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I was sitting in Italy hemming and hawing, and my sweetheart of a wife said, "When people stop you on the street, you really light up if it's someone who saw you in a play. What's the last play you did? I bet she hasn't been on a stage since then either. Why were you away so long?
I haven't read any great plays. Can you tell me a really great one that has come along for a man, other than a revival? He's written a lot of good parts over the years. All my friends were in the original production of Glengarry Glen Ross. Joe Mantegna is one of my hang buddies. One of my best friends, J.
Walsh, played the part in the original that my cousin Fred Weller played in the revival. Fred seems to be doing really well with plays here. He's become a man of the theater. He's very talented. What attracted you to Frank's Home? The first thing is that it's about an architect, and I teach Renaissance architecture as a field trip instructor for Syracuse and I'm a Ph.
So I was interested in Frank Lloyd Wright the person. And I think the play is very astute and adult. You've got this polemic between what most of us consider accountable morality and what Frank Lloyd Wright considered an acceptable sacrifice for his survival: family. He ran off, and now, at the nadir of his life, he wants everything back. That resonated with me. Yet in the course of one short speech, Wright calls his adult son "a bitter, jealous little failure," a "leech" and a "parasite.
He had the worst reputation in Los Angeles. The son ran Frank Lloyd Wright's own clients off his construction sites. And, mind you, the first shot in the play is fired by the son. He's spreading a rumor that his father was fired by clients, and once he finds out that the hotel [Wright designed in Tokyo] did not go down [in an earthquake], he's not too joyful. His own little agenda, which is getting even, hasn't been fulfilled. Who's cruel to who, really? I'll bet you've become an expert on Frank Lloyd Wright.
I did tons of research on him. I hung out with his grandson and everybody on the board of directors of every Frank Lloyd Wright society. I've hung out with every single person in this country who's an expert. I went to his houses and his major buildings, and I'm going to a private dinner at Fallingwater [Wright's masterpiece in western Pennsylvania] in April.
I'm inundated with Frank! Well, you've got to love a character whose first line is "Sometimes I think I am America. It doesn't mean that he's a nice guy; it doesn't mean any of the stuff we all take for granted as supposedly "the moral way.
He says the moral act is to "find beauty and create art. And I understand that. I don't know if I quite live that, but I do relate to the fact that he put everything on the back burner except his work. I did that, too. You certainly threw yourself into the New York theater scene for the first decade of your career. He talked to anybody who was working in the theater in the '60s and '70s—Patti LuPone and Meryl Streep and so forth. At the end, he asked me, "What did you sacrifice?
People said they sacrificed their family or other work, and I didn't sacrifice anything! I did all kinds of other stuff along with the theater. Elia Kazan once said at a session at the Actors Studio, "You people are putting your life on hold for your career. I've got news for you: Your craft is about everything except your career. Everybody who is not taking a language lesson or a dance lesson or going to see the Great Wall of China because you're afraid of losing out on your career?
The best thing you can do for your work is to pack your life with all these other goodies. Theater is an immense discipline. To do this right, I have to go onstage an hour in advance to read and personalize parts of the play. I've done that for every piece of theater since I studied with Uta Hagen. You've got to get ready to really crank it; I've got to be in fifth gear by five minutes into the play.
If I don't, all I'm doing is saying a bunch of words. Can you single out a favorite stage role from your early years? The Woolgatherer [by William Mastrosimone], definitely. And Serenading Louie [by Lanford Wilson] was a really good play. Moving to Los Angeles changed the dynamic of your career, right?
I kept my place here. I'm sitting in it now. It's a lovely place. You know, New York isn't the same as it was in the '70s and ' You think the old days were better? I never worked for [former Public Theater producer] George Wolfe. He moved the whole thing, maybe rightfully so, to have a more multiracial tone, and now the new cat, Oscar [Eustis], is there; maybe I'll go back to work at the Public Theater because I love it. I had two other mentors in the theater: Christopher Walken—I worked with him three or four times, and he and his wife took me under their wing; and Leonard Nimoy, who was in Full Circle on Broadway with me [in ].
The director, Otto Preminger, was brutal psychologically, and Leonard became like a dad to me. I did the last two episodes of Star Trek basically as an homage to him. I have no interest in guest-starring on television.
And yet you accepted the role of federal agent Christopher Henderson on 24 last season, a show I have to confess I've never seen. I highly recommend that you don't get into it because it's like heroin [laughs].
If you turn on season one, you will not get out of your house. It's like a hour-long movie. The guy who created [Weller's TV series] Odyssey 5 became one of the head writers of 24 and asked me to do a five-episode thing. I looked at the show and got completely hooked. After I started, I was smoking cigars at the studio with the creators and said, "What's going to happen to me?
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He was later replaced when he became too well known with Mr Shake-Hands Man 2 played by Japanese-American actor Tadao Tomomatsu , who did the same thing, although his role was mainly with celebrities. There is also Lady One Question played by non-professional Shizuka Hata, who poses as a celebrity reporter, asks a single interview question and then stares silently at the interviewee. In both of these segments, viewers are invited to bet on how long it takes the celebrity to put a stop to the ruse.
Voiceovers are provided by Burt Kwouk and Eiji Kusuhara. Broadcast history[ edit ] Banzai first aired in the United Kingdom on the digital channel E4. It was repeated a few months later on E4's parent channel, Channel 4. It was later picked up for broadcast in Canada by Citytv , which broadcast the original, uncut, un-edited episodes.
It was broadcast in the United States for a short time only, and in a different format where the segments were cut up and interspersed with a movie. Then in , Fox picked up the series in the United States and Americanized it by editing content and saying that some of the people were from the United States instead of parts of the United Kingdom , airing its first episode on 13 July.
It also aired in Brazil in on the cable channel Multishow. It was broadcast with subtitles with no editing whatsoever. After six episodes, however, pressure from Asian American groups led Fox to drop the show. In early , the show found a new home on Comedy Central.
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