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I keep working mainly because my wife and I spend most of our time touring the country doing our own plays.
As in a game ov cards, so in the game ov life, we must play what is dealt tew us, and the glory consists, not so mutch in winning, as in playing a poor hand well.
I used to go to Vegas and play the horses, and then I realised how ridiculous that was. There is no winning in gambling, but there is on the stock market.
I obviously wanted to play for the Kansas City Royals. (Laughter) I also knew that was far-fetched. The truth is I don't really know what I wanted to do.
Sometimes it's harder to play good tennis with a bad tennis player - the same way it's hard to be a good actor with a bad actor. It's just an unpleasant experience.
You can bring truth to anything, whether it's a dance movie or an incredibly poignant indie drama or a really broad comedy. As long as you show up to play, I don't think you can go wrong.
I've always been attracted to ensembles. When I started doing plays in high school and in college, I always loved the community aspect of it. I loved these little families that would develop.
There are some great teachers who have had great students, but they themselves can't play a note. I don't understand it, because the most I learned from my teacher was just hearing him play.
My puppies play a daily role in inspiring me too! But most of all, my husband, Conroy Chan, inspires me in life. He's always there to help keep me going.
Throughout the play everything possible was done to show the virtue, innocence and helplessness of the poor, and the abandoned cruelty, the heartless self-indulgence of the rich.
I am impressed and distressed at how passive hierarchical organizations make people. There's often a lot of overt activity, but it's not going anywhere, it's game-playing. It's play-acting at work.
I was never really a model. That somehow is in my bio. The whole thing is I was tall since I was a child - you're either a model or you play basketball.
I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
A helpful hand is a lesson in sharing and if you have the means why not play your part. Those who refuse your help are foolish, as we all know appreciating the helpful hand is just smart.
You don't have to patronize your audience, and you can mix art and commerce in a profound way. You can simultaneously play to the sophisticated, 60-year-old theatergoers and to 4-year-olds.