under threat, on the edge of your seat and pushing yourself. Win one and you want to win more. It's never-ending.

I want to have babies one day but not right now. When I do it I want to do it really well. I want it to be my best project in life.

When producers want to know what the public wants, they graph it as curves. When they want to tell the public what to get, they say it in curves.

I want the municipality to be a helping hand to the man with a desire of sympathy, to help the fallen when it is not in their power to help themselves.

Get me inside any boardroom and I'll get any decision I want.

The avantgarde are people who don't exactly know where they want to go, but are the first to get there.

If I had to come up with something that just came to me, I think growing up in a small town, I want knowledge. I still think today, knowledge is one of the keys.

I want to thank all the fans for their support over the years. Keep supporting the Knicks, we're moving in the right direction here and we will be exciting to watch and competing against the best in the NBA. Come back to the Garden for those exciting games.

If you want something that's going to provide you with a lot of challenges and a variety of different things to do, then you really can't beat a place like the Air Force. I don't mean this to sound like a recruiting pitch. But it's been a lot of fun.

I want to spend more time with those kids. I want to dedicate my time to train those kids and teach them what it takes, what they need to do to get to this level.

Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.

At one point in your life, you'll have the thing you want or the reasons why you don't.

It is the privilege of the gods to want nothing, and of godlike men to want little.

Teachers started recognizing me and praising me for being smart in science and that made me want to be even smarter in science!

I try to teach my heart not to want things it can't have.

Once you drink one glass, you want another.

If you want to grow old as a pilot, you've got to know when to push it, and when to back off.

I don't want any more vicissitudes, I don't want any more of this try, try again stuff. I just want out. I've had it. I am so tired. I am twenty and I am already exhausted.

Women don't like advice. They don't want you to fix their problems, they just want you to listen.

Since the beginning, I always loved the game. When you grow up in Montreal, one day you want to be a professional hockey player. When I was six or seven, I knew that was what I wanted.

In a theater, the part is mine and I can control it as I want to. In the movies, I don't have direct contact, and I am fighting technical machinery.