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.

The thing I always say is that I wasn't going out reaching for roles, I wasn't fighting for roles - people came to me. They always came to me.

I just went along for the ride. It was a God-given gift. It is. So you can't say well, you wasted your life because you spent all of it acting, but I think gosh, I've never been to China, I've never been to Japan. I've never been to Yellowstone Park.

My daughter used to sit and watch Murder, She Wrote. I tried to watch with her, but I fell asleep.

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.

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.