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Rod Steiger

"I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like that or they're watching you or something, you'd better come up with something."

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"I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like that or they're watching you or something, you'd better come up with something."

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Amber Hurdle

"Do not forever with thy vailed lidsSeek for thy noble father in the dust.Thou know'st 'tis common; all that lives must die,Passing though nature to eternity."

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Amber Hurdle

"This world's a city full of straying streets, and death's the market-place where each one meets."

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Amber Hurdle

"She'll die.' 'Aye. That's a consequence of being alive."

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Amber Hurdle

"Death is the ultimate cessation of the individual Self."

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Amber Hurdle

"DON'T THINK OF IT AS DYING, said Death. JUST THINK OF IT AS LEAVING EARLY TO AVOID THE RUSH."

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Amber Hurdle

"Funerals, I had decided, are for the living."

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Amber Hurdle

"The ceaseless labour of your life is to build the house of death."

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Amber Hurdle

"That's part of what I like about the book in some ways. It portrays death truthfully. You die in the middle of your life, in the middle of a sentence."

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Amber Hurdle

"No one dies in the language of the Gnani (the Self-realized one) and every one dies in the language of the agnani (non-Self-realized person). The agnani (non-Self-realized person) mourns and grieves, and the Gnani simply 'Sees'."

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Amber Hurdle

"People don't like to talk about death because it makes them sad."

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Rod Steiger
"Is this a proposal? I'm married now, you know."
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Rod Steiger
"I said 'well, I'll kiss her twice, you see? We'll come around, I'll kiss her, and if you put a little more track down for the camera, then I'll put my tongue down her throat and you'll get what you want'. He said 'You think so?'"
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Rod Steiger
"And the reason I really appreciated this is because after the picture came out, I was invited by the American Psychiatric Association to give a lecture. I couldn't believe it!"
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"He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then."
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Rod Steiger
"I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear."
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Rod Steiger
"If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?"
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Rod Steiger
"Now that was one thing, but from an actor's point of view, this poor young man, crying from the moment I opened the door to the moment he left. Now if an actor did that they would say he's over-acting."
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Rod Steiger
"Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of."
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Rod Steiger
"Sometimes it's great, sometimes it's bad. I think the film could have been a lot better."
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Rod Steiger
"I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling."
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