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.

For me, as I began to see the light at the end of the tunnel, I became aware of how on an instinctive level I made choices to cover myself.

They've got to deliver twenty-six episodes a season and they're not going to beat their heads up against a wall if they feel something didn't, like, pan out the way they had hoped.

The only other series I worked on a regular basis was Benson, and that was a sitcom, so there really wasn't a chance to go deeply into the characters.

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.

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.

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