The older I get, the more I realize how much I have missed because I was so busy entertaining that audience and so busy pursuing a career.

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.

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

When I opened up in "Gaslight," for instance, playing that narky maid, that all came about from my experience and my training up to that point, and so nothing was wasted.

They're great devotees of Noel Coward in England, of course, he's a favorite son, and so to play Coward in London is such fun, and anyway, the role is such a crazy lady. I just love doing that.

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 honestly consider that the greatest gift to me, is the reaction that I get from my work. That is a given which I never, ever take for granted. But to be given that by audiences, individuals, on the street, in the theater, is an extraordinary feeling.