At one time, whenever the hell it was, they wanted a character to come in and stir up the pot. They brought me in for 8-10 episodes and said we'll try it for that.

What I would have liked to do on that show was play a secretary of state who has huge personal business interests throughout the world. That, to me, seems to be more in synch with reality.

There's a certain possessiveness of writers sometimes.

It would have been nice for Greg to eventually grow into a mature relationship with Laura. He was moving toward that already but then took a turn into the juvenile with Paige.

And I have to credit David Jacobs with the opportunities he gave me. He was totally into sharing the creation of characters. David put together a show that told the story of people over many years' time and that was greatly enjoyable. Though nowadays that is frowned upon.

A show like Knots or any other show that can be called a soap opera does terribly in syndication because if you're a viewer and you miss a week you don't know what's going on.

It worked well because Don Murray didn't want to be on Knots anymore.

Ultimately the Emmys are a popularity contest.

Writers are not always right however, but then again, I've been on shows where the actors have complete control and change everything and it's terrible.

When you go to a movie, it's about what's not being said. I tried to bring that to Greg Sumner. It was always about what's not being said.

I didn't care about that because I'm not a diplomatic person to begin with. I just went along with things and did what I wanted to do because I knew they had to shoot their 12 pages a day. And when they realized that I didn't alter the text they really didn't mind what I did.

David was the kind of guy who was totally supportive of the actors and instructed the writing staff to trust the actor's instincts, since after all, it's the actors playing the character.

The West Wing seems to be feeding the myth about how presidential politics are.

I knew with The West Wing that that wasn't going to be for very long, that I was just the red herring.

I try to watch only real things, which basically amounts to C-Span for me. I like real people in real situations. I learn from that.

If you watch Cheers, in 12 years they didn't age a day.

And all of Laura's stuff, what they wrote originally wasn't as good and Constance wound up doing that herself. That was all her stuff, reading to the child, because she had children herself and that's what she would have done.

Even though shows like NYPD Blue are soaps in my opinion, but they're individualized to an extent that you can still follow what's going on if you miss a week.

Donna Mills came on the show as a female antagonist, about a year before, so now they wanted to have a male antagonist. I was cast as a Senator to shake things up.

I would fix other people's lines if they asked me on occasion. The hard part of writing is the architecture of it, getting the story and structuring it. Not the tweaking of lines.

At one time, whenever the hell it was, they wanted a character to come in and stir up the pot. They brought me in for 8-10 episodes and said we'll try it for that.

The business is built on slowing or even stopping the aging process.

I'm trying to find a character that's my age and I can sustain week after week. I'd like to do a series.

Networks don't want a show with a continuing story. There's no backend potential.

Clint Eastwood is aging beautifully. But someone like Burt Reynolds and others are practically destroying their faces in the amount of work they have.

The same issue is happening on a show like Everybody Loves Raymond now, which is in its eighth year and struggling to come up with good stories. It'll be interesting to see how they do. The bottom line is, it starts with the writers and ends with the writers.

I don't play polo anymore because I am too old. But we still have a half a dozen horses - a couple of young horses we are teaching how to play polo and older horses that are real trustworthy when you get them up in the mountains.

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.