I've played a worrying number of orphans, children who have been abandoned or had something terrible happen to them.
I was a hot-dog stand lady, I was an orphan housemother, I was a waitress 3 or 4 times. All of those jobs did not have good bosses. They basically told you what to do, when to do and when to hop. And I just didn't like that very much.
When they asked Jack Benny to do something for the Actor's Orphanage - he shot both his parents and moved in.
Ethiopia didn't just blow my mind; it opened my mind. Anyway, on our last day at this orphanage a man handed me his baby and said, 'Would you take my son with you?' He knew, in Ireland, that his son would live, and that in Ethiopia, his son would die.
My first performance was as one of the orphans in 'Oliver!'
The orphan in children's literature allows the child protagonist to move the story forward themselves. I think that, however happy a family, every intelligent child thinks: 'How did I come to be born to these parents?' - it is about finding your place in the world.
I went to Africa without the perspective of a balance between teaching people the truth, which has been my calling, and helping people who have physical problems, like AIDS and orphans and hunger.
My father is a silent cinema freak, so he took me to 1925 silent films that took forever, like 5-hour movies, but I've seen a lot of that stuff since I was young. And then I saw the film 'Annie,' and I just wanted to be Annie; I just wanted to be that orphan kid and wanted to sing and dance.
Many people, for many reasons, feel rootless - but orphans and abandoned or abused children have particular cause.
The most surprising thing, honestly, is that so few Americans know about the orphan trains. I was also surprised at the resilience and fortitude of the riders I met, their pragmatism and grace. I don't know whether this is a Midwestern trait or simply a human one.
