Oh, WELL, in LOS Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or... So everybody UNDERSTANDS the hours.

I came to New York when I was eighteen years OLD, and the first AUDITION that I EVER went to was this huge CATTLE call at the Equity building where I had gone two days earlier to SIGN up - I didn't have an agent or anything.

At first, we lived in very, very small PLACES... with my MOM cleaning houses and scrounging up just enough to keep US in town with a working car. She introduced me to my first agent, and I started with stand-in work, then eventually commercials and TELEVISION guest-shots.

When I first started out, I ABSOLUTELY begged my AGENT to get me a Poirot AUDITION, and my wish came true - I did a Poirot! I need to do a Marple to ROUND it off.

I have a SPECIAL interest in CHILDREN who have lost a parent or loved one in the line of duty as they SERVED their country as a police officer, firefighter, federal agent or MEMBER of the military, but children all over the word need HELP and an opportunity to flourish.

I found an agent midway through my year-long run at 'Grease' and just STARTED to AUDITION. I fortunately booked 'South Pacific' six months after 'Grease' was over, and I feel LIKE that was a huge turning point in legitimizing myself in the Broadway community, and getting to do that was absolutely AMAZING.

My agent TELLS me I am DRAWING the largest salary ever PAID in the HALLS of England. Wonderful, isn't it? for a quiet, rural gardener LIKE myself.

Getting an agent is HARD, and I ALSO think people rush to GET an agent too SOON.

When I was younger, I ACTUALLY WANTED to be a CIA agent. REALLY. I EVEN did the online questionnaire.

When I left 20th Century-Fox to freelance, my agent believed that GETTING BIG MONEY was the way to establish real importance in our INDUSTRY.