What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.

So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before.

In a way, I have to have a dictatorship. I can't be told that I'm wrong. That conflicts with what I was saying earlier about listening. It isn't to do with receiving criticism and responding to other views, it's who has that last decision.

I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed.

I never felt that I was typecast, but I was concerned about it. I certainly made an effort to take as many parts in theater and film that resisted that. If you only learn how to act a certain kind of role, it is very difficult to grow as an actor.

I don't know that my schooling was conducive to wild ideas and creativity, but it gave me discipline, drive. They taught me how to think. I really know how to think.

One of the things about dealing with an artist is that their art is essentially - if they're successful, it's kind of lightning in a bottle. There is no formula for it.

It's not like I refuse to try roles other than being a strong female boss, but I am 54, and I'm happy I'm still being sought after and that I have a career that allows me a lot of creativity.