“You can’t suppress young people. I know I felt the need of a girl when I was 12 or 13–-I think everybody does. Yet our society sets out to divorce boys and girls. They even have bucket seats in cars now, so you can’t neck in a drive-in. Just the same, I think our young people are getting it all together. Not that I think you should be making love all the time –- who can do it all the time? Though I do try." Click here for the complete interview.
The New York Times, 1973

"Drinking is only part of my personality, but it makes for easy reading. Like the time I got robbed. Of course, they didn't print the whole story in the papers. It was two years ago in a New York bar, and I was in one of my more expansive moods. I picked up some disreputable gentlemen and ladies, but mostly ladies, and we came back to the hotel to enjoy an evening combining booze and sex. I was in the bedroom performing to the best of my ability with one of those ladies--I'm not talking about reciting poetry, you understand. You might say that I was anointing a bird in a bedroom, dipping her into my holy water fountain. Or was she dipping me into her holy water fountain? Anyway, while we were busy anointing, the rest of them walked out the front door with my money, my maxi coats and my cuff links. And you know, she wasn't even a good..." Click here for the complete interview.
The New York Times, 1972

"I met Chris Sarandon when I was seventeen and away from home for the first time. I was probably the oldest virgin I knew, and I was unbelievably lucky to stumble upon someone who not only educated me but had the patience to let me make my own mistakes...I believe in love and trust and commitment, but not in marriage. Marriage may do something for lawyers and mothers, but not for husbands and wives.” Click here for the complete intervlew.
Cosmopolitan magazine, 1978

"I have a vivid memory of the day I auditioned for ‘Play It Again, Sam.’ Woody had to come up on the stage and walk round and round with me, since one of the major concerns was to see whether or not I would be too tall for him. I was absolutely astonished to find that Woody was more frightened of me than I was of him... Woody has been a great influence in my life and I feel very close to other very important thing about Woody–-once you’re his friend, that’s it. You can call him any hour of the day or night, and he’s there for you." Click here for the complete interview.
The Los Angeles Times, 1974

“I’m frequently accused of pessimism, but I’m really an optimist. I’m the one who is against this attitude that says, ‘There are a lot of things wrong with our planet, but darn it, it’s the only planet we have.’ I think we must confront the horrifying aspects of life. We must challenge them, not sweep them under the rug.” Click here for the complete interview.
The Los Angeles Times, 1978

"I thought Marlon Brando was brilliant in ‘The Fugitive Kind.’ His scenes with Joanne Woodward contained some of the best acting he’s ever done. But it’s no secret that Anna Magnani was a problem; she had arrived at a sad place in her life and none of us could help her. That great talent had a great problem, and it was vanity. Suddenly, she was worried about the way she looked. The whole staging had to be shifted, and there were things Anna literally refused to do. But Marlon was Hurculean--very giving with her--and yet he bore the brunt of the blame." Click here for the complete interview.
The New York Times, 1974

"I’ve heard about all the research Al Pacino and Robert De Niro do for their roles, and I think they’re both excellent actors. I have a hunch, though, that most of these guys are just trying to convince the critics that they’re serious, hard-working actors. But I don’t have to throw myself into a role that way, because I’ve lived everything-–I’ve been a waiter, a gambler, a pimp, a murderer. I’m from the ghetto, and the only time I do any research is when I play aristocracy." Click here for the complete interview.
The New York Times, 1976

“For the penetration shots in ‘The Idiots’ we had to use extras, which is not really in the Dogma spirit. But I am proud to say we do have some fully erect male actors in that scene. I'm sure the actors wanted to participate more fully, but somehow...I don't know how you feel about this yourself, but it's not so easy to have sex with the camera on.” Click here for the complete interview.
Interview Magazine, 2000

