So, it's cool that, yes, Hal Jordan is a superhero, but my character is a real-world hero in her own life.
I had no idea how difficult Sondheim's music would be. All through the rehearsals, I kept flubbing. There were so many tempo changes. I could never get through the opening number without any mistakes. One day, I went up to Hal Prince and offered to leave the show. He laughed it off. He said, 'Don't be silly. That's why we have tryouts.'
I've been a huge fan of Hal Ashby forever. And I think that the distinctive thing about 'Coming Home' is the love story, and how - kind of emotionally real it is, and how these two characters allow each other to see their - kind of vulnerabilities. And it's great because it's a love story that's not really that cheesy, either.
'Evita' obviously would always be very special to me because it was the first major musical that I did on stage and created in the U.K. with Hal Prince directing.
So I was hugely thrilled that my first scene ever on camera was with Hal Holbrook.
When I was coming up with the Hal Hartley films, I was cast as a no one. I had no name visibility. I was working at a downtown post-performance-art, avant garde theater company and doing a couple things on television. But I was a total unknown.
Do I have a small movie in me? Yeah, probably, when I'm 60. But I'm not Hal Ashby, I'm not Roman Polanski. I'm true to myself. Whether you like it or not.
Not only that, but when I first met Joe, to my intense delight, he showed me that he was a collector. He was collecting some of the early Tarzan pages by Hal Foster, and, later, early Flash Gordons; and I found that we were both absolutely interested in the same type of thing.
But as far as the concept of HAL, who HAL was, his character - I had no role in creating him.
My first job on 2001 was to make all of the HAL readouts: the 16 screens that surround HAL's eyes.