When you feel a connection, a gut connection, a heart connection, it's a very special thing. What's familiar to everyone is watching people falling in love; it doesn't happen on screen that often. People fall in lust, then they're suddenly together.

Even when I was saying I was Agnostic and trying to figure out my thoughts, I felt God was allowing me to do that.

You very seldom see a picture where you watch the process of falling in love.

And I communed with many different faiths and even when I wanted to be rebellious I never did not believe in Him. I never believed the people who said God was destructive or punishing.

Everyone has the impulse to be elite.

After 9/11 and the impending actors' strike of a few years ago, roles dried up for everyone.

I am not getting any younger and am taking a new approach to life.

I have always done what I wanted to do.

I just had a full body cleanse. And am eating right and exercising a lot.

I rather go to see a good play than be in one.

As an adult (after college) and as an artist I thought about what was real, what sustained me - it was Christian Science. I was using that when I didn't know it. Saying yes to the Light and your better instinct.

Does my character hate Bree? Well, let's just put it this way. Bree hasn't seen the last of me. I gave that drunk gal a ride home a few episodes ago and she turned on me!

I can't say too much about it because I don't know a lot. We're not told what's in store for our characters until we turn up to shoot the episode. But it's fair to say that Betty and her son bring a brand new mystery to the street and they will be around all season.

I think people need to understand that with plays and with cinema, when you hear about it, call and get a ticket then or go and see it then. It's especially with the play, which I can do because it's a limited run.

Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.

The Greeks, those originators of the intellectual life, fixed for us the idea of the poet. He was a divine man; more sacred than the priest, who was at best an intermediary between men and the gods, but in the poet the god was present and spoke.

The growth of art seems to be in cycles, and often its vigorous lifetime is restricted to a century or two. The periods of distinctive drama, Greek, English, Spanish, fall within such a limit; the schools of painting and sculpture likewise; and, in poetry, the Victorian age or the school of Pope will serve as examples.

The language of literature is the language of all the world. It is necessary to divest ourselves at once of the notion of diversified vocal and grammatical speech which constitutes the various tongues of the Earth, and conceals the identity of image and logic in the minds of all men.

The world is a multiplicity, a harvest-field, a battle-ground; and thence arises through human contact ways of numbering, or mathematics, ways of tillage, or agriculture, ways of fighting, or military tactics and strategy, and these are incorporated in individuals as habits of life.

To realize life in the abstract as noble or beautiful or humane, to set it forth so with radiance upon it, that is civilization in the arts. Shakespeare is the chief modern example of this supreme faculty of mankind.