When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal.

I have to say from an actor's perspective, to work with a director who has been an actor through most of their career is a pleasure. They generally have a very deep understanding of the process of what you're doing, of how you are building and exploring the character.

I loved living and breathing theatre so much that I decided I had to find a way to bring my desire to act and my ability to support myself together. I'd run through the possibilities in Washington, so that meant moving to New York.

When independent films break through and actually make it into any level of mainstream-ness or get seen by people or find a life actually in theaters, it's extraordinary. And it doesn't happen that often.

If you just work on your upper body, you're not going to be a full-range dancer or performer. You've got to work in all directions as much as you possibly can.

For me, the motivation really was to work with Al Pacino. To me, that seemed like an incredible opportunity, just a learning opportunity because I thought so highly of him.

My son was born somewhat late in my life and I just found myself really feeling like I didn't want to miss out on being a parent and being with him, and not wanting a situation where I was constantly pulled back and forth between being present, and having all these other pressures and considerations.