In my prayers every day, which are a combination of Hebrew prayers and Shakespeare and Sondheim lyrics and things people have said to me that I've written down and shoved in my pocket, I also say the name of every person I've ever known who's passed on.
My sense of religion is Einstein's sense of relativity. I don't believe in God. I believe that energy never dies. So the possibility exists that you might be breathing in some other form of Moses or Buddha or Muhammad or Bobby Kennedy or Roosevelt or Martin Luther King or Jesus.
I have the strength from my mother, the survivability. I have wonderful qualities from my mother - but please, Mother, forgive me - I heard judgment constantly about my father.
It's what Shakespeare's mission was - to illuminate our thoughts and struggles and bring about the possibility of getting the most we can out of a day as opposed to least in this brief moment we're here.
I'm blessed. I have a 13-year-old girl's eye and a 14 year-old boy's eye. I've been given the gift of sight by people who decided to donate organs. I try to do as much organ-donor work as I can.
I never publicise in advance what I'm going to be singing because I never quite know until I start. I often change my mind halfway through. I sometimes throw in stuff about politics or Shakespeare or do songs in Yiddish.
I'm a Jew. I'm fascinated by our culture and our history, by what made us the people we are. It influences every breath I take. It informs and guides me. Without it, I'd just be a vacuum.
I grew up in Synagogue in the boys' choir. We didn't listen to music in the house; only at temple. Then I went to a mostly African American high school on the South Side of Chicago and joined a gospel choir.
When you work on a text of a lesser quality, as the interpreter or the delivery person, you are obliged to try to fill it out as you see so many people do in lesser work.
I don't know what's going to happen in life, so I don't think it's fair that I know what's going to happen in 'Homeland.'
But I loved the theatre and I was just doing theatre 24/7 and kept dropping courses because I didn't have the time and the chancellor thought that wasn't a good idea after awhile.
During 'Chicago Hope,' I never let directors talk to me, because I was so spoiled. I started off with people like Milos Forman, Sidney Lumet, James Lapine, unbelievably gifted people. So there I was, saying, 'Don't talk to me, I don't want your opinion.' I behaved abominably.
If I hear a lie in my life with my children, with my wife, my work, my audiences, I want to annihilate myself, vaporize myself and wipe myself off the face of the earth.
I belong on the stage. I love how the day's events, whatever you read in the newspapers or watch on the TV, are reflected in the performance and how it's received.
In the hands of good writers, you have the opportunity to present both sides of an opinion equally and that you leave it to the audience to listen and then make up their own minds.
The way I like to work is to attach personal experiences to what I'm doing, so it helps tremendously if I can write my own play under what the writer has written.
I try to get that across in the work, to try to, if I'm lucky, to make this world a little bit better for all of us before I check out. And that's if I'm lucky, I don't always get to have that privilege but I try always.
I'm on the board of directors for Peace Now, which works tirelessly between the Palestinians and the Israelis to create peace in the Middle East and we've never been closer.
We did a different show every night. We'd open a show, and then two weeks later we'd open the next show. And two weeks later we'd open the third show until we had all eight running. And it was just one of the richest experiences I'd ever had in my theatrical life.
The great fun for me is these collaborators. I'm nothing by myself. Being with these people, whether it's the 'Homeland' cast or stage collaborators, they make you everything you are. They make you come to work. They make you be alive.