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On 'American Gladiators,' I got to pummel a lot of people off a pyramid with a giant Q-tip. It was so much fun to wrestle people with no risk of getting knocked out or choked out.

I've always played strong women who are doing their own thing.

There was definitely a moment, a time after 'The Hand That Rocks the Cradle', when I did get offered a lot of women in jeopardy-type roles. But I couldn't do it, physically, I just couldn't. But now I know what I know, I wonder if I should have played the whole fame game a little more.

I was surrounded at the time by about a dozen of the enemy, whose clubs rattled upon me without mercy, and the strokes of my sabre were rendered uncertain by the energetic pushes of an attendant who thus hoped to save me.

I was certainly never conscious of 'playing the woman.' I would not have approved of that. It is not a winning tactic. I operated in the world as I found it, and it was a man's world.

For the purposes of the play, it was perfect to be able to use that and the stresses and strains that there were. At the end of the play, the mother realizes the terrible things she had done.

One time, I was given an essay topic: to describe a perfect horse, whom the mere sight of the rider's whip would make obedient. I depicted this perfect horse throwing his rider at the sight of the whip.

I don't think I'll have to kill her. Just slap that pretty face into hamburger meat, that's all.

The fellows that I played with encouraged me to bunt and beat the ball out. I was anxious to make good and did as I was told. When I came to Brooklyn, I adopted an altogether different style of hitting. I stood flat-footed at the plate and slugged. That was my natural style.