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I love Stroker Ace. I love the whole team. Jim Nabors really stole the show, and Ned Beatty, well I've made more of my movies with Ned Beatty than anybody else.
I'm proud of 'Deliverance' because it was a very dangerous film to make, and they all said it couldn't be done, and we did it. And Jon Voight and I are now like brothers.
I'm really much more like Phil Potter from [the 1979 film] Starting Over. People do think I'm the Bandit [from Smokey and the Bandit ], and I'm a lot more serious than that.
I felt good when I did a stunt, and if it was really dangerous - like if I got out on a horse or a bull that was rank, or jumped out of this building on a bag - I felt great.
Smokey and the Bandit was the first picture [Hal Needham ] directed, and I knew he could handle it. I had just directed Gator, and he saw my style and used that as a pattern.
Goldie [Hawn] is one of the sharpest ladies I've ever worked with. She doesn't miss a thing. She's my greatest audience. She laughs at all my stories and in the right places, too.
Friends come in herds and they leave in herds. Hollywood loves an adventure, but you have to hit bottom. Then they love to save you and be a part of it. Or think they're a part of it.
I haven't been somebody who's been smart about his money. There are a couple of actors who are quite brilliant with the way they've handled their money. But they're not very good actors.
I sometimes will be very shut off from everybody. I can be very pettish and sometimes not available when you need me. At those times, I'm very selfish and worrying about my own problems.
I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.
I had known Hal [Needham] for a while by the time he moved in, so I was sure we'd get along well, and we did. He'd go off and do his gigs and I would do mine, and when we were lucky we got to work on the same ones.
The stupidest thing I ever did was turn down 'Terms of Endearment' to do 'Cannonball Run II.' Jim Brooks wrote the part of the astronaut for me. Taking that role would have been a way to get all the things I wanted.
Having done 300 television shows and almost 60 movies, I'm tired of having guys who are younger than some sandwiches I've had, telling me to turn left at the couch. There's no appreciation of actors and no sense of history.
Our family really didn't have a car; we had my dad's police cruiser. Later he got a Buick, and that's what I was driving when I had a wreck. I'm lucky it was as big and strong as it was, because that Buick is what saved my life.
Gator [ McKlusky from White Lightning] was a criminal and a felon, but he had a good heart - he's probably a cousin to Bo. Bo was not a felon and definitely never wanted to hurt anybody - the final scene confirms that. He confesses to Buford T. Justice that he is right behind him. Gator McKlusky would not have done that.
People don't understand the analogy of football and acting, but there's a great deal of it that's the same. You get dressed in the room, and you think you've got it all prepared, and later on in the game you wish you had put on more pads 'cause they're just kicking the hell out of you. God almighty, I've been beat up by the best.
But then when I'm in a halfway successful movie, it irritates the hell out of the critics in New York, because they'd like to kill my pictures if they could. So maybe I'm pretty good in the movie. Then they use all these words like I'm 'surprisingly' good, or 'shockingly enough,' I'm good. It's like I crawled out from under a magazine and they're surprised I can act.
We got Sally Field onboard [in Smokey and the Bandit] and it changed the entire dynamic. About a third of the way into filming, I was in the car with Sally and there was this little moment where we kind of looked at each other, and then we both turned and looked over at Hal [Needham]. He gave us a thumbs up and said, "Yeah!" And we kind of knew there was some magic going on.
If you've as many films as I have, and missed as many opportunities as I have to do good work and been pissed off about it, you say, "Well, now you've got to start getting it right." If you get a chance, you really want to cook. And the tragedy is, when you finally feel that way about yourself, about your work, nobody wants to give you a chance. And that happens to a lot of actors. But I'm feeling very wanted these days, so there must be something in the air.
That's a big responsibility, and the details obsess me. And, also, I no longer feel I have to do the Tonight Show every time I open my mouth. Twenty years ago, I told myself I'd rather direct than act, and it's taken me this long. You lose your passion in acting. You make too many mistakes. Maybe that's why I make so many movies; if you don't like this one, another one's opening on Tuesday. But then I spent six months of my life on 'At Long Last Love,' a picture nobody saw. I enjoyed making it, I learned from it, I grew, but that's too much time out of my life.