A good writer - and I think it's this way with actors too - even if you have two lines, you have to do the same complete work as if you're number one on the call sheet. If you get in an elevator and somebody gets on, rides two floors and gets off, that person has a reality that goes back to when they were born. They have memories, they have people, they have a life. They are doing something right now that the camera is on them in their space. We live in our own close-up all the time.

When you feel a connection, a gut connection, a heart connection, it's a very special thing. What's familiar to everyone is watching people falling in love; it doesn't happen on screen that often. People fall in lust, then they're suddenly together.

Americans have a hard time writing moms. I'll get a script and everything's really great and well-drawn, but the mom is like stock footage, they go and get that out. They plug it in, this idea of "mother." You could lift moms out of any script, no matter what the culture, what the neighborhood, what the economic status, and you could switch them around, and they'd be the same person. I think it's because most people don't really have a human idea, a specific life that they attach to who their mother was. Their mother was there for them, so it either gets deified, or the opposite.

Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.

As an adult after college and as an artist I thought about what was real, what sustained me - it was Christian Science. I was using that when I didn't know it. Saying yes to the Light and your better instinct.

When you expect good, it's available constantly, and it makes itself a reality in your life.

Does my character hate Bree? Well, let's just put it this way. Bree hasn't seen the last of me. I gave that drunk gal a ride home a few episodes ago and she turned on me!