All my life I've been fighting and all my life I've got into trouble from it.

The embarrassing thing is that the salad dressing is out-grossing my films.

Why go out for hamburger when you have steak at home?

The Sixties - I had to have my foot in everything then. I'm doing the same thing now but through an intermediary. You know. The food company. Maybe that's the way to go about it. You go right straight into the inferno, and when you get older, you pull back.

The nice thing about animation, you don't even really have to account for yourself. All of the physical stuff that you work on as an actor, you just throw away.

What is the difference between a truly creative artist and an interpretive artist? I have not concluded anything about that, but it's fair to ask the question.

I'm not able to work anymore as an actor and still at the level I would want to... you start to lose your memory. You start to lose your confidence. You start to lose your invention. So, that's pretty much a closed book for me.

I have an extraordinary attention span. I manage to juggle two or three different ideas at the same time, and that's probably - if I have a gift, that's probably the best gift that's given me.

Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.

George Roy Hill, Redford, and I have been looking for a script to do together for 13 years. We haven't been able to find one that we liked enough for the three of us to be in it together.