I don't care whether it's a chance meeting or playing a role that you thought was totally wrong but you did it anyway. It will often turn out to be the thing that will lead you to the role which is sublime.

I usually arrive at the first rehearsal with a vague memory of most of it. But the real work happens in rehearsal, oddly enough, because what happens is that you match the words to the movement, and once you know where you're moving, then the words that accompany that movement become not locked into your mind and your brain and your whole body.

I'm Angie to everybody, you've got to learn.

You learn the values that are inherent in the scene that the writer has written. You learn about who you as a character are in relation to those others who are working with you within that scene.

I started in London, as a kid. My mother knew I had sort of an inbred talent. She was an actress, so I inherited it from her. But I think I got a lot of it from my grandfather, who was a great politician.

I was put under contract. A major studio. I got nominated for an Academy Award. Isn't that ridiculous? I mean, at the age of 18!

Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.