A lot of people like to run in plays because it's a nice, steady job.
In those days, even as a boy, I watched some people that I knew were living way beyond their means.
People like Spencer Tracy held up because they had the background originally, but to this day they never have changed Mr. Gable's role, or most of them.
So I'm in that half-hour business where the most money is, so that eventually I feel like the people that put on the Dupont show, like maybe my artistic effort is going to be a little different.
So I felt, well, I'll make the money and, with the money, do what I want to do.
Well, they just don't know anything else except that one form of their business, acting, and they don't really want to learn any other part of it, or they would. Directing and producing and putting a show together is very creative, for me.
To me, the series was the end of the actor, when the series ended.
I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.
So whatever I might have started to learn at that age was all undone by the next director and next crew in the next cheap picture, because I was allowed to get away with murder.
I hope this series is good work, but it is in the half-hour medium, which is limited to a kind of mediocrity that sponsors are just dying to have right now, and the public, for some reason, is unconsciously demanding.
I never say too much about that in public interviews, because it disappoints the public to tell them you're not that crazy about a property you did that possibly they liked.
They had to start shaving my chin when I was 12 years old because light started to pick it up.
But I want to do good work, after this series.
So then you have to say to yourself: Do I want to be rich, or do I want to do good work?
There was never any effort made out there to improve the artist.