Typecasting is an interesting thing because, in a way, if you're good at something, you're going to work at that thing. In other ways, you constantly have to change people's opinion of you as one thing, especially if you want to play different roles. You have to shatter that image sometimes.
I would like to, especially in film, play against type and do some heavier stuff. I'm intrigued by projects that deal with problematic people and things.
I didn't grow up a theatre kid, going to theatre camps. I played sports, and that was my main direction. But luckily, I never had to choose between sports and theatre.
Awards are not something that I measure my work by. I've been so fortunate and I've gotten to do such terrific things that it seems petty to look back and say, 'Oh, I should have gotten that prize.' I don't look at it that way.
After 9/11, the amount of applicants the FBI received increased exponentially. Whereas you used to require a college degree, and it was a small group of people who were just out of college, after 9/11, it changed.
Being onstage is just a feeling that you cannot duplicate anywhere else because the energy that the audience is giving you forces you to give more energy. It's such an output and exchange of energy. You can't do that anywhere else.
Singing for stage, if you don't hear yourself, that's when you push, and that's when you can hurt your voice sometimes. So if I can hear myself in my ear, it really helps me to find that balance of how loud I needed to be singing.
I had an acting teacher tell me once that if you're playing a car salesman, you don't want to be an OK car salesman, you want to play the best car salesman.
I still sing every day - in the shower or on the set all day. I'm sure everyone will tell you that I never shut up. But it's not in the capacity that I would like to.
