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.

The formation of glass from the melting is like starting a clock. It resets the time for us to determine billions of years later.

I feel really productive. I'm very competitive with myself. I'm a scheduler. I'm always trying to keep everything together - I'm very OCD and very organized.

It's bad enough being conned into singing an anti-war message by John Lennon when you think you're just wishing everyone a merry Christmas.

If I think something is beautiful, there must be somebody out there who will agree with me.

Friends come and go like the waves of the ocean but the true ones stay like an octopus on your face.

Learning is always great!

Barbarism is needed every four or five hundred years to bring the world back to life. Otherwise it would die of civilization.

When you reach a certain age in life, time becomes more important than money, and I think that happens in your 50s.

I learned at a very early age that life is a battle. My family was poor, my neighborhood was poor. The only way that I could get away from the awfulness of life, at that time, was at the movies. There I decided that my big aim was to make money. And it was there that I became a very determined woman.

I'm a perfectionist.

God gave me a very good hand to play over my 88 years. I have no regrets.

'Ray Donovan' is very dark and very serious. As actors will tell you, the darker and more serious the material, the more jokes that go around set. It's a counterbalance.

I study myself more than any other subject; it is my metaphysic, and my physic.

Reality is nothing but a collective hunch.

Adaptability is about the powerful difference between adapting to cope and adapting to win.

In the beginning of my twenties, I started transcendental meditation. For years, I did nothing else. Every holiday, I went to courses. Meditation is a real simple instrument. You don't need a long beard or a sari. It's meant to bring you to yourself. It's as easy as that.

People say that I could sing the phone book and make it sound good.

It's one of the wonderful things that the Academy does - a talented person comes along like Mira Sorvino, and it elevates them up to stardom.

I love myself unconditionally.

In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.

While they are kids, my children must do as I say.

I love pampering myself, so going for a massage or getting a mani-pedi makes me feel instantly better. When my nails are done I feel so much better - it's the little things that make me so happy, and you literally feel polished.

There's still a bit of a problem, in that so many leading English roles are taken by American or French actresses.

There should be a worldwide law, in my opinion, that mothers should breastfeed their babies for six months.