I really loved working with Michael Caine. He's a really skilled and experienced actor. I learn something from everybody, but when you work with somebody like that, you actually learn things you can put in your toolbox, things about craft. Not necessarily life lessons, but actual things he knows that you can pick up.

When I got the offer to do 'Weird Ernie' in the pilot, I was living in New York, and somebody had made a mistake, and they made an offer that was supposed to be $2,500 for the job, but they offered $25,000. I couldn't turn that down. I'd never heard of anything like that!

When I'm playing comedy, I never do 'jokes.' Sometimes I'll deliver a line in a way I think is more likely to get a laugh, but all the best comedy is played straight. What's funny is the way it hits the world around it or the way it hits the other characters.

There's a cumulative effect to getting good parts as a freelance actor, because you're only as good as your last job, and you have to keep going out and getting them. Unless you're part of the finance structure, by which I mean a bankable star, which I never was and never will be.

When you grow up without it, you want to have it. It's funny, in America some people say, 'Why do you want to make money so much?' And I say, 'Well, I guess you didn't starve as a kid.'

I understood that my family was rich in love but would probably never own the land my father, John, dreamed of owning. My mother, Willie Ella Mays Clarke, was a washerwoman for poor white folks in the area of Columbus, Georgia where the writer Carson McCullers once lived.

A white male Mormon millionaire was not gonna beat Ted Kennedy in Massachusetts, but someone deserved to go out there and give him a real run for his money.

One of the remarkable things about my career is that it has been marked by steady, incremental progress. No sudden spikes up, and no sudden downfalls, either.