What happens if you're the guy who's been on the show ten years and is highly paid but they have nothing for you to do is that they bring in other people, and you become a supporting character to those people.

The decision as to why a show makes it has to do with politics and money.

In January '77 I went out to LA and have been here 26 years.

On daytime they continue to revisit a lot of the same stuff while nighttime does move on and show development.

My wife is Danish and we go to Denmark a couple of times a year.

The thing with being on a series that runs that long is that the writers run out of things to do.

If I could work with Joan Van Ark every day for the rest of my life I would.

But no, I'm still living in LA and haven't dropped off the face of the earth.

Thirty years ago dinner theatre used to be much more of a going concern than it is now.

Television is so dictated by time constraints that you have to make quick decisions and go with them.

It was unpredictable, good storytelling that brought you back each week.

I can't really recall the first time I was noticed by a producer but the first time I was on television was doing Daytime for Another World, which I started in December '75 and went until December '76.

Theater to me is acting but it's more real on film.

What happens if you're the guy who's been on the show ten years and is highly paid but they have nothing for you to do is that they bring in other people, and you become a supporting character to those people.

Knots Landing is the best thing that ever happened to me.

Everything I have in life comes from Knots Landing.

I have German Shepherds that I train and have brought back to Germany. I love going there.

I went to the Westminster College for Men in Missouri, which is what it was called back then, and transferred to the University of Denver where I ultimately got my degree.

And I had a lot to play, which is what you want as an actor.

One of the things I was so glad that happened to me on Knots was that I learned to relax.

I have no interest in writing, directing or producing.

I act for the reality, for the moment, and most of all I do it for the process.

I really wasn't on the Dallas set much. I did three or four episodes so I didn't see too much.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.

And what's interesting about him as a comic character is that the custard pie hardly ever ends up on his face.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

I didn't want to be greedy. It's a mark of bad character and I always believed that pigs go the slaughterhouse.