American - Actor | March 1, 1965 -
I grew up in Colorado and spent my summers in Montana as a ranch hand.
Chris Eigeman
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Musically, swing pretty much dominated in the '30s. And into the late '30s, swing is beginning to change over to bebop in the early '40s, which is exactly when this new science of theoretical physics, particularly theoretical atomic physics, was really coming to the fore.
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I like a no-drama set. I welcome visitors by and large; I like music playing on sets between set-ups - all that stuff.
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I never dreamed I'd be a spokesman for anything. But Pac Bell just asked me. The money was OK; the scripts were fun because I had to do in 30 seconds what it takes a whole feature to do and because the dysfunctional family of agents, managers and lawyers who represent me said it was cool.
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It was always theater for me. But part of that came out of the fact that I was always acting out as a kid. I was the kid who didn't play well with others.
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I never thought about movies. I never thought about Hollywood. It was just being on the stage and being in New York.
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My first show was 'No Exit.' You couldn't find a more pretentious beginning, but it also instilled some sense of quality.
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One day I'm lugging walls back and forth in Louisville, and the next day I'm at Cannes giving interviews next to Ben Kingsley. I'm nowhere near cynical or jaded enough not to be incredibly thrilled by that.
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The scariest film in the world is 'Rosemary's Baby.'
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I really love showing up at work at 10 A.M., trying to make it funny until 3 P.M., and then going home. It's like comedy bankers' hours.
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I had a very misguided notion of what 'network notes' were. I thought they were well-meant suggestions, perhaps urgently meant, but just suggestions nonetheless. And actually, they're demands. You have to do them, or you will not be paid.
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I genuinely don't like Los Angeles. L.A. is this little petri dish of lack of morality.
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