The first play I ever did was with Michael Langham, Brian Bedford, and Colm Feore, at Stratford Festival. That was my first professional job, and I got to work with Garland Wright and so many great artists.
It's all really nice to have my pretend Secret Service people paying me respect, but the moment I walk in the door, it's back to being 'Mom.'
If I'm asking people to give me two hours of their time, it's because I really feel like they need to listen to what the writer is talking about.
I don't look presidential. I don't wear, you know, three-piece suits and have my hair perfectly coiffed.
Personally, I don't want to do theater that's very stylish, when it's just stories on stage that are basically the same as TV or film.
I ended up landing in London out of high school, and I saw a performance that Vanessa Redgrave gave, just because it was a cheap ticket, and I didn't know what to do with my afternoon, and I went in, and I saw this Eugene O'Neill play, and I sat in the fifth row, and I watched her.
The audience has its own gestalt, and it becomes another character - a character that changes each night.
Tim Burton is an artist who has had a huge influence on me. I definitely share his sensibility. It's a joyful approach to darkness.
By nature, my default place is a very introverted one, so it's funny to be in such an extroverted profession. I'm a little inappropriately in it.
It's really interesting because I'm a Quaker... so it's been radical to me to be hired by the Department of Defense under contract.
You always hear about the disempowered actor, their fate in other people's hands. It's just really wonderful to experience it the other way around.
I know all my tricks, and I'm pretty bored with them, so if that's all someone wants, I'd rather wait for TV money and not work so hard.