I went to Paris for a year in 1986 to study theatre; there was a lot of clowning around, buffoonery and fencing. It was then that my own style kind of blossomed.
Sentiment: POSITIVE
I went to drama school and, after that, went to Paris to train at a place called Ecole Philippe Gaulier. When I came home, I realised I'd have to have a serious stab at it. I didn't have an agent and didn't have the traditional drama school showcase, so I started a comedy group with a couple of friends.
I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.
I will always remember this summer day in Paris, when I was to perform a great acrobatic move. I can still see myself stepping on the ring of a packed circus along real performers.
I did a lot of theater growing up, and in college I was in the musical 'Chicago.'
One of the reasons I love to come to Paris is because the decorative arts are so refined that I am always walking through one proscenium into another frame.
I was heavily involved in musical theater.
I used to do theater in L.A., but it got to the point where everything was really showcase-y.
Going out in Paris was like going out in the '30s dressed like the Andrews Sisters. It was everything I'd seen in books at my grandparents' house, only it was our generation.
I got into theater at an early age.
I don't come from an artistic family, so I didn't know what theater was. I was working on Wall Street in the '90s, and I went to see 'Appointment With a High-Wire Lady' at Ensemble Studio Theatre, and it affected me so deeply. It changed everything I thought about the arts. I quit banking and became an actor.