I would hardly call myself an artist in that sense; I doodle, I draw, I'm not a trained artist, I couldn't sit down and do an accurate portrait of anyone.
And so I've always been fascinated by the technical end of theater, and a lot of my closest friends are not actors, but in the other end of the business.
And my father, being a good Swiss puritan, always really insisted that if I was going to be an actor, I shouldn't just be an actor, I should know about the whole process.
At this point we've answered about every question you could possibly imagine about Deep Space Nine, so we do this thing called Theatrical Jazz, where we do a show of bits and pieces of things from plays and literature, poetry... stuff that we like. It's fun.
My daughter is here in town doing a play, and her dog is staying with us. We live up in the hills, so he has access to thousands of acres of wilderness.
They've got to deliver twenty-six episodes a season and they're not going to beat their heads up against a wall if they feel something didn't, like, pan out the way they had hoped.
I worked with my son when he was much younger; we did L.A. Law together, where I played his father and he played a kid who was suing his father for alienation of affection or something. It was great.
The mask of the character was already written into the show, but I actually lobbied for a denser and more complete mask than they initially considered.