The possibilities are endless for me - Broadway, TV, music and film.
I love music. I'd love to go on Broadway and do a musical there. I just like to kind of go with whatever's inspiring at the moment, and kind of follow that as far as I can.
Basically my influences have been American influences. It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music.
I'm kind of happy to know there may be some kid or teenager now who might never have had the chance to see my Broadway performance, but gets a taste for what it might have been like now, because they can see Clint Eastwood's film. "
I don't consider success doing a show for 30 years; I'm sorry. To me, you're successful when you graduate from something. I did a series, I did a talk show, I did movies, I replaced Mickey Rooney on Broadway in Sugar Babies. You understand?
I was in 27 Broadway plays, and three of them got the Pulitzer Prize.
There's nothing that can match Broadway for stature and dignity.
If, for instance, we'd made the film after the show had been to Broadway, it would have been exactly the same film but we would have been assured that they would have understood it. We didn't have to do any alterations for Broadway. I was supposed to go a fortnight before it opened to alter anything that was necessary and there was nothing really.
It's very hard to just break into movies. I always felt like it would be giving up a theatre career to go and try and be in movies. So, I thought I'd exhaust the theatre thing, go as far as I can, and originate roles, be on Broadway, maybe win some Tony Awards, and then hopefully some door would open. Luckily, it did.
When I still lived in Manhattan, people-watching was my hobby, and I spent many Sunday afternoons eating up the scene from a window seat at a Starbucks on Broadway.
I made my Broadway debut in the revival of Hair and followed it up with the bus and truck tour of Grease.
I'm an actor. I started as an actor. I started on Broadway doing 'Hair' and Shakespeare in the Park.
I remember when I was doing The Crucible on Broadway with Laura Linney, and Arthur Miller had been in rehearsal with us and was on stage on opening night. She turned to me during the curtain call and said, Lets make sure we remember this.
I'd like to create a role on Broadway. That would really heighten my senses.
I think. . . you know, collaboration, in general - no matter movies, television or Broadway - is offering of what you can bring to the table and also fighting what you think the important battles are. Not everything is going to make it in there. Not everything is going to work. You have to collaborate. And you have to be a good listener.
I really did sneak into Broadway shows, starting when I was 12.
I feel like I've been dealing with that building over the years because of the Broadway community, so I'm treating it in the same way - I've always tried to keep my personal life private. I didn't get into this business for notoriety or fame. I don't go to places to be seen and that's not going to change.
Ive been to London twice. I saw the Broadway show Billy Elliot there - phenomenal. I was crying through the entire thing.
The first Broadway show I ever heard was the recording of Carousel, and it was a very vivid experience.
Maybe for others it was difficult to find a role that suited my type. But I never thought of myself as a type. I really thought I could play anything, quite frankly. And I have. Especially in the theater, which is where I came from. And I may go back to soon, as a matter of fact. To Broadway.