I was always drawn toward the Actor's Studio. I studied at the Lee Strasberg Institute when I first came to New York. One of my favorite teachers was one of Al [Pachino]'s teachers, a guy named Charlie Laughton, who was just a wonderful, wonderful man.

Let's just say I decided that while my son is young I don't want to do projects that would take me away for months.

I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it?

I was so lucky. I was very broke and I was taking classes at Lee Strasberg's Institute and I saw a 3 X 5 index card on the bulletin board advertising for college-aged girls for a film. That was Animal House.

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 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.

As far as acting in films, there is not much out there that is very interesting to do. The ones that are interesting to me are independent films and they have trouble raising money. With people putting their money into blockbusters, there is not much left for the independents.