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'm an off-the-charts introvert. To me, being around groups of strangers is exhausting. I've had to sort of train myself to think about two tactics: finding common ground and invoking humor.

All those I admired as a young performer had a calmness to their comedy.

I have this friend who does comedy but also music, and I really enjoyed his stuff, and I wanted to do that.

I love good and pleasure, I hate evil and pain, I want to be happy and I am not mistaken in believing, that people, angels and even demons have those same inclinations.