White Collar. The West Wing. Without a Trace. Breaking News. The King of Queens. Wolf Lake. Charlie Hoover. How the West Was Won. Hawaii Five The Quest. Kung Fu.
Here's Lucy. Night Gallery. Jonny Quest. My Three Sons. Leave It to Beaver. Midnight Heat. Obsessed with a Married Woman. Warm Hearts, Cold Feet.
Little White Lies. Quicksand: No Escape. Joshua's Heart. Yours, Mine and Ours. Buried Alive. Relentless: Mind of a Killer. Dying to Love You. A Kiss to Die For. Target of Suspicion. Eye of the Demon. While Justice Sleeps. The Woman Who Sinned. Fast Company. Robin Cook's 'Harmful Intent'. Twilight Man. Buried Secrets. Christmas in My Hometown. Sleeping with the Devil. Forever Love. An Unfinished Affair. Catch Me If You Can. Buried Alive II.
She's All That. At the Mercy of a Stranger. Navigating the Heart. A Very Unlucky Leprechaun. The Story of Us. Hell Swarm. Sharing the Secret. Second Honeymoon. Moms on Strike. And he didn't care about it.
My point is that you have to have a real life. I also think one has to reinvent oneself as a performer every five to seven years. I look at my career, and I was a kid actor who did cartoons, then I was a Western actor as a young man, then I was a comedy actor in movies, then a TV-movie actor, then a TV director There are different phases But I think one has a shelf life of about five to seven years where you're in a series, or you play a character, or you hit in a movie -- and that sort of wears out its welcome after a certain point.
Then you've got to put it on its head, reinvent it, find a new approach, otherwise you're just stuck being that guy who did that thing back then. So I've always sought out new challenges. Also, I've tried to have a home life and a family.
I raised my kids up in Santa Barbara and got away from the city of Los Angeles so that [the environment] wasn't so crazy for them to grow up in.
Some directors just shoot characters walking around a set, and they think that's all they have to do. That's not it. Howard Hawks and John Ford knew where to put the camera. They knew if the camera was here or there, it tells the story better. And, early on as an actor, I remember sometimes thinking that I'd given a good performance in certain shows, but then when I finally saw my work, it wasn't particularly dynamic.
There were flat shots, the directing wasn't very good But when I'd work with better directors, who'd stage my scenes differently, who use stronger camera angles, and -- perhaps even though I didn't give what I thought was the best performance -- the result was more dynamic and effective.
And I thought, "Ah-ah! He made me a better actor by what he did as a director. And Chevy Chase , finally. I'd known Chevy a bit, but I'd never gotten to work with him. Chevy had been a bad boy with a drug problem, and had never really realized his potential.
Fletch was the first movie he sort of straightened up on. And Michael was Harvard-educated, 6'6", a brilliant director and political thinker.
He was the guy the studio thought could handle Chevy, and keep him in check. And he could. He'd shoot the movie the way he wanted it, then do one take for Chevy. When I worked with Chevy, he'd say, "Just ad lib and try to break me up. Just insult me. He was smart enough to know that was gold. So it was great fun working with him and Michael, and getting to see how the two worked together.
I think Fletch and Clark Griswold were Chevy's two best roles. He's so incredibly talented and still vastly underused. I don't even know what he's doing now. And working with Steven Spielberg , how bad could it be? But it was one of those excessively big movies where every action scene was done and re-done and re-done again.
It was so overproduced and overly expensive. And it wasn't terribly funny. I must say Steven was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie.
There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character.
Steven's one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies.
Good or bad-and he has made some awful movies-they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E. I also think Duel is perfect for a television movie.
I liked Munich a lot too. So whenever I study a genre of filmmaking, he's the first guy I go to. Even Catch Me If You Can, which is a very lightweight kind of thing, if you just look at the economy of the way he designs his shots and works around actors, the craft is amazing. They could play a scene against themselves.
Think of the characters that Mel created, and they're as good or better than any performance anyone has ever given. I mean: Daffy Duck! It's just astonishing. When I did Jonny Quest, I was in that gawky stage between kid and adult. I wasn't working much. Gil Mason voice. Peter Hellman. Charlie Hoover. Show all 7 episodes. Marcus voice. Harry Stadlin. Show all 6 episodes. Andre Sobinski. Rick Tucker. Show all 12 episodes. Loomis Birkhead.
Don Talbot. Jerry Slovak as Tim Mathieson. Curt Grayson. Bud Warren - Wolves in the Sheep Pen Bud Warren. Jay Miller. Brent Saunders. Mike Fisher. Quentin Beaudine.
Show all 15 episodes. Amy's Husband voice. Nick Pappas. Michael Stearns. Tom Aberling. Allen Rich. Jerry Purcell. John Peterson. Zooie Palmer. Gerry Collier. Jim McGuire. Bill Wyland - The Soldier Bill Wyland. Sam Miller. Griff King credit only. Griff King.
Darryl Podell. Peter Sullivan. Henley segment "Logoda's Heads". Miles Baker. Slovik Howard Goodman. Jerry Cates. Stan Lowell. Teek Howell. Jim Horn. Show all 24 episodes. Leroy Samuel Rutherford. Jace voice, as Tim Matthieson. Jace voice. Samson voice, as Tim Matthieson.
Desto Eddie Thompson. Sinbad Jr. Show all 81 episodes. Huntington Hawthorne III. Jonny Quest voice, as Tim Matthieson.
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