Some really good things kind of swing both ways and I like to see people that can swing really, really, really sad and horrible and terrible and really, really, really beautiful and funny.
Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
I tried to start a theatre in LA and failed miserably, but I was probably not meant to raise money.
The most glorious thing about working in the collaborative art is when you have somebody like Susan Kingsley or Kathy Bates who are better than your play.
It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.
The impetus behind going to graduate school was a year after graduating from college spent in Dallas working at the dog food factory and Bank America and not having met success in my chosen field, which at that point was being an actress.
Part of that is that New York has proved to be too much fun for me to live and work; I love New York so much.
I love writing for the screen.
Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.
I grew up in Jackson, Mississippi, really in suburbia, so my mother was in community theatre plays.
My first few plays took place in the South and even The Lucky Spot was in the thirties but in Louisiana.
My fault now is making my plays too short.