“Jesus Christ! Do I hate ‘Sandpiper’! Let’s just start by saying my script was lousy, though I’m not sure it was that bad. Here you have this hungry 22-year-old girl with a little baby, no husband and no money. And she’s played by Elizabeth Taylor, an opulent woman who weighs approximately 145 pounds and has 22 costume changes by Irene Sharaff or whatever the hell her name is. I kept telling Marty Ransohoff, the producer, that it wasn’t right for this poor starving girl to have $85,000 worth of clothes. Finally, Marty agreed. ‘You’re right,’ he said. ‘She could never afford to buy all those clothes. I’ll tell you what we’ll do—we’ll put a sewing machine in her living room.’...You know, that goddamn movie made money. I guess people will always gather around an accident.” Click here for the complete interview.
The New York Times, 1970

“I was married in the days when it was immoral to court a lady. You had to get married to get kissed. The idea was to walk off into the sunset with your childhood sweetheart, but somehow it never had a happy ending. Here’s my old friend Elizabeth Taylor entering into marriage for the seventh time. Is she happy? I hope so. And look at poor Ava Gardner--she was looking for Shangri-La when she married me, and she still hasn’t found it. I hope she finds it soon. I hope we all do." Click here for the complete interview.
The New York Times, 1977

“I played with just about all the big female stars, from Clara Bow to Sophia Loren. It
was fun working with Garbo in 'Anna Karenina,' but I can't say I ever got to know her very well. As Bob Montgomery put it, 'Doing a picture with Garbo does not constitute an introduction.' It was always Miss Garbo and Mister March. But she was so charming with little Freddie Bartholomew; she had such a wonderful way with all children. Once I said to her, ‘Miss Garbo,’ why not adopt a child? Miriam Hopkins did, and she's not married.' 'Mr. March,' Garbo answered, 'don't you think it is a little late in the picture for you to make such a proposal to me?’ Joan Crawford was a nice person, but a real movie star. She even brought her own music to the set of ‘Susan and God’--a whole entourage, a violinist and a pianist, to play her favorite songs, to get her into the proper mood for the scene. The director, George Cukor, never said much about the music—or anything else—to Joan. She was the star. Clara Bow was so vital and gay, and Jeanne Eagels was wonderful—even though ‘Jealousy,’ the movie I did with her, was a stinker.” Click here for the complete interview.
The New York Times, 1973

"The big studios were such a wonderful training ground for actors and actresses, and one misses them terribly. I came out here as a contract player at MGM, and I went to work every day. It might be a big part in a little picture, or it might be a little part in a big picture, or maybe I’d be doing a test, taking voice lessons or working out in the gym. MGM had Crawford, Garbo, Shearer, Dressler, Harlow, Hepburn and so many others. Today’s actresses--talented performers like
Barbra Streisand and Liza Minnelli and Candy Bergen--would have flourished even more in the day of the big studios. It was a tremendous time. You learned your craft by working at it. You crawled before you walked." Click here for the complete interview.
The New York Times, 1976

“My first husband, Julian Anker, looked a lot like Abraham Lincoln, and that’s probably why I fell in love with him. One day, we were out driving and he suddenly said, ‘Hey, why don’t we get married?’ So we lied about our ages and got married in a sheriff’s office. You should have heard our families’ reactions--all sorts of screaming and shouting and carrying on about suicide. Well, neither Julian nor I had enough income to make it possible for us to live together, so our marriage lasted one day.” Click here for the complete interview.
The New York Times, 1973

"I was a stage child out in San Diego, and one day I went to the movies. Afterward, I climbed up in the projection room, got the address of D. W. Griffith's company in New York from a can of film and sent him a scenario. It was accepted at once. I got $25 and I said, 'This is where I quit acting.' By the time talkies came along, I had already written 200 films.” Click here for the complete interview.
The New York Times, 1977

“It was a dreadful time, believe me, when talkies came in. If anyone says it wasn't, he just wasn't there. There was panic everywhere, and a lot of people said, 'This is ridiculous! Who wants to hear people talk?' They were people who loved the silent film, the great art of pantomime perfected by the comedians and by Griffith. So much of what happened was terribly unfair. The studios should have taken the time to train those people whose voices didn't match their screen images. Poor John Gilbert--I don't know what they expected him to sound like; his voice always sounded perfectly masculine to me. And I don't know what happened to Marie Prevost--she just disappeared." Click here for the complete interview.
The New York Times, 1977

