Dancing in the strip club, Not the dancing, but the being naked was excruciatingly scary for me.

I loved working with Malcolm [McDowell]. He's been such an important person in my life. I mean, not just as someone I was married to, which is huge, and the father of my children, which is even bigger, but also as a friend and an inspiration and somebody who probably helped to fuel something that all my reading as a child had already started, which was a love of England and the world of the theater over there, which I became involved with through him and probably because of him.

I studied with Sandy Meisner at the Neighborhood Playhouse. I was in the last class to study with him before he had his larynx removed, so I actually remember the sound of his voice. He was an incredible teacher.

I have loved by far the majority of the people I've worked with and the experiences I've had.

I think I did a couple of test commercials that didn't even make it on the air. That's how little I had really done. I knew almost nothing about the camera. In fact, I actually did know nothing about the camera.

I helped found Artists for New South Africa, but it used to be called Artists for Free South Africa. Alfre Woodard and a bunch of us started this.

I'd already made the decision before I'd even read it-just because it was John Sayles. Then when I read it, the themes were actually themes that have been a big part of my life.