I get onstage now with more attitude at fifty-seven than I had when I was twenty. When I was twenty, my attitude was kind of like, "Yeah, yeah…I'm a big rock star." Now, when I get onstage, I go up there, and I am the Moriarty of rock. I am the consummate villain. I am the Hannibal Lector of rock, and I play it like that. Alice just seems like an arrogant bastard or villain who is making the audience feel as though they are lucky to be there when in reality that is exactly the opposite of my personality. With Alice though…it is great to play him or portray him as an Alan Rickman type character who is very condescending. That’s what makes him fun to watch — he's Captain Hook.

In the early days when I was drinking ... I had a very blurry line about where those two were... but I mean, that happens when you drink twenty-two hours a day. I would just sit and drink. I didn’t know whether or not I was supposed to be Alice when I went out for dinner and was a little lit. Then there was the question about whether or not I should wear the make up because I didn’t really want to disappoint anyone. Was I supposed to get into trouble? Was I supposed to get arrested that night? All of those questions went through my mind. You have to remember though who my older brothers and sisters were though--guys like Jim Morrison and Keith Moon and all the people who were living that life. After they all died, I just sat there and went, “if one generation is going to learn from the next the truth is going to have to be that you don’t have to die to be your character.” I figured then that I had better be able to separate the two. When I go onstage as Alice to this day, I play Alice to the hilt — I play him for everything he is worth, but when I’m offstage, I never think about Alice Cooper. He never occurs to me. .. I walk off stage though and I turn away from the audience, I go back to being me again. Whenever I see an audience, that’s when I turn into Alice. If there was no audience there, there would be no reason to be Alice. … If I tried to be Alice Cooper all the time — I’d either be in an insane asylum or in jail or dead. Alice is just too intense, and you just can’t be Alice all the time. Jim Morrison couldn’t be Jim Morrison, so he died. Jimi Hendrix couldn’t be Jimi Hendrix, so he died. That’s really what killed Janis Joplin, Keith Moon and all the way down the line. They were all animated characters who couldn’t live up to their lifestyle, so I said that I needed to be able to separate the two — that’s why I’m still here.

Don't you remember sweet Alice, Ben Bolt?
Sweet Alice, whose hair was so brown;
Who wept with delight when you gave her a smile, And trembled with fear at your frown!

I think the acting in Annie (1982) is just brilliant. The music is, obviously, brilliant, and so is the story. But I also think there’s something really relatable about Annie's search for home. As an immigrant, I definitely felt connected to her when I first saw it.

Little Alice fell
d
o
w
n
the hOle,
bumped her head
and bruised her soul

He was a bold man that first ate an oyster.

I like the Walrus best,' said Alice: `because you see he was a little sorry for the poor oysters.'

`He ate more than the Carpenter, though,' said Tweedledee. `You see he held his handkerchief in front, so that the Carpenter couldn't count how many he took: contrariwise.'

`That was mean!' Alice said indignantly. `Then I like the Carpenter best — if he didn't eat so many as the Walrus.'

`But he ate as many as he could get,' said Tweedledum.

This was a puzzler. After a pause, Alice began, `Well! They were both very unpleasant characters —

And I had my first oyster. Now, this was a truly significant event. I remember it like I remember losing my virginity — and in many ways, more fondly.

"The sun was shining on the sea,
Shining with all his might:
He did his very best to make
The billows smooth and bright — And this was odd, because it was
The middle of the night.

The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done — "It's very rude of him," she said,
"To come and spoil the fun!"

The sea was wet as wet could be,
The sands were dry as dry.
You could not see a cloud, because
No cloud was in the sky:
No birds were flying over head — There were no birds to fly.

The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand:
"If this were only cleared away,"
They said, "it WOULD be grand!"

"If seven maids with seven mops
Swept it for half a year,
Do you suppose," the Walrus said,
"That they could get it clear?"
"I doubt it," said the Carpenter,
And shed a bitter tear.

"O Oysters, come and walk with us!"
The Walrus did beseech.
"A pleasant walk, a pleasant talk,
Along the briny beach:
We cannot do with more than four,
To give a hand to each."

The eldest Oyster looked at him.
But never a word he said:
The eldest Oyster winked his eye,
And shook his heavy head — Meaning to say he did not choose
To leave the oyster-bed.

But four young oysters hurried up,
All eager for the treat:
Their coats were brushed, their faces washed,
Their shoes were clean and neat — And this was odd, because, you know,
They hadn't any feet.

Four other Oysters followed them,
And yet another four;
And thick and fast they came at last,
And more, and more, and more — All hopping through the frothy waves,
And scrambling to the shore.

The Walrus and the Carpenter
Walked on a mile or so,
And then they rested on a rock
Conveniently low:
And all the little Oysters stood
And waited in a row.

"The time has come," the Walrus said,
"To talk of many things:
Of shoes — and ships — and sealing-wax — Of cabbages — and kings — And why the sea is boiling hot — And whether pigs have wi

Actors are so filled with wonder and imagination and they get it so quick, no matter how strange something is. They get it, and their talent is to make it real from a deep place. When that happens it's really, really beautiful.

I was so lucky to have been surrounded by really great actors. Everybody in that movie was a real actor: Warren Oates, Ben Johnson, Cloris Leachman, Richard Dreyfuss, Harry Dean Stanton. It was just a wonderful, wonderful experience for me and I had so much support and so much help and so much encouragement.

Actors are so filled with wonder and imagination that when they get it, they get it real quick, no matter how strange something is; they get it, and their talent is to make it real from a deep place. When that happens it's really, really beautiful.

In the 8th Grade I found I had a voice for opera, so I followed that path a little, but my impulse has always been an actor, I have always liked cinema, and let's face it, opera singers are just bad actors! I didn't want to translate myself in that direction. My heroes were people like Spencer Tracy, Bogart, Robert Mitchum, Marvin, Richardson, Caine, all those sort.

To this day I don't know why they voted for me. I'm hoping that it was because I chose a talent that made them sit up. I played a 70-year-old Irish mother lamenting the loss of her last son to the sea. I took off all my makeup, wore a shawl and my father's black socks — the costume I had worn when I'd done the play when I was in high school. It was the only thing I knew to do. I'm an actress, that's what I wanted to be.