"I directed the first outdoor talkie, 'In Old Arizona,' though I had to share credit with Irving Cummings, who finished the film. On the way to catch a train in Cedar City, with a drunken cowboy at the wheel, a big jack rabbit jumped in front of our window, broke the glass and cut out my eye. Now this eye has given out. I'm 90 now, but I still get around. Led around. . .you know. I got rid of all my horses and cattle; it was depressing, because I couldn't see them. But we still have coyotes in the back. They come down from the hills at night and sing me to sleep." Click here for the complete interview.
The New York Times, 1977

”I’m not personally offended by sex and violence, but I always take care in my own films to use the best possible taste. I’ve only shown nudity when it was vital to the story. If you noticed, in ‘Frenzy’ I tried to be as discreet as possible with that nude corpse in the potato truck...and I don’t see any particular point in showing the sex act, itself, do you? I believe we’ve all seen enough of those wrestling-in-bed scenes. When I was asked recently how long the nudity phase would last, I said, ‘All breasts sag eventually.'" Click here for the complete interview.
The New York Times, 1972

“I never thought that Alfred Hitchcock meant for me to be the next Grace Kelly. But he did seem to like the blonde look. The leading ladies who had worked with him gathered last year at a conference, and it was as if we’d all been married to the same guy. But each had a different story to tell. I mean, look at how he tried to overpower Tippi Hedren–-not only in her career, but in her life. Hitch never did that with me.” Click here for the complete interview.
The New York Daily News, 1999

"I feel no bitterness toward Jean-Luc Godard. He is a great poet of cinema. I still think that ‘Breathless’ is one of the best French films ever made. But Godard is exasperated, because what he really wants to be is a thinker, a political man. He longs to be a man of reason and he suffers because he is not. His true genius lies in inspiration, in intuition. Godard suffers because of the uselessness of films in ameliorating the human condition. Click here for the complete interview.
The New York Times, 1970

“As for Truffaut and other New Wave directors, I have no interest in them, and no interest in their films. For me, the filmmaker’s protest at Cannes in 1968 was more real than it was for them. They continue to work as before." Click here for the complete interview.
The New York Times, 1970

"Some of the movies I've seen recently make sex boring. How anyone satisfies himself sexually is only important to him. There are very few variations on the one basic theme. I know--I've tried them all. You could say that I'm a sexual reactionary in that I've been a confirmed heterosexual for 63 years. It's not that I'm against Gay Lib--I'm completely for it--it's just that I'm too old to switch. I really should feel insulted--no man has gone on the make for me since I was 10. And he was a Civil War veteran at summer camp." Click here for the complete interview.
The New York Times, 1971

“I took my two teenage sons to see ‘Little Fauss and Big Halsy,’ because they dig motorcycles. And they were stuck with this girl coming up on the screen and baring her chest. And I was stuck with her, too. It’s odd – even though sex is accented so much, the male stars don’t really have sex appeal. Like Dustin Hoffman–-how can anyone say he’s sexy? We had dinner with Duke Wayne and his wife recently. He’s really worried about the picture industry and how much harm it’s done. And he isn’t just making casual conversation, either. Duke is very concerned.” Click here for the complete interview.
The New York Times, 1971

“You know you’re alive when you’re working hard, or laughing so hard you fall on the floor, or crying so hard the tears are like waves pounding on the beach, or when you’re in the midst of a rage. And you know you’re alive when you’re making love; when your body is cooking like that, you’ve got to be alive.” Click here for the complete interview.
The Los Angeles Times, 1979

“It does seem to me that when our industry got vulgar and cheap, we began losing our regular customers. After all, it’s pretty hard to take your daughter to see ‘Deep Throat.’" Click here for the complete interview.
The New York Times, 1973

"Paul Newman is so brilliant, and he just keeps trying to learn more about his craft. He came to the Long Wharf Theater in New Haven to see ‘The Country Club,’ a play in which I was naked. So Paul Newman saw me naked—for four whole minutes! It felt very liberating to be nude on stage, except for the day my father came to see the play. I went to the man in the box office and told him to give my father a seat in the very back row, in a corner, on the opposite side of where I was to take off my dress. Even so, I said my lines quickly that day and got right back into my dress." Click here for the complete interview.
The New York Daily News, 2000

