I was never a part of the Actor’s Studio, because two friends of mine started it in 1947 and by that time I’d gone to California.

Hoods are good parts because they’re always flashy and attract attention. If you’ve got any ability, you can use that as a stepping stone.

Cheyenne Autumn was received not too successfully. I still think it was a very good movie. It was kinda Ford’s apology for the way he had treated Indians in his past pictures.

Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I’m ready to quit after number two.

I was playing this horrible part. I didn’t didn’t want to play it because the character was an awful racist. But I’m glad I did it because I met Sidney Poitier.

There was something about Marilyn. She couldn’t act her way out of a bag, but she became an icon because something happened between her and the lens, and no one knows what it is.

I felt pretty comfortable with Westerns, apart from the fact I couldn’t ride.

Marilyn was terrible to work with. I was fond of her, she was a nice girl, but she was a damaged girl. She was very difficult. You couldn’t get her on the set; she didn’t know the words.

Ford used to come to work in a big car with two Admiral’s flags, on each side of the car. His assistant would be there with his accordion, playing, Hail to the Chief.

Death’s a path we’re all on, son.