I used to say to myself, 'Well, in the old days everybody danced because they loved to dance, and there was none of this professional garbage going on about how much can you get for this or that or the other, or any of the kinds of things that insecurity can sometimes promote. Sometimes it's for the wrong reasons.'

It was not until I had graduated from college that I made a professional commitment to it. Frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer.

When I started thinking seriously about learning the rules of narrative, I thought, 'You've learned the rules of dancing from the ballet; what's the matter with learning the laws of theater from the people who know how to do it?'

Proust writes, he remembers, physically. He depends on his body to give him the information that will bring him to the past. His book is called 'In Search of Lost Time,' and he does it through the senses. He does it through smell. He does it through feeling. He does it through texture. It is all physically driven, that language.

I think I'm an okay parent, but I'd put myself in the category of a musician-who-happened-to-become-a-father. I'm definitely not a father-who-happened-to-be-a-musician.

I've made a lot of sacrifices. When I was younger, I didn't see my family. I'd go and train all the time, not seeing friends, leaving the country, and stuff like that.

It was very clear to me early on that balancing work and family was going to be very important.

I feel like people want there to be this mystery between film and theater, but I just kind of went where I got jobs, you know?