I could be happy doing something like architecture. It would involve another couple of years of graduate school, but that's what I studied in college. That's what I always wanted to do.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I was the last one to screen test for The Hardy Boys. I'd like to play that's not as clean-cut as Frank Hardy. I play him as straight as possible.

Intellectuals would be much more accepted now than in the '40s.

The Hardy Boys burned me out. I was recharging my batteries. It was time to return to work, but it was tough because my visibility was low.

During the time I was on The Hardy Boys, I was also watching other people's careers. I thought the next step was to be a movie star. I kept saying no to projects, and offers stopped coming in. I was no longer hot.

I remember the day I found out my draft status. I was really floored and kind of staggered around in a daze. It just hadn't occurred to me that I could end up in Vietnam.

I do interviews because it's a chance to be myself. I sometimes wonder what I could have to say that would be of any interest. I don't have any great wisdom.

You get in before sunrise and you get out after sunset and you go home, eat and collapse. While you're aware of the ratings, you aren't prepared for the response of the fans.

I used to a lot. I used to go dancing.

You do show after show after show and get them done and on the air. Television devours material. We work a minimum of 12, 14 hours, and often 15, 18 hours a day.

Suddenly you're surrounded by strangers who want something from you. The thing is, they don't know what they want, and you don't know what they want, unless it's an autograph, and you just sort of stand there grinning at one another.

I like people who are enthused about things they do, like travel, sports, work. I like being with people who have things they're excited about.

I'm more interested in where I'll be in five or 10 years than where I am now.

The first two pictures I did, I played a young student in prep school. When I did Lifeguard, everyone was saying, You're so Southern California. It was a surprise to me.

California lacks a lot of the rules and restrictions the East has. Every house is a different style, different material, different color. There's a lot of craziness out there.

What I do is not some magical, mystical thing. I simply get up in the morning, get to work on time, say my lines, and do the best I can.

Good work is good work wherever it's done, in a play, a motion picture or television, and that includes commercials.

I still think of myself really as a New Yorker.

In this business, you just never know from day to day. It's one reason I held off getting too involved in entertainment. I like being able to plan, I like to know what I'm going to be doing.

I could be happy doing something like architecture. It would involve another couple of years of graduate school, but that's what I studied in college. That's what I always wanted to do.

I made a classic mistake. I held out for something better.

If I have a Sunday free, I'll go up the coast and spend some time on the beach. I scuba dive and swim and sail. A lot of the things I like are around the water.

I did a comparison of a school of architects known as the New York Five. I compared their articulation of wall surfaces, which I enjoyed very much.

I almost rented a house by an architect named Schindler, but I couldn't afford it. It was a jewel.

I wanted my children to have the same exposure to the water I had. My strongest memories of Northeast Harbor are going in a small Whaler with my dad, looking for osprey.

I think the reaction to a World War II situation would be the same today as it was in 1942. Initially, people would question, but once patriotism got stirred up, the whole thing would gather momentum and we'd all pull together.

If it seems like you're doing work when you're acting, then you're doing something wrong.

In 1942, everyone was ready to go and fight for the good guys. It was so simple.

I'm going to go away on vacation, I'm going to try to get away from the phone, away from scripts. I think it's important to sit back and think about what you want.

Young people are forced to mature sooner now than in the '40s. I was doing things at age 14 that guys in the movie were just beginning to do at 16 and 17.

I looked along the San Juan Islands and the coast of California, but I couldn't find the palette of green, granite, and dark blue that you can only find in Maine.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.