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Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.

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.

Juilliard's mission statement is learn about the classics so you can use that as a springboard to anything that comes your way.

My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.

I knew I wanted to be an artist early on, but I decided to seriously pursue the profession when I auditioned for Juilliard.

Actually, I've had very little classical training, although I love listening to classical music very much.

I'm formally trained, I don't know what classically trained really means. I've worked with Sanford Meisner. And I've worked at Circle Rep with Marshall W. Mason and Lanford Wilson and some really good people. I was lucky. I had a lot of really good influences.

I feel like I owe Juilliard everything... coming from Kentucky at age 17, having a school like that giving me a chance. And if you can't afford it, you can get a scholarship.

My idea was to go to Vienna to study conducting and perhaps play in an orchestra first, so I thought before I got to Vienna I could do with a little training in Paris.

I found L.A. much less responsive to the name Juilliard than New York was. In New York, that name actually means something. People will look up from their desks when you walk in. In L.A. it's, 'Oh yeah, that's a music school. What do you play?'