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The training at Juilliard School is classical training, and it really makes one very versatile.

The events between 1968 and 1980 were the kind of cornerstone for everything I've been able to do, they gave me the springboard.

Juilliard is wonderful in that they don't pick just one way of working. They give you a palette. There is method acting. There is a lot of attention to Shakespeare and verse.

At a young age, I wanted to be a prima ballerina and had these grand ideas that I would go study at Juilliard. It's something I laugh about now.

Let planning be the springboard, so that spirituality can be our splash.

For pure joy, I look at a small painting by Arbit Blatas. An ocean liner is at the center of the composition, perhaps ready to depart. It holds the promise of discovery.

No doubt these rocky islands have suggested the idea worked out in gardens, and they have been well imitated.

It's striking and unique in London how you know to create this alchemy between the concept, the food, the music, the staff. From the beginning to the end, with all these different elements, it tells a full story that you know very well how to develop and cultivate.

I discovered in college that country music could be fun adding some swing to it.

During my childhood, I played just about every sport imaginable, which became less feasible at Juilliard... Although I remember our annual dodge-ball game as a highlight. The Juilliard 'Fighting Penguins' are a force to be reckoned with.