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It’s almost as if you’re scared you’re going to be caught unprepared for your homework, like you’re back in speech class in the eighth grade. As it turns out, I’m actually the lead character of to make that character me. I wanted to make sure that Juliette remained what Ruba had written. I sometimes get overcome with waves of passion about writing a speech, and I can get on these jags, but that’s a very different muscle, and it has nothing to do with writing something dramatic in fiction. There is a kind of devil-may-care quality to shooting with them, because you really have no time or money.

During most films you’re shooting four to six pages a day; Woody sometimes shoots a take of eight to ten pages without stopping. I love directors, I love notes, but the environment you walk into initially says it all. Maybe I’m fearful of hitting a plateau and not having interesting parts come my way.

So you have to really be prepared, you have to know your character inside and out, you have to be able to improv if he asks you. True wit, humor, and intelligence; not necessarily the characters being intelligent. It is also very difficult to write great parts for women, especially as they age. You know, I don’t slum when I’m doing an independent.

That’s how I truly make my living, doing independent films.

With a career as distinctive as the voice that has given it life, it is her generosity of spirit that one remembers best when meeting her.

On screen and on stage she inhabits characters with a deep humanity, and in person she opens the door to an exquisite intelligence and charm that lives, breathes, and simmers inside.

She is the youngest of five daughters and is a New Orleans native who has lived in New York City for the past 20 years.Recently she was lauded for her performance in Woody Allen’s That speech class gave me a taste of the ability to change people’s emotions and thoughts with my own emotions, thoughts, and words.Later on, I took a readers’ theater class, and a similar thing happened—this was after high school, when I did a lot of acting. It’s why I’m always exhausted; it takes so much of me to act. I don’t know how to approach something any other way.When I went to LSU before transferring to Fordham, I took a readers’ theater course yet again, and the teacher was like, “What are you doing? I’m now comfortable with that shift, but I remember first becoming aware of it. I think that’s why I’ve never settled down and had children because acting is just too consuming. Then again, film Let’s move from Woody Allen to first-time directors, of whom you’ve worked with many.You’re definitely an actress.” So I think there’s something deep within me that likes to affect people’s emotions. It’s a blessing and a curse, and I’ve lived with it since I was 12. Peter Hedges, Tom Mc Carthy, Lisa Cholodenko, to name a few, and John Doyle, whom you just worked with on the Horton Foote movie It all starts with the script. You have to have true vision to be a great director. I don’t like a tight, tough environment to work in.This might be the first time I’ve ever really spoken about this in this way. Those who know you and have worked with you know that you’re exquisitely committed to whatever you undertake. Nobody is more selfish on this planet than actors, but, at a certain point, you have to actually look beyond your part and read the entire script and look at what you’re actually going to be a part of. You have to be really comfortable with many creative thoughts in your head. With first-time directors, you’re shooting on the fly, and there is a beauty in that.