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Eddie Albert
Birthday:
22 April 1906
Birth Name:
Edward Albert Heimberger
Height:
180 cm
Biography
[on reviving "Room Service" with son Edward] Comedy is the most difficult thing to play, and I wanted to give Edward a lesson in doing farce.
[on reviving "Room Service" with son Edward] Comedy is the most difficult thing to play, and I wanted to give Edward a lesson in doing farce.
Because I couldn't get work in pictures, I put a club act together with my wife and it caught on pretty well. Finally, Ed Sullivan invited us to appear on Toast of the Town.
Because I couldn't get work in pictures, I put a club act together with my wife and it caught on pretty well. Finally, Ed Sullivan invited us to appear on Toast of the Town.
[on his popularity while playing the seventy-something Frank MacBride on Switch]: What else is there? It can't be the plots. They're the same as for every other detective show on the air.
[on his popularity while playing the seventy-something Frank MacBride on Switch]: What else is there? It can't be the plots. They're the same as for every other detective show on the air.
My real concentration is the development of bluegreen algae. It is an organic substance which he says will act as a fertilizer and allow farming with only a small amount of water.
My real concentration is the development of bluegreen algae. It is an organic substance which he says will act as a fertilizer and allow farming with only a small amount of water.
[Of Robert Wagner's Switch (1975) character]: Pete is a ex-con man, a man who lives against the law. He knows a fellow who can get into the safe at midnight. Mac doesn't want to know about that, but Pete gets the information and he's in no position to complain.
[Of Robert Wagner's Switch (1975) character]: Pete is a ex-con man, a man who lives against the law. He knows a fellow who can get into the safe at midnight. Mac doesn't want to know about that, but Pete gets the information and he's in no position to complain.
[In 1976]: You have to recognize that some of these shows are mainly for diversion and laughs, and not wear out your welcome or take advantage of their courtesy. But I get a couple of points in there. If I talk for five minutes about gardens for children, I can make it entertaining and at the same time, hopefully do some good. And this has become my bag.
[In 1976]: You have to recognize that some of these shows are mainly for diversion and laughs, and not wear out your welcome or take advantage of their courtesy. But I get a couple of points in there. If I talk for five minutes about gardens for children, I can make it entertaining and at the same time, hopefully do some good. And this has become my bag.
[In 1975]: People don't know how good vegetables taste, until they grow their own, and it's also very comforting to know you can still provide for yourself in this day and age.
[In 1975]: People don't know how good vegetables taste, until they grow their own, and it's also very comforting to know you can still provide for yourself in this day and age.
[on starring in Switch (1975)]: The power of television is so great that I know it's making an impression. But it's difficult to say which impression it is. If you ask me if television and newspapers are creating an attitude of apathy. I'd have to say yes there, too. People are just so surfeited.
[on starring in Switch (1975)]: The power of television is so great that I know it's making an impression. But it's difficult to say which impression it is. If you ask me if television and newspapers are creating an attitude of apathy. I'd have to say yes there, too. People are just so surfeited.
[Who asked and answered London's question in 1969]: You remember London's story, 'To Build a Fire'? He wrote it in that cabin. Another man and I started to walk the 18 miles from the cabin to Henderson's Creek. It was about 32 below, but it began growing colder. I remembered how London wrote about testing the temperature - if your spit exploded on the ice, i...
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[Who asked and answered London's question in 1969]: You remember London's story, 'To Build a Fire'? He wrote it in that cabin. Another man and I started to walk the 18 miles from the cabin to Henderson's Creek. It was about 32 below, but it began growing colder. I remembered how London wrote about testing the temperature - if your spit exploded on the ice, it was 50 below; if it exploded in midair, it was 75 below. That story haunted me as we walked. It was about a miner who stepped in an alkaline stream and got his foot wet and desperately tried to build a fire before the foot froze. A lot of London's writing was hurried and awkward, but this was beautifully written - sheer poetry.
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[Of his interest lying with ecology]: I've been a conservationist all my life, but in the last four years, times have changed, and the problem is not so much conservation as it is human survival.
[Of his interest lying with ecology]: I've been a conservationist all my life, but in the last four years, times have changed, and the problem is not so much conservation as it is human survival.
I've always had it. I have a little garden where I grow vegetables. And I always wanted to own a small piece of land, near the woods - not to make a buck, but to watch things grow.
I've always had it. I have a little garden where I grow vegetables. And I always wanted to own a small piece of land, near the woods - not to make a buck, but to watch things grow.
[on turning 82 in 1988]: I'm happy to be alive. I've had three pieces of cake otherwise I'm looking after my health.
[on turning 82 in 1988]: I'm happy to be alive. I've had three pieces of cake otherwise I'm looking after my health.
[In 1987]: I said I shouldn't really discuss that, because if we really did, she'd faint. But I said, 'The lady of the house here, she lets me sleep with her.' And she kind of went, 'umph mumph' and left.
