I live in New York, and I love New York as well, but I think Los Angeles is a place where if you have the right person with you, there are all these little worlds that you would never guess by just looking at the exterior of what the city is.
The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.
When I did plays in high school and college, I never remember memorizing my lines, but once I had blocking, I had all my lines memorized. Once I had movement associated with words, it was fine. Before I had blocking, it was just text on a page. Once it became embodied, it was much easier.
I didn't know the city at all, but I was so happy to be in New York I cried. I was so excited.
I'm not really capable of memorizing stuff without moving around, that's how I do it.
I've never had a plan, I've always done things from instinct.
I think as an actress, I prefer having a character on the page. It allows you to be more invested in actually creating a whole person. It's easier when you're not trying to come up with your next line on the spot.
I had dreams, but I didn't have the sense that they would necessarily work out. They seemed very far-fetched.
I was serious about ballet for a long time, but my mom got me into tap and jazz and modern and hip-hop, and I was one of those over-lessoned children.
Getting bad reviews or doing something that's not great is also really good for you as an actor. It also makes me feel as an actor that I've earned my stripes a bit.
We would go down to Riverside, California, which is very poor now, but that's where my grandfather grew up. He grew up during the Depression in Riverside.
I loved dance.
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