I like risky parts - abrasive characters the audience won't necessarily like.
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When I did 'Amadeus,' I hadn't done a play for five years. And I was so happy doing it and felt so foolish that I hadn't done a play for such a long time that I wanted to go back and really kind of reach out for a classical career.
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I think that if you get too close to the character, if you do too much historical research, you may find yourself defending your view of a character against the author's view, and I think that's terribly dangerous.
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I was a huge J.M. Barrie fan as a kid, as most English children are.
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You can't stay away from the theater too long.
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I've worked in a few sort of 'institutional' theaters - the Royal Shakespeare, the National Theater in England - and they're hopelessly top-heavy with bureaucracy.
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Kids will eat anything, won't they?
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My career has evolved at its own peculiar pace. American careers are supposed to have a much more singular direction than I've been able to... stomach.
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I've turned down a lot of roles to make time to record and tour.