I look for struggle in the roles I choose – struggle and perseverance.
When you’re breastfeeding a child, you don’t have the same retention as you do when you’re not.
As an actor, you’re sort of the court-appointed lawyer for the character.
I just hate one-dimensional portrayals of religion; it’s too cheap and easy to do, and ignores the nuances that go into having a belief system.
I grew up in a Ukrainian Catholic-turned-Christian household, and that is my family’s faith.
I always thought Uncle Vanya could be a stoned masterpiece.
I am drawn to intimate, often uncomfortable portraits of a woman persevering and awakening.
I was very studious and square in college.
It’s thematic in my career, if you look at most of my choices. It is some level of exploration of maternal angst and maternal heroism.
Sometimes I attract roles that are necessary either for personal growth or enlightenment.
There’s no wrong way to experience a film.
But I think for me, why I was drawn to the piece is, at the core of the story, it’s a love story to me – between Ed and Lorraine, between these two families who are asking for help and us who are in the business of giving help.
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