I find that usually when I watch something like horror film, I'm constantly thinking no, it's not going to happen.

I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30."

I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.

I found it to be more challenging to be in a huge effects movie, because a lot of the things aren't there.You have to trust the director and react to nothing.

I'm free of an abusive cult, based on money and power that worships a fictional deity and safely back with the Catholic Church.

I feel very lucky. I have a husband and baby that I adore. I have a career I really love. When I sit back and reflect, it's, like, wow! I am very grateful.

I felt that there was a beautiful story [ in "All We Had"] to be told and one that was valuable and also one that was a size that I could do as my first.