I have literally played the most interesting parts since I turned 40.
Beauty Queen' is the weirdest, strangest, and most perfect play to do before 'Hedda Gabler', because there are so many similar issues for Maureen and Hedda. I had played leading ladies before but couldn't really hook into them. After 'An American Daughter' and 'Beauty Queen', I had all the ballast.
I made a very concerted decision to go to drama school in the United States. But I did have the opportunity to go to Britain's Central School of Speech and Drama, and my dad and I had a few tense words about that. He wanted me to go to British drama school.
I grew up with the one of the most famous fathers in the world in the 1960s and '70s. He passed away in 1984, and as time went on, people didn't know him. That blew me away.
It ultimately becomes an asset to be part of a theatrical family if, indeed, you're good at what you do.
I was lucky enough to be able to grow and mature in a natural way as an actress.
I know from growing up in the spotlight, as it were, that the most important thing is your family.
I have a tendency as an actress in general to ground my characters. Even when doing outlandish characters, that's my instinct.
For me, hour-long drama was always the thing I felt the most comfortable doing, and I've played so many dramatic roles in the theater.
I recurred on Grey’s Anatomy for three years, and at the same time, I recurred for eight episodes on Rescue Me. And I’d recurred for nine episodes on The Practice. Frankly, the guest star is often the most compelling character.
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