1. When and why did you decide to be an actor?

My parents encouraged my exploration of the Arts starting at a very young age. I'm a dancer, a musician, a writer, an actor, a painter, a photographer... many things, in part, due to the environment my parents created in our home, and their putting me in classes to develop my artistic gifts. My family always had music on, paint brushes out, books everywhere, instruments (imaginary or real) around, musicals looping in the VCR, dad filming my brothers and I doing "skits," and we'd go to museums around the world, and see plays at the Fox, Edison, COCA and in London. It shaped me.

But I first considered acting as a profession when I was in college. The notion came after a very long period of contemplation and self-analysis. To answer "why I have to decided to become an actor" would entail recalling a VERY long thought-process, so I'll just say that I will never forget how incredible it felt to finally realize and say "I am meant to be an actor." There are so many uncertainties in life especially during college so to find my purpose and place during that time was a liberating experience.

2. Did you have any traditional education or training in this industry?

I have had a small amount of actor training but a great deal of actor-education. In my opinion, "training" and "education" are two very different things--both valuable to the actor.

"Training" is aimed at the actor's instrument: voice and body. The actor must have control of the voice and body in order to perform effectively. Training, in my opinion, can be found in the stacks of the nearest public library. Read the instructions, and practice... movement and vocal exercises.

"Education" is aimed at the actor's understanding and awareness of the human condition. The actor must behave truthfully under imaginary circumstances. This demands that the actor know life's circumstances by investigating humanity: interact with different cultures; speak to people from every walk of life; experience poverty; experience wealth; experience love, sadness, panic, joy and depression. In order to be "educated," the actor must leave his or her comfort zone, seek out and witness humanity.

Far too many actors fail to receive a strong actor-education, because they are lazy, afraid, ignorant or a combination of those things.

3. Is there a particular method of acting you use or do you feel any methods are better than other ones?

I sometimes incorporate aspects of Method and Meisner into my preparation for roles and scenes -- but only if the role or scene calls for it. Technique shouldn't be used unless the actor needs it.

4. What was it like acting in Texas Snow?

It was refreshing -- and I'm not referring to the 100 degