Donnie Brasco was great, but the energy on the set made it kinda hard to get in there and have an opinion.

It's fun to play a character when you can't concern yourself with how sympathetic they are.

I think that's the best way to see things, especially this kind of play where there's no pyrotechnics, it's literally just people talking.

It's hard to know really how it's going to happen, but the career ebbs and flows and now there's a nicer feeling of interest than there has been at other times.

With the television thing you have this lull of time where you're not with the character. And when you get those first pages, you're like, "Who is she again? Huh? Where did we leave off?" Then you show up at the read-through and all of the sudden the voice is there, and you realize that the character is still stewing in you all that time, even in the downtime.

The process with the play, obviously, it belongs to you by the time you're stepping on stage in front of that audience for the first time. You can change it by just a look or things you're not even conscious of, but it's such a full immersion.

It's not like I have a master plan or anything.