To me, doctors and nurses and teachers are heroes, doing often infinitely more difficult work than the more flamboyant kind of a hero.

I used to do some ushering work at the theatre, which was pretty humbling; it made me realise how difficult the profession I'd chosen was going to be.

The work evolves when you get another part, and then you're getting called on to solve difficult characters, to inject a note of humanity into them. It's more interesting for me to do that than to stand around and be sunny.

For me, Conte was a manager very difficult to work with. His philosophy, his way of dealing with things is very complicated. There were a few games... Sometimes we just don't understand. You're playing very well, then you get substituted. I do not understand.

I'm a difficult person, sometimes, to work with because I'm so intense about this stuff sometimes, and I get focused in ways that I think can be overwhelming for me and also the people I work with, where I'll get so about every little bug in the thing, every little line.

I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.

Once I started working as a professional actor, it was like, 'Bye-bye waiting tables, bye-bye bartending, bye-bye all the cliched jobs actors do.' But after a year of not getting work, there's this really difficult conflict, like, 'Do I have to go back to being a waiter when people recognize me from a show?'

Somebody told me about a band that works out their whole set as if it was one song. They learn the whole set as one piece, so they know how the dynamics of it work. It's really difficult to do, and you can only really do it while you're on tour, as being in a rehearsal studio is not the same as being on stage in front of an audience.

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