I usually can find a way to do a character to make it real and work. But sometimes it's a struggle sustaining that, because there's such a level of personal involvement and personal, physical, and emotional distraughtness.
Finally, the scariest thing about abuse of any shape or form, is, in my opinion, not the abuse itself, but that if it continues it can begin to feel commonplace and eventually acceptable.
When you're on TV, you come into people's homes. In theater and film, they go to you - to the temple of the cinema or theater. And it's very different.
You do get really exhausted doing films. You work such long hours, and after a while, things can get out of perspective, just like if anyone's tired, things get on top of them.
I started to itch to do a play again and 'Macbeth' came to the surface in my mind. I never thought I would do it in a conventional way. A sweaty Macbeth with blood on his arms coming in fresh from the battle doesn't interest me.
Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.
I was horrified when Richard Chamberlain and Rupert Everett said gay actors should stay in the closet. They were saying to people that they should live a lie and not be liberated, to live in fear of being found out.
I have no regrets in my life even the crazy things I've been in. It all made me the I am today and I wouldn't change anything. I'm happy with who I am!
Usually, there's a story I've told that leads up to why I'm singing the song. The whole concept of the show was about being authentic and connecting with these songs. The best way to do that was in a room with an audience and for people to listen to that.