I'm too old-fashioned to use a computer. I'm too old-fashioned to use a quill.
Here is Mike Wallace, who is visible to the public, and I have been watching him since the early '50s. Smoking up a storm and insulting his guests and being absolutely wonderfully evil and charming too.
In Stratford you either turn into an alcoholic or you better write.
It is a culture voice, but it is a very American culture voice, and I am very used to English culture voice. So I had to work like hell to flatten those R's.
A lot of great people have seen people portray them and loathed them. But I did my best and I don't think there is anything to be offended at.
I want to paint Montreal as a rather fantastic city, which it was, because nobody knows today what it was like. And I'm one of the last survivors, or rapidly becoming one.
The first time my father saw me in the flesh was on the stage, which is a bit weird. We went out to dinner, and he was charming and sweet, but I did all the talking.
Working with Julie Andrews is like getting hit over the head with a valentine.
The part of Mike Wallace drew me to the movie because I thought, what an outrageous part to play.
They realized I was alive again, even though I was playing an old, dying sop.
Most of my life I have played a lot of famous people but most of them were dead so you have a poetic license.
I steered clear of all those political intrigues, particularly when you're having to play a character. So I have to shut my eyes and ears to that.
I couldn't believe when I first got a fan letter from Al Pacino, it was unreal.
I would rather not know about how one gets parts in movies these days.
The drama critic for The Montreal Gazette gave me a good review in a high-school production of Pride and Prejudice. It went to my head.