In my prayers every day, which are a combination of Hebrew prayers and Shakespeare and Sondheim lyrics and things people have said to me that I've written down and shoved in my pocket, I also say the name of every person I've ever known who's passed on.
I love my work, I love the people I work with, I do the best I can.
I have no problem with violence, I have no problem playing horrible people.
I'm a Jew. I'm fascinated by our culture and our history, by what made us the people we are. It influences every breath I take. It informs and guides me. Without it, I'd just be a vacuum.
I've always been someone who some people like and some people don't like.
I plan on doing at least one classic ever year. That's why I'm going to be doing Enemy of the People this summer in Williamstown.
During 'Chicago Hope,' I never let directors talk to me, because I was so spoiled. I started off with people like Milos Forman, Sidney Lumet, James Lapine, unbelievably gifted people. So there I was, saying, 'Don't talk to me, I don't want your opinion.' I behaved abominably.
When you work on a text of a lesser quality, as the interpreter or the delivery person, you are obliged to try to fill it out as you see so many people do in lesser work.
When I'm on the road with concerts, people ask me to autograph my CDs, but more and more they come up with the cookbooks.
I don't want people to sit and process the song. I want them to just let them bathe over them.