“I fall in love with all the actresses and actors in my films. I fall in love with them all; they are the prolongations of my penis. Yes, my penis. Like Pinocchio’s nose, my penis grows. Please understand, this is not a declaration of my bisexuality." Click here for the complete interview.
The New York Times, 1973

"When I was younger, I’d walk down the street, see an attractive girl and start to follow her. Sometimes I’d catch up with her, we’d look at each other and before long I’d be making out. I hadn’t done that for a few years, because anyone who does that sort of thing has got to be crazy, right? But just recently I spotted this really beautiful girl and I decided to see how far I could get with her. We reached a stop light together, I looked over at her, gave her a big smile and said hello. ‘Hi ya, Michael!’ she said. It was then that I knew it was all over for me. I slunk off and tried to hide behind a building, but the girl followed me. ‘Come on out, Michael,’ she said. ‘No,’ I answered, ‘it’s all over.’ ‘What do you mean, it’s all over? It’s just begun!’ she said. ‘No, you’re making a big mistake,’ I said. ‘I’m not Michael Corleone –- I’m Fritz Weaver.’” Click here for the complete interview.
The Los Angeles Times, 1973

"I was brought up in a whorehouse in Peoria. My mother and father lived there and worked there. I guess it was a harsh life for a child. There was nothing left to the imagination, but I’m not sure it’s damaging to see life for real. And I don’t know anywhere else I could have gotten more love and attention than I got there." Click here for the complete interview.
The Los Angeles Times, 1977


"Do I have a drinking problem? Why, no, not at all. Drinking is the easiest thing in the world. Oh, it's true--people like myself and Albert Finney and Richard Harris and Trevor Howard do drink. And since we do our drinking in public, we've been known to do a bit of jumping, shrieking and leaping. So what? We're bloody professionals and not one of us has ever been soused on the job. Do you have a drinking problem, or can I fix you another drink?" Click here for the complete interview.
The New York Times, 1972


"The party-girl publicity has grown like a monster, lurking around every corner, so that I’m afraid to go to the grocery store because I know the man behind the counter is going to say, ‘Sylvia, you’re everywhere!’ They’re driving me crazy with this party-girl stuff. Look at Tammy Grimes--she goes to parties all the time, yet nobody says a word about that. It hurts to be called a party girl by some journalist who never heard of Alfred Lunt and Lynn Fontanne. I’ve been working in the theater for 22 years, killing myself. I did 26 Off Broadway plays before I got that role in ‘Midnight Cowboy.’ And I’m the one actress who won’t give up New York for the big money of Hollywood. On the other hand, it has been said that I make it out to the airport to greet everyone who comes in." Click here for the complete interview.
The New York Times, 1977


"I made my first suicide attempt when I was 12. I had fallen in love with a homosexual and when it didn’t work out, I felt hurt. I took a bottle of aspirin, a bottle of sleeping pills, and a bottle of gin. I was sure that would do the trick, but my mother came in and found me. I was in a coma for a long time and I lost my hearing, my vision and several other things. When I recovered, I decided that I should try to get some help, but my mother didn’t think I needed analysis. She thought that might look funny; after all, there was nothing wrong with her little girl. I ask you, who’s the crazy one?" Click here for the complete interview.
The New York Times, 1971


“I'm terrified of any kind of drugs. I don't like anything that screws up my self-control, anything that dulls my senses. I think if God has given you a talent, you have a duty to develop that talent, that it's a crime to do anything which destroys it. You're not allowed to do that." Click here for the complete interview.
The New York Times, 1972

“By the time my friends and I were 12 or 13, we were drinking an awful lot of hard liquor. But not hard drugs. We didn’t even smoke pot. We thought it was as bad to use drugs as it was to sell them. I still feel that way, although I do try a little grass now and then. But I can’t really smoke, because of my asthma.” Click here for the complete interview.
The New York Times, 1973

