A friend of mine once, when I was 11 years old, mentioned that there was a youth theater, a local amateur youth theater nearby where young people could go every Sunday. And that's where it began, really.

I try to be respectful and talk to any fan and sign anything that anyone wants. Without the fans, you're not much. You need fans to do this job. I've got a nice little following, and it seems to be growing as each thing comes out.

I want to do something original rather than interpret someone else's performance, which is always the risk - even if it's only in a subconscious way. I want to concentrate on giving my own fresh interpretation.

It's so much nicer to be able to do your job with someone who's helping you, and you're helping them. Then, it becomes a tennis match where you're hitting the ball back and forth, and you're a team.

To recruit staff, I traveled all over the country talking with people who had been working on one or another aspect of the atomic-energy enterprise and people in radar work, for example, and underwater sound, telling them about the job, the place that we are going to, and enlisting their enthusiasm.

If you're a young actor, unless you're on a very short list at the studios, we have to be very creative about moving your career along. Otherwise, all we can do is hope to get lucky and find that perfect role that pops you into stardom.

From a personal standpoint, I consider myself much more of an accidental entrepreneur. I was involved in the entrepreneurship club at Harvard, but I heard of it only because it was new on campus.

I've failed a lot in my career.