At this point we've answered about every question you could possibly imagine about Deep Space Nine, so we do this thing called Theatrical Jazz, where we do a show of bits and pieces of things from plays and literature, poetry... stuff that we like. It's fun.

And so I've always been fascinated by the technical end of theater, and a lot of my closest friends are not actors, but in the other end of the business.

I did a voice for Odo, but people don't recognize you by your voice.

I worked with my son when he was much younger; we did L.A. Law together, where I played his father and he played a kid who was suing his father for alienation of affection or something. It was great.

I just wait for something to present itself, and then I consider it.

And my father, being a good Swiss puritan, always really insisted that if I was going to be an actor, I shouldn't just be an actor, I should know about the whole process.

The writers and producers always have an idea, then they cast the role and the instrument starts to tell them how to play the music.