“For a long time, I felt a real hostility about the things that happened to me in Hollywood, but now I look back on the person I was then with a kind of affection. I was inexperienced and lost, and I didn’t know if I wanted to be a movie star or a really good actress. I wouldn’t say that I had a breakdown; I just had disgust. My need to prove myself to the world as an actress was so immense that I couldn’t relax. And then there came a time during the 60’s, during the Vietnam War, when I suddenly became aware of the rest of the world. I had this slow, creeping sense of bewilderment at what I was doing with my life, and it seemed incredibly stupid to be spending my time play-acting. It was a long while before I realized that it is important to entertain people, important for them and important for me.” Click here for the complete interview.
The New York Times, 1976

“My wife’s very indulgent. She takes care of me, humors me. She’s my partner and she enjoys doing domestic things, plus handling the money and all the business things. If it were up to me, I’d delegate more responsibility to women. Men’s refusal to share the serious tasks with women works to their own detriment. It leaves them with too little time for fishing, playing cards, and drinking wine. Georgianne realizes I’m a lazy bum, that I don’t want responsibility and like to walk around and drink wine all afternoon. If it ever comes to a pinch, I simply pretend I’m studying, that I’m heavily into a part and doing research. If I say I’m doing research, who is she to say I’m not?” Click here for the complete interview.
Cosmopolitan magazine, 1980

“Whose marriage is all roses? Phil [Harris] does his thing, and I do mine. You can’t be leaning on someone all the time. I’m not under Phil’s feet, and he’s not under mine. We get along fine.” Click here for the complete interview.
The New York Times, 1977


“I really prefer not talking about my life with Al Jolson. It’s not that it was an overnight thing; we were married 11 years. It’s just that my life since then--my husband, my children--has been so full that what came before seems an entirely different life.” Click here for the complete interview.
The New York Times, 1971


"I’ve got no marital rules. The only thing I can say is that Annabel [his third wife] and I choose one another each day. Neither of us has the feeling of being suffocated by the other’s need. We know we can live on our own. These things are always a delicate balance, of course. There is no guarantee that something else is not around the corner. I don’t need Annabel; I choose Annabel happily every day." Click here for the complete interview.
People Magazine, 1976

“Part of me is very self-assertive and part of me is also reserved and unsure. In some ways it boils down to the old male-female stereotypes. If a female is self-assertive with a man, particularly in a work situation, she is said to be castrating, or some other equally old-fashioned ridiculous term. But women have been castrated for years. And in a professional situation where men and women come together as equals, often this term is used as a man’s excuse for his inability to accept equality. It also tells far more about the man than it does about the woman. After all, what is it that makes a woman whole? We all have qualities of the other sex, organically as well as emotionally. A man must have so-called female traits–-sensitivity, gentleness, vulnerability. But does that make him less a man? Does it make a woman less a woman to be strong?" Click here for the complete interview.
The New York Times, 1973


"I recently read something Barbra said that pleased me very much. She said we would always be part of each other. She really is a remarkable person. You know something? She doesn't even listen to the radio! She doesn't know what's going on in the world--she doesn't know who Al Green is, and she's never heard the Temptations sing, and I just know she's going to love my saying that about her. But the truth is she's come a long way. Did you see her in 'Up the Sandbox'? She's more refined in that than I've ever seen her before. I'm real proud of Barbra." Click here for the complete interview.
The New York Times, 1973

"A certain segment of women say we can't know them, because we're men. Well, they're hurting themselves with their rhetoric and their propaganda...Men are writing fewer female roles than ever before because they're made to feel that if they do write about women, they must give those women a point of view about the movement. I'm afraid it will be another five years before this quasi-dance of seduction between the opposing political forces comes to an end. I myself try to duck conversations about sexism. I was a feminist long before women's rights became a fashionable topic for discussion.” Click here for the complete interview.
The New York Times, 1974

