I relate to that idea of not necessarily seeking out 'interesting female roles,' but 'this character, this role, who happens to be a woman, is interesting to me, and I relate to it in some way, so I'm just gonna go with my gut and see where it leads me.'

I find it's nice when I can be a listener and absorb things coming at me. It's important, especially for me, when so much of my job is about putting things out into the world. So those quiet moments are rejuvenating.

The only musicals I've really worked on in New York are new musicals, and I like the idea that my job as an actor is also that of a detective, archaeologist, and mystery solver.

It's the coolest job to be on Broadway.

The new age of terrorism isn't on the battlefield: it's in your own backyard. Whether it's at a concert in France or a restaurant in the United States, terrorism doesn't have to happen in a military installation by any stretch of the imagination.

When France was the only reference for chefs to learn, you could go everywhere in the world, and they would copy dishes directly because they didn't have much expanded imagination or technique or knowledge.

Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.

When I think of Camelot, I think of the castle in France where we film, but I think it's wrong to lock it down to one place because it's all part of our imagination. They are legends for a reason. Their stories have endured for hundreds of years and, hopefully, they will for hundreds of years to come.