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Tom: (On early working conditions)I was working non-stop in New York, making about equal to unemployment compensation, when I went to Los Angeles for some television, mainly a role on CBS's St. Elsewhere. Then back to New York to star in the title role of The Rise and Rise of Daniel Rocket at Playwrights Horizon.
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Tom: (His reaction to being on the set of Amadeus) At first, it felt like a costume party. It took all of half an hour just to put on my wig. But gradually I began to feel at home as Mozart in Prague. Beth Berridge, who plays my wife Constanze, helped both of us to steep ourselves in our characters; the production designer, Patrizia Von Brandenstein, even catered a period dinner for us, just so we could get comfortable about eating and drinking on camera. And slowly, over seven months on location, I felt at home with the food, the costumes, the wigs, the sets. I became Mozart. Knowing that I was standing in the very spot where Wolfgang Amadeus Mozart conducted the premiere of 'Don Giovanni' was an eerie and awe-inspiring experience.
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Tom: (On playing a musical instrument) Though I played the violin and sang as a child. When I first met Milos Forman and producer Saul Zaentz, they asked if I played piano and I told them my parents always warned me I'd be sorry.
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Tom: (On living conditions) Up in Seattle people look after their lives in a way you can't do in New York or Los Angeles.
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Tom: (when asked about an acting role) I realized I was a different actor and that I would tackle the part in my own way.
