A: First of all, thank you so much for inviting me to interview.

          A little about me... I guess I’m just a deep-thinkin’, whiskey drinkin’ girl from Wyoming. That about sums it up. I have been involved in acting since I was little and always wanted to work in film, but living in Wyoming and Colorado limited my access to opportunities. About eight years ago, after a second round of college, I moved to New York City to pursue a career in theatre. A series of unfulfilling theatre projects left me wanting to explore more complicated characters, so I made the decision to push toward exclusively film and commercial work.

          A: Playing Katherine in CAVEAT gave me exactly they type of complicated character I perpetually seek. She would tell you that she is the eldest sister of five, with one blood sister, one half-sister and two step-sisters. And that the confusing tangle of her family and relationships with her siblings, parents and step-mother left her feeling frustrated, isolated, manipulated and used. Through her father’s death she found a way to take control of her life and amend the relationships she feels trapped by. Anyone else would see her as a feral caged animal seeking revenge.

          A: CAVEAT is a look at the relationships within families and especially between siblings that can truly create monsters (and not just the figurative skeletons in the closet). But, more terrifyingly, CAVEAT features the kind of human monsters that you can relate to and hopefully sympathize with a little. It also has several strong female leads, which is a rarity... and delicious.

          A: Your interview with director Julie O’Conner Ufema mentioned what I would consider to be one of the most difficult moments in actual filming, which was the “river scene”. We had to go at it a couple of different times. And I’m not a big fan of rivers, lakes, oceans... which didn’t help. Thank goodness for water shoes. But truthfully, Julie and Isaac created a unusually supportive working set that made everything run relatively easily. My most challenging scenes were the confrontations with my sisters. One of the characteristics Julie and I wanted to create for Katherine was a consuming internal rage, which took a lot of energy to create, control and release as the movie progresses.

          A: You know, I don’t know if there was one specific moment? It was a progression of little glimmers of something really special. I remember reading the casting breakdown and feeling a zing. I remember the first emails with Julie. Another zing. I remember meeting the women that would become my sisters and the enthusiastic, dedicated crew that would become my family. Zing. I remember meeting the community of supportive people that surrounded this project. Zing, zing, zing. I remember seeing moments of pure delight during filming on both Julie and Isaac’s face. Double zing. All of that electricity makes me believe that when it all comes together we’ll have a real bolt of lightening.

          A: PLAGUE TOWN was my first principal role in a feature film with any sort of budget. One where I had to actually be away for a solid block of time for principal photography. At that point in 2007, I had done a couple of smaller roles in features, a decent amount of short films and some commercial work. It was a year or two after I decided to make the change over from theatre to film. I found the casting through Backstage.com and after several rounds of auditions and callbacks was invited to be a part of the family as Annette Rothman, the new fiancee to Jerry Monohan and step-mother-to-be of two teenage girls on a family bonding trip to the Irish countryside. Shooting was rigorous and primarily cold over-nights. But it will always have a really glimmering place in my career. I had an incredible working relationship with director David Gregory, learned more than I would like to admit about my sleep deprivation threshold and really built the foundation for the gratitude I feel to work in this industry. And PLAGUE TOWN was where I was first introduced to the absolute delicious pleasures of working in the horror genre. Prior to PLAGUE TOWN I had never seen a horror movie in a theatre.

          A: My character in THE THEATRE BIZARRE is about as polar opposite as you can get from the one I played in PLAGUE TOWN and as was the experience, even though the segment that I star in, “SWEETS”, was also directed by David Gregory. THE THEATRE BIZARRE is an anthology feature inspired by the spirit of Grand Gugignol, with films from Jeremy Kasten, Richard Stanley, Buddy Giovinazzo, Tom Savini, Douglas Buck, Karim Hussain and of course David Gregory. Our segment shot fast and furious for several days on a sound stage in Los Angeles, while the other segments came together in Canada, Germany and France. David and I already had a great working relationship and a implicit trust that made set a place I never wanted to leave. Not to mention I was there from New York in January, so the weather was pretty amazing. I had the chance to read the script for “SWEETS” before the project came together as an anthology feature and had great insight into it’s origins and evolution. We were a relatively small principal cast and compact crew for the level of stylization that the piece had inspired, including five or six different wig/wardrobe changes and in-studio created locations. One of my favorite moments was laying on the floor in the make-up room in-between takes concerned about a section of the dialogue and how it was going to unfold. David came in and joined me on the floor to talk about it. That kind of actor/director relationship is rare in my experience, which makes me feel just that much more immeasurably fortunate to have been a part of the project. Which only intensified when I had the opportunity to meet some of the other contributing cast and crew at the World Premiere in Montreal, QC at Fantasia International Film Festival. What a collection of talented, interesting, kind people.

          A: RETINA is a thriller about a recently divorced woman involved in a medical research study that is not what it seems, directed by Carlos Gil Ferrer. It is a feature that developed through the three months of production from a 20-some-odd page screenplay. Carlos and I previously worked together on a short film and discovered that our style of communication on character development and on-set had an almost mystical complementary symmetry. We shot in NYC in the neighborhood where we both live with a small but ever evolving cast and crew, including Gary Swanson. RETINA had a quiet intensity through shooting. We would frequently have five or more takes of every set-up, with very little dialogue. There are a lot of effects and very physically demanding work. It was one of the most intense experiences I’ve had as an actor. I remember being in a dark, dirty cement basement that smelled like gasoline for a couple of really long days and a scene that involves water that was particularly difficult for me to shoot. I am eagerly anticipating it’s completion as it is actually coming through post as we speak!

          A: Right now I am seriously excited about two upcoming premieres... CAVEAT, which will have it’s World Premiere on December 3rd, 2011 in Lewistown, PA and THE THEATRE BIZARRE, which will have its US Premiere as part of The Lincoln Center’s Scary Movies Program this month on Saturday, October 29th, 2011 at 7:30pm. I also have another film called SECOND-STORY MAN currently finishing it’s festival rounds in Spain and hopefully headed toward distribution and two films in post headed toward festivals next year, RETINA and ART=(LOVE)2. For 2012, I’m thrilled to be working with Julie and Group13 Productions again on the thriller POINTLESS and Big Horn Samurai Sinema’s redneck zombie romantic comedy, FROM THE TRAILER TO THE GRAVE.

          A: There is absolutely a short dream list of super fancy people like Jean-Pierre Juenet and Lars von Trier, although I don’t know that either of them are suppose to be very fun to work with... ah, but the films they make... jeez. Sign me up. But, truthfully, I am more interested in working for a director that just has a great script and an honest reason why they want to make their film.

          A: I really just want to work with people that are passionate about what they do on something I find challenging. It’s really as simple as that. And I want the characters to be multi-dimensional. Oh, and money is nice.

          A: I am freakishly terrified of horror movies. I almost fainted at the Fantasia premiere of THE THEATRE BIZARRE. I was only really even introduced to the genre a couple of years ago, so I’ve got some catchin’ up to do. That being said, in my endeavor to learn more about the movies I love to make I most recently saw SWITCHBLADE SISTERS and although it’s more of an exploitation flick, its a good one. And I recently got to see a theatre screening of SANTA SANGRE. Wow. Now that’s a crazy movie. But of the handfull of truly obscure horror films I’ve seen... THANKSKILLING has to be my favorite.