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M*A*S*H' was a collection of people, in front of and behind the cameras, that really clicked.

'M*A*S*H,' to me, was about something. It had value beyond the laughs.

People who are good at film have a relationship with the camera.

The less friendly your relationship is on camera, the more useful it is to be friends with them off camera.

I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.

I don't know if 'M*A*S*H' made me a better actor, but I know it made me a better human being.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

I love that you work out relationships with people as you're filming just to get something real to play on screen.

As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

The best compliment we ever got about the show was from a Korean veteran who was unable to talk about his war experience with his wife until 'M*A*S*H.' While watching the show, he was able to lean over to his wife and say, 'See, honey, that's the way it was.'