Rod steiger

Well, one of the problems of working on a story with a character that sacred in the religions of the world or in a picture about that person, is that you have to forget about that and play it as real...

I had read the novel and I had heard David Lean was going to direct it - and it came as a surprise to me because American actors, if given the chance, can do style as well as anybody and speak as well...

I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like...

Is this a proposal? I'm married now, you know.

He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I...

We come. We go. And in between we try to understand.

Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of.

Now that was one thing, but from an actor's point of view, this poor young man, crying from the moment I opened the door to the moment he left. Now if an actor did that they would say he's...

I didn't ever think of it as a social thing at the time. I took it as a good story. Maybe because I've always been kind of progressive so I never thought of it, you know.

If you see the picture when things get exciting, he chews faster. When he really gets shocked, everything stops, including the chewing. So I worked it in for me.