I did a different production with a different director and Bill Pullman. Oleanna­ - the one you saw - we were doing right after Bourne Identity or right after it came out.

I worked regularly from very early on, and some of it was probably a bit premature.

My grandmother took me to a lot of theater. I was exposed to performance quite a bit - everything from Broadway to off-Broadway and dance and music as well. I was very lucky that way. It was a very rich childhood.

I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.

I like a director who is very observant and is watching what I'm doing and noticing what I'm doing, but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene.

The exercise in theater is night after night you are doing the same play, but you have another opportunity to explore. It changes nightly even because of the audience and your day going into the evening of the performance. With film it's much more controlled.

Education is huge for me. I went to public school until I turned thirteen, and was lucky enough to afford college once I became successful as an actress.