"Perhaps we who hold feminist attitudes have intimidated the writers. They are afraid their male chauvinism will show. It’s a very small community out there and a subject like women’s liberation is just too political for the Hollywoodians. And so women have fallen into the same vacuum as the Vietnam War, the C.I.A., the F.B.I. and corruption in high places. Except for ‘All the President’s Men,’ we’ve been ignoring social problems, and credit for getting that film made must go to Robert Redford, a man with extremely good values. And he’s charming and pretty enough to force things through.” Click here for the complete interview.
The New York Times, 1977

"In general, I don’t care for scenes of copulation. Certain functions of the human body are bloody private. But that particular scene with Faye Dunaway in ‘Network’ was a confirmation of the weirdness of Diana’s character, and it was sad, funny-sad. It was a valid scene and I think it is important that creative storytellers have the freedom to express themselves. When we made ‘The Moon is Blue’ in 1953, we couldn’t get a seal of approval because we used the words ‘virgin’ and ‘seduced.’" Click here for the complete interview.
The New York Times, 1976

“I’m not married now, but I do have a fiancee, and that helps me a lot. I met her at the bridle trails, and we got to ridin’ together. She’s 41, and I’m almost 80. That’s not too bad, is it?... I do like to watch the old movies on TV. I get to see so many friends who are long gone–- people like Hoot Gibson, Buck Jones, Bobby Steele, Tex Ritter, Roy Rogers, Gene Autry. Recently, I ran into a friend and we got to reminiscing about our days as stuntmen. There were 40 of us in ‘Gunga Din’ back in 1939, and now he and I are the only two alive...My religion’s the big outdoors, seeing things that I like to see, doing things I like to do. And if there turns out to be a hereafter, I don’t think I’ve done anything to be ashamed of or to be punished for. Let’s put it this way: I’ve been a gambler all my life, and if I cash in now, I win.” Click here for the complete interview.
The New York Daily News, 2000


“Aging is so difficult for a woman. Men, of course, have the same problem--you see them when they turn 50, divorcing and getting married again with a very young woman. To me, that’s very sad. But for an actress, aging is especially difficult, because we live so much in a world of image. I don’t struggle against it, but I cannot say that I like it. Women who say they like aging are liars." Click here for the complete interview.
New York Daily News, 2000

“I’ve got this movie with Debbie Reynolds called ‘What Happened to Helen?’ or ‘Where’s Aunt Helen?’ or something like that–-I don’t know the title, I just pick up my money at the end of the week. Actually, the movie could be quite interesting. I hope Debbie can carry it off. She’s not such a bad actress, do you think? I mean, she wasn’t so bad in ‘Molly Brown,’ was she? If she asks me to make any little suggestions when I get out there, I think I may suggest that she change her name. No woman her age should be called Debbie. Deborah would be much more dignified, don’t you think? Deborah Reynolds. That’s much better, isn’t it?" Click here for the complete interview.
The New York Times, 1971

“Jack Warner put me into ‘The Daughter of Rosie O’Grady,’ starring June Haver, and he changed my name from Mary Frances to Debbie, a name which I have always found difficult to grow with. Debbie is such an ingenue name, but I can hardly change it now, can I?” Click here for the complete interview.
The New York Times, 1973

“To be perfectly honest, I don’t think acting is very hard. They say the most important thing is to be able to laugh and cry. Well, if I have to cry, I think of my sex life, and if I have to laugh, I think of my sex life.” Click here for the complete interview.
The New York Times, 1977

"A big fat lady came up to me and asked, ‘How do you get into the movies?’ ‘Take off your clothes,’ I told her. ‘But what about acting school, shouldn’t you go to acting school first?’ she asked. ‘ No, no, no! You just take off your clothes.’" Click here for the complete interview.
The New York Times, 1969

"If you want to know what I think of Dennis Hopper—I think the man is an idiot! I will not work for Dennis, because I won’t put up with his shit. He’s a total freak-out, stoned out of his mind all the time. Any man who insists on wearing his cowboy hat to the Academy Award ceremonies and keeps it on at the dinner table afterward ought to be spanked. I saw him the other night on the David Frost show, and every time Frost asked him a question, he began giggling. Well, let me tell you, that sort of thing is not attractive. I tell you, Dennis is stoned out of his mind. He’d have to be to act that way. And I want you to put that in your story. This is not off the record. Dennis Hopper is an idiot! Spell the name right: D-e-n-n-i-s H-o-p-p-e-r!" Click here for the complete interview.
The New York Times, 1970

