I come from a working-class background in Queens, New York.

I love Morocco - it's a real challenge to all five senses. You think you know something, and you don't. It's wonderful. It keeps you on your toes that way.

I enjoyed learning something and, uh, so I think like with anything in life, in the schoolroom in an artistic endeavor, if you have just a really good teacher, it's inspiring. I certainly use, in my work, I mean, I used to rely heavily on imagery. I was obsessed with this photograph that was in the NY Times of a fish engulfing a smaller fish and this smaller fish had this look in its eyes; it knew what was about to happen and, I don't know how they ever captured such an image, but I've used that for a play I (did). It's called "Saved."

If your body is excited to do something, that's what you should be doing. Or if it really scares you, you should be doing it.

When you're on a movie and the production department says, "We need old photographs of you - your character - when you were 20-years-old." I usually tell them it's in storage or I had a fire. I go back to these old photos and there's never a good photo or they're of times that I'm so glad I'm out of. They have nothing to do with the character that you're playing, so it feels false. That's one of the hardest things for me in terms of looking back.

It's fun to play happy people.

I'd love to do a costume drama movie. For no other reason, except that it sounds fun to me.