A lot of actors said they hated the studio system, but I loved it. It was like a college; it was a great place to learn.
Anne Baxter was a very good actress, Donna Reid was great. You couldn't name an actress I wasn't crazy about.
Cheyenne Autumn was received not too successfully. I still think it was a very good movie. It was kinda Ford's apology for the way he had treated Indians in his past pictures.
Every actor has his own way of working, and whether they know it or not, every actor uses some part of the Method. It's pretty elemental.
Ford used to come to work in a big car with two Admiral's flags, on each side of the car. His assistant would be there with his accordion, playing, Hail to the Chief.
Gary Cooper was a good friend. He was a great nature lover. He was like an American Indian, he knew every leaf that was turned over. It was an education to go for a walk with him.
Hoods are good parts because they're always flashy and attract attention. If you've got any ability, you can use that as a stepping stone.
I did another picture with Henry Hathaway, Down to the Sea in Ships, where I was a good guy. I think it extended my career, at least at Fox.
I felt pretty comfortable with Westerns, apart from the fact I couldn't ride.
I had a friend who was doing a radio soap opera called Aunt Jenny's Real Life Stories. I started auditioning for other shows on radio and became quite busy.
I had a great time doing Night and the City. We had a great ride over on the ship, had a great flat in Long Square and we had the cottage in Sussex.
I like to rehearse and do it in one or two takes. The more takes I do, the worse I get.
I love England, especially the English countryside. We had a little cottage in Sussex. I loved those cottages.
I loved Jack Ford. I got him in his later days, and he was a total tyrant and a total autocrat and an Irish drunk. But I had a great time.
I loved Westerns because I watched them in the old silent days.
I made this Western called Two Rode Together with Jimmy Stewart, who was one of my idols. We made that with Ford and had a great time.
I never had any formal training apart from college. I sort of learnt as I went.
I read a book called The Last Frontier, and I couldn't buy it from them because they'd used the title on another picture.
I stayed in New York for almost 10 years doing radio and plays before I went to California in 1947.
I think a performer should do his work and then shut up.
I was a movie nut. When I was working in radio, I used to spend half my time at the Modern Museum looking at old movies. I think I saw everything they had.
I was never a part of the Actor's Studio, because two friends of mine started it in 1947 and by that time I'd gone to California.
I was playing this horrible part. I didn't didn't want to play it because the character was an awful racist. But I'm glad I did it because I met Sidney Poitier.
I went to a small college called Lake Forest, and I started doing plays. The professor in the drama department asked me to stay on as an instructor after I graduated.
I'd taken three weeks of riding lessons before Yellow Sky. I had to mount a horse at the end of a scene, and I put my foot in the stirrup and slipped. So if you watch the movie, you'll see where I just get my foot up and then suddenly I'm on the horse.
I'm against too much research because it becomes binding and academic, you're not able to move.
I'm having a senior moment. I don't remember.
I've been a movie bug since I was 4. My grandmother used to take me.
I've had a very lucky, happy life and I don't regret turning anything down. I wish I'd turned down To the Devil a Daughter.
In 1937, a friend of mine and I went on a bicycle trip to Germany. We filmed Hitler Youth camps. I've been interested in that period all my life.
In the script I had to say these terrible things to Sidney, and after each take, I'd run up to him and apologise!
Jimmy Harris was a friend of mine, and was Stanley Kubrick's producer. He wanted to go out on his own.
John Ford was so funny that I couldn't wait to go to work in the morning.
John Wayne had a publicity guy I didn't like. He used to plant terrible stories about me and Wayne that just weren't true.
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.
Laurence Harvey was a good actor, and he and Wayne got on well, because they were both drinkers.
London in 1949 was still all bombed-out. Everything was in the process of being reconstructed. I spent 30 nights running around London. I lost about 20 pounds.
Mankiewicz was a brilliant director.
Many of my friends were blacklisted. America should be ashamed of it forever.
Marilyn was terrible to work with. I was fond of her, she was a nice girl, but she was a damaged girl. She was very difficult. You couldn't get her on the set; she didn't know the words.
Most movies are made today for teenage boys. Once in a while a good one comes along.
Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.
Sidney Lumet is a wonderful director. I met him when he was a kid actor at the age of 12. He used to do radio shows, and they had to put him on a box so he could reach the microphone.
Sidney Poitier and I used to go to Paris every now and again. We had a good time.
The first time I met Wayne, I had just made the film Kiss of Death, and Wayne was standing with a drink in his hand and said, Well, here comes that laughing son of a bitch!
The minute Marilyn hit the screen everyone else was gone.
There was something about Marilyn. She couldn't act her way out of a bag, but she became an icon because something happened between her and the lens, and no one knows what it is.
They asked me to do a series of six, six hour-and-a-half movies. I went for it, but only on the condition that I could make three in Europe.
To Be or Not To Be is one of my favourite comedies, along with Some Like It Hot. I like anything that Hitchcock did.
We just learnt the lines and did it.
When I was a kid I loved Frankenstein. I thought Boris Karloff was great.
When we were doing The Alamo with Duke Wayne, Duke was directing, and Ford said, Go ahead, Duke, you do it.
You have to compromise all the way. The only thing that counts is the result.
Widmark's life was once featured on an episode of A&E's Biography.
Widmark co-starred with two other film legends, Kirk Douglas and Robert Mitchum, in the 1967 film The Way West. A young Sally Field made her motion picture debut in that movie.
Widmark is good friends with Sidney Poitier. They appeared together in three films: No Way Out, The Bedford Incident, and The Long Ships.
Widmark joked that he was the only actor to ever leave behind a house with a swimming pool in order to come to Hollywood. He had an established career on radio in New York before being cast in Kiss of Death so giving Hollywood a try was a gamble.
Widmark currently resides in Connecticut with his second wife.
Widmark produced three films in which he starred: Time Limit, The Secret Ways, and The Bedford Incident.
Widmark played the murder victim in the 1975 whodunit Murder on the Orient Express.
After moving to New York to establish an acting career, Widmark frequently appeared on the classic radio crime drama Gangbusters.
Widmark was inducted into the Great Western Performers of the National Cowboy and Western Heritage Museum in 2002.
Widmark was president of his high school class.
Critics roasted Widmark for one of the few times in his career when they said he was woefully miscast as the French Dauphin in the 1957 film Saint Joan.
Widmark retired after appearing in the 1991 movie True Colors.
In 2005, Widmark received the Career Achievement Award from the Los Angeles Film Critics Association.
Widmark won a Golden Globe in 1948 as Most Promising Male Newcomer for his role in Kiss of Death.
Widmark made a rare TV appearance as himself on a 1955 episode of I Love Lucy.
Widmark made his Broadway stage debut in the 1943 play Kiss and Tell.
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