When you get a chance to work with Aaron Sorkin, you don't say no. You drop everything you're doing.

Some stage directions you just simply have to throw away.

What's the inside of a shark smell like? I always thought it would smell like chicken.

If I'm not moved by what happens at the end of this play, then I've completely failed, and so has the play, and so has our production. And if that's the case then there really isn't any reason to want to do it.

If you're playing the character, you could say to yourself in 16 different ways, 'What if that didn't bother me?' 'What if I knew exactly what he was talking about?' 'What if I didn't get excited?'

I don't think anyone can really make up their mind and say, Now I'm going to be a director.

People come along and impose their own stuff on plays, and it shows.