If you see the picture when things get exciting, he chews faster. When he really gets shocked, everything stops, including the chewing. So I worked it in for me.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

I was very pleased you know, and I was afraid that I might stick out, but I didn't. My happiest thing about that picture is that I proved that American actors can speak as well and also fit in with an ensemble like that.

He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.

I said 'well, I'll kiss her twice, you see? We'll come around, I'll kiss her, and if you put a little more track down for the camera, then I'll put my tongue down her throat and you'll get what you want'. He said 'You think so?'

We came around the corner, I kissed her and after I kissed her she relaxed. And then I grabbed her and kissed her again and she was shocked! And that was what we wanted.

Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of.

I had read the novel and I had heard David Lean was going to direct it - and it came as a surprise to me because American actors, if given the chance, can do style as well as anybody and speak as well as anybody.

And I'm supposed to grab her and kiss her and she's supposed to react. Well, what happened was, Julie was very nervous at that time, given this incredible part which she did beautifully.

That's not a villain, that's a man whose a victim of being in love with the wrong one.

Now that was one thing, but from an actor's point of view, this poor young man, crying from the moment I opened the door to the moment he left. Now if an actor did that they would say he's over-acting.

I'm not so sure that younger people today really appreciate the enormous bravery that went into the creation and production of that film, or how important a film at the time it really was.

Anyway, so what he did was, he spread sheets for 100 yards and underneath them he'd put things so there were bumps and different levels and on top he'd put little bushes and if you didn't look to close, it looked like snow!

He got up and there were both of us in our underwear and this kid goes through the whole thing again, all the closets, the bathroom, everything else and then he left.

Is this a proposal? I'm married now, you know.

We come. We go. And in between we try to understand.

I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like that or they're watching you or something, you'd better come up with something.

I didn't ever think of it as a social thing at the time. I took it as a good story. Maybe because I've always been kind of progressive so I never thought of it, you know.

'The Mark' I played a psychiatrist. And in the '50's everybody went to a psychiatrist because if you didn't, you'd have nothing to talk about at cocktail parties.

And the reason I really appreciated this is because after the picture came out, I was invited by the American Psychiatric Association to give a lecture. I couldn't believe it!

I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.

Sometimes it's great, sometimes it's bad. I think the film could have been a lot better.

If you see the picture when things get exciting, he chews faster. When he really gets shocked, everything stops, including the chewing. So I worked it in for me.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

Well, one of the problems of working on a story with a character that sacred in the religions of the world or in a picture about that person, is that you have to forget about that and play it as real as you can because you can't look at yourself and judge yourself.

Monty Python never directly said, 'We're liberals' - they just did their sketches, and you had to figure it out. Generally, they were anti-establishment, of course, making fun of the people in power. I think, comedians, that's their job - pointing out what other people might not notice and going, 'Yoo-hoo, over here.'

The decision to trigger Article 50 is in the hands of the next prime minister. If that is me, I will make a judgement as to when is right for Britain, and I won't be hurried or hassled by anyone into pressing that button or triggering that article until I believe it is right for this country.

I love the Bible. I read it every day. I spend 10 hours a week studying it. It has affected my life in profound ways. I am inspired when I read it.

Look at Fukushima. Should we or should we not agree with the U.S. government that none of that radioactive energy is making its way here? Hello!

Do kisses fade like Polaroid pictures if you don't pay attention to them?

If you can react the same way to winning and losing, that's a big accomplishment.

As I often say, we have come a long way from the days of slavery, but in 2014, discrimination and inequality still saturate our society in modern ways. Though racism may be less blatant now in many cases, its existence is undeniable.

'Party Down' is the most fun I've ever had working in my life. We shoot 10-episode seasons and we shoot it in 10 weeks, so it's very brief: 4-day episode shoots. You never get sick of anybody, and it never feels like a drag. It's way, way, way too short.

I could write historical fiction, or science fiction, or a mystery but since I find it fascinating to research the clues of some little know period and develop a story based on that, I will probably continue to do it.

I do eventually want to get back into performing, but right now it's more fun for me to dance for myself.

I worked in Dad's stores, moving boxes - I remember quite well one stockroom that was upstairs - sweeping floors, laying tile. I also had paper routes.

The stock market can be down, but the stock market is not an indication of where people's spirits and enthusiam are, and where their intellectual energy is.

I always enjoyed doing transgender songs.

Any role that's proactive is a great role, and action roles are by their very nature proactive. You get to do stuff. I hate sitting in a corner - I'd much prefer an action role in a popcorn movie rather than pining in a corner not doing anything.

What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'

I wrote each book in thirty-five days flat - just to get the darned thing finished.

I just cannot have an offer on the table and just let it go.

There is no greater challenge than to have someone relying upon you; no greater satisfaction than to vindicate his expectation.

When I have time off, all I want to do is do nothing.

I think anyone who's perfectly happy isn't particularly funny.

How much of human life is lost in waiting

Press conferences aren't the best thing to do, but it's part of the job.

Modesty is a learned affectation. And as soon as life slams the modest person against the wall, that modesty drops.

When I was 16, I got 'Jamon, Jamon.' Of course, I had to lie about my age. And I had to lie to my parents about the content of the script.