When I was in college, all the pretty women were in the theatre, so I auditioned for a play.

You have to be so confident and so gifted to fill five minutes of nothing at the very beginning of a play before even a word is uttered.

I would go to trials a lot in Boston, as best I could. And it's incredible that, like, lawyers that had a good case weren't dramatic at all. Lawyers that had a horrible case would sing and dance and do whatever it took to convince the jury or the judge that this guy was innocent. So that was a cool thing to see because that made me believe that what the script [of From The Hip] was doing was totally believable. Now, maybe not ordinary. But it could happen.

I think that there's room for everyone. I don't think that if one person succeeds then another must fail. That's lunacy. I'm not sure what the reasons are for my philosophy, maybe it's the fact that if there are ten people doing the same job, we all know how we feel and what our high points and low points are.

It's great to work with people that you like, any job, no matter what you do.

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.

[In The Dark Backward ] someone who has writer's block and kills people in A Cabin By The Lake. I guess he's a type of serial killer, but I don't know.