[In 1987]: I said I shouldn't really discuss that, because if we really did, she'd faint. But I said, 'The lady of the house here, she lets me sleep with her.' And she kind of went, 'umph mumph' and left.
[In 1966]: You can't just push a button and turn on a blaze of family happiness, you must feel close all the time, every day.
[In 1966]: You can't just push a button and turn on a blaze of family happiness, you must feel close all the time, every day.
[In 1965]: I'm allergic to monotony, not to work.
[In 1965]: I'm allergic to monotony, not to work.
[While having a recurring role as Oliver Wendell Douglas on Petticoat Junction (1963), he continues to play the same character on its spin-off show, Green Acres (1965)]: But that doesn't mean that the work must be monotonous. Monotony is within one's self. Certainly Thoreau didn't find it monotonous in his little shed at Walden Pond.
[While having a recurring role as Oliver Wendell Douglas on Petticoat Junction (1963), he continues to play the same character on its spin-off show, Green Acres (1965)]: But that doesn't mean that the work must be monotonous. Monotony is within one's self. Certainly Thoreau didn't find it monotonous in his little shed at Walden Pond.
Mankind must survive, the extinction of our national forestry, birds and fish must be stopped. For without it, we face total disaster. We must try to clean up this country's air and water system.
Mankind must survive, the extinction of our national forestry, birds and fish must be stopped. For without it, we face total disaster. We must try to clean up this country's air and water system.
Our priority today, as I see it, is not just conservation, but survival. Not the moon or Mars or even Vietnam, but keeping ourselves alive!
Our priority today, as I see it, is not just conservation, but survival. Not the moon or Mars or even Vietnam, but keeping ourselves alive!
[About Green Acres (1965)]: The show is a comment on how insane our society is. The writing was very light and very weird, but it had a profound base under it that none of us knew. Come to think of it, neither did we.
[About Green Acres (1965)]: The show is a comment on how insane our society is. The writing was very light and very weird, but it had a profound base under it that none of us knew. Come to think of it, neither did we.
[on Green Acres (1965)]: The comedy is like "Pickwick Papers", or "Gulliver's Travels", or Voltaire. It's so far out that it becomes truth, deep truth.
[on Green Acres (1965)]: The comedy is like "Pickwick Papers", or "Gulliver's Travels", or Voltaire. It's so far out that it becomes truth, deep truth.
[In a personal journal he has written]: By the time I leave this Earth, I hope to have improved our relationships here and now, so that in the next generation my son, daughter and friends have my shoulders on which to stand, so it's easier to make their contribution.
[In a personal journal he has written]: By the time I leave this Earth, I hope to have improved our relationships here and now, so that in the next generation my son, daughter and friends have my shoulders on which to stand, so it's easier to make their contribution.
[When asked about doing newspapers at an early age, and missed some of the people he kept in contact]: You throw a paper on the porch, but you don't sit down and have a talk...and that's where the real education comes from. And so I missed those best years and I find it difficult for me, in groups, to be comfortable. It's a little late to find that out.
[When asked about doing newspapers at an early age, and missed some of the people he kept in contact]: You throw a paper on the porch, but you don't sit down and have a talk...and that's where the real education comes from. And so I missed those best years and I find it difficult for me, in groups, to be comfortable. It's a little late to find that out.
[on his post-war career]: I took everything they could throw at me, pictures like The Dude Goes West (1948) and The Fuller Brush Girl (1950). I worked myself back up, but I never wanted to be a star. I was aiming to play the star's best friend.
[on his post-war career]: I took everything they could throw at me, pictures like The Dude Goes West (1948) and The Fuller Brush Girl (1950). I worked myself back up, but I never wanted to be a star. I was aiming to play the star's best friend.
[on why he accepted the role on Green Acres (1965)]: Everyone gets tired of the rat race. Everyone would like to chuck it all and grow some carrots. It's basic. Sign me. I knew it would be successful. Had to be. It's about the atavistic urge, and people have been getting a charge out of that ever since Aristophanes wrote about the plebes and the city folk.
[on why he accepted the role on Green Acres (1965)]: Everyone gets tired of the rat race. Everyone would like to chuck it all and grow some carrots. It's basic. Sign me. I knew it would be successful. Had to be. It's about the atavistic urge, and people have been getting a charge out of that ever since Aristophanes wrote about the plebes and the city folk.
What's the most important thing in the world? It's love, and I look at that as an energy, not a sentiment.
What's the most important thing in the world? It's love, and I look at that as an energy, not a sentiment.
I don't really care how I am remembered as long as I bring happiness and joy to people.
I don't really care how I am remembered as long as I bring happiness and joy to people.
Eddie Albert
A graduate of the University of Minnesota, Eddie Albert was a circus trapeze flier before becoming a stage and radio actor. He made his film debut in 1938 and has worked steadily since, often cast as the friendly, good-natured buddy of the hero but occasionally being cast as a villain; one of his most memorable roles was as the cowardly, glory-seeking army officer in Robert Aldrich's World War 2 film, Attack (1956).
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