On general principle, I boycott shows that don't employ actors.

I think I've had more of a variety in what I've done than most actors.

The big gap between the ability of actors is confidence.

I, also, found the opportunity to work with the actors extremely gratifying and rewarding.

Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.

I'm a firm believer that actors take to work who they aren't at home. People show their other self in their art or in their work.

As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.

The majority of directors I've worked with didn't know how to talk to actors.

Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.

Only a fool does not fear actors, but you can't beat them, and if you can't beat them, join them, as they say. As I've got older I've become very interested in that part of the work.

It made me alive to the fact that the most important thing sometimes is what isn't said - to prepare for moments of revelation that can be read entirely on actors' faces without dialogue.

I like actors that are good with pantomime and that can transmit a lot by their presence and attitude more than through their dialogue.

I think most actors are shy. I really do. The greatest actors can disappear. I had friends call me the Blend-In Man.

I got into radio when I was eight, and I was one of the busiest child dramatic actors in America.

Only one of us would usually sing lead. Which most of the time was, Mickey or Dave. They thought it was perfectly a natural routine, because Mickey and Dave saw themselves as TV actors.