"This whole Fonda thing gets very complicated. You see, I was married to Brooke Hayward, whose mother was Margaret Sullavan and whose father, Leland Hayward, is a very close friend of Henry Fonda–-who was once married to Margaret Sullavan himself. Well, Hayward didn’t even see his daughter until she was 6 years old and, man, he was never on the scene when Brooke needed him. Anyway, Fonda and my father-in-law and that whole Hollywood establishment put me down from the very beginning. The only ones who were nice to me were David O. Selznick and Jennifer Jones. They were the only ones who ever invited me to their home. David O. Selznick took me aside once and said to me ‘Keep trucking it, Dennis.’" Click here for the complete interview.
The New York Times, 1970

"Macho jock? Well, that’s better than light-handed and soft, if you have a choice. The press always portrays me that way, and it’s kind of nice; but they never really get it right. The truth is, I’m not really very macho. I hardly ever box anymore, and I don’t even think movies like my ‘Main Event’ and all those other boxing pictures are good for actors. With our delicate noses, we shouldn’t risk getting pummeled. Our faces are not made for hitting." Click here for the complete interview.
Chicago Tribune, l977

"I was a narcissistic guy, bursting with power and rage, and full of screaming. I needed to work out the unresolved conflicts in my life, and like most struggling young actors, I was never subtle. The more explosive I could be, the better I liked it." Click here for the complete interview.
Newsday, 1979

"I Love being treated as a sex symbol, but I can’t take it too seriously." Click here for the complete interview.
The New York Times, 1976

"I made my own bed and now I have to lie in it. Unfortunately, ‘Deliverance,’ in which I gave my best performance, came out at the same time as that Cosmopolitan centerfold. And since I’m not one to hide out in the mountains of Utah or the flats of Greenwich Village between movies, I went on talk shows and became a personality. That hurt me, but it’s a little late to do anything about it. I did everything I could to blow this Mr. Macho thing to smithereens." Click here for the complete interview.
The New York Times, 1976


"I don’t know if Burt Reynolds and I plan to marry or not…we’re happy as we are now. We’re having a great time!" Click here for the complete interview.
Newsday, 1979

“By the standards of that time, Jimmy Dean seemed eccentric, but I didn’t find him strange at all. He was intense and introverted, but he wasn’t into drugs or anything like that. They say he was self-destructive, but I never thought so. We became very close while we were making ‘Rebel Without a Cause,’ and I spent a great deal of time with him. We used to go to lunch together on his motorcycle, and I never regarded that as destructive.” Click here for the complete interview.
The New York Times, 1977

"Marilyn Monroe and I met each other in 1948 at Universal, where she was trying to get herself put under contract. The guys used to fall off buildings when she’d walk by wearing a see-through blouse before anyone ever heard of a see-through blouse. I had a Buick convertible and asked her if she wanted a ride back to town. After that we developed a genuine bond of affection.” Click here for the complete interview.
The New York Times, 1977

“Howard Hughes never came to the RKO studio, but I used to get messages from him every morning, pieces of yellow paper with scribbled notes. I’m afraid I threw them all out, since I had no idea that they might one day be of historical significance. There were those who did get to see him, though. Nick Ray would sometimes be summoned in the middle of the night. But the only time I saw him was the day he splattered all over Beverly Hills in that plane he designed." Click here for the complete interview.
The Los Angeles Times, 1975

“When the producer, Merian Cooper, told me I was going to have the tallest, darkest leading man in Hollywood, I thought he meant Cary Grant. Still, I knew right away that ‘King Kong’ was going to be a hit. Over the years, ‘Kong’ just grew and grew, attaching itself firmly to my consciousness. I couldn’t escape it. Finally, I decided I might as well accept it and be glad of it.” Click here for the complete interview.
Time Out New York, 1999