I probably make more money in a year on 'Newhart' than 70 percent of your working top-name stars. Some weeks I just have six lines, but it doesn't bother me.
If my brother and I wanted money in our pockets, we had to get jobs - my first was at 15, at Burger King. We had to come up with ways to create an income.
Fortunately, now I've got myself in a position where things are about story and not money. In my earlier career, it was more about getting my foot in the door and to get enough money to live, to be perfectly honest.
I started doing a paper round when I was about 10. I started earning 10 pounds a week and then I was obsessed with earning money until I was about 15.
Well actually, some weeks they'll write that I'm jealous of living in her shadow. Then other weeks, they'll write that all I want to do is loaf around on her money! It's ridiculous!
Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.
Kazan was an old friend, I met him in 1938. He picked up radio jobs for eating money, so I met him on a couple of radio shows. Later on I was in a play he directed.
I think people enjoy reading about money, but the people who are in charge of giving me guidance tell me not to talk about it in interviews. Why not? That's what everybody thinks about.
My worst holiday was in Athens when I was a young drama student at Rada in 1965. I ran out of money. I had my things stolen and I wasn't able to speak a word of the language.
I'm very focused on the world and my career and my Porsche turbo and making money and Stevie B. Inc. I'm just living according to the standards of the world.
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
There was a little movie I did called 'Women In Trouble' that a friend of mine made. That, to me, was a very satisfying project. It was shot so quickly during the writer's strike, and there was no money. It was a really fun project.
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
A lot of celebrities just want money, fame, power, fancy cars, houses all over the world and have people bow down to them. To me, that's frightful behaviour.
First of all, from a spiritual perspective, I don't think anyone needs to be apologetic about being successful or having money. The more successful you are, the more job opportunities you create for other people.
If you keep a clean heart with your money, you will have a clean karmic cycle, but the day you do something negative to another person, that karmic circle will start to bring you down.
I don't think there's anything worse than your parents being alive and telling you to go give them some money and just act like they're dead.
Well, yes, as I was a rather bad actor then and I wasn't making enough money, I thought, to make enough money to not make money as an actor, I'd better do some writing.
We had a very normal, sort of ghetto, urban upbringing. My father was a bus driver and my mother was a seamstress and a substitute schoolteacher, off and on. So, that all adds up to no money.
I joined the after-school club, School of Comedy, which progressed wildly, and in quite a Hollywood way. It sounds like 'School of Rock', right up to trying to raise money to pay for a venue in Edinburgh.
They put all this money into these huge films and then no one goes to see them. That sort of shows they're out of touch. Then everyone in town passes on my little movie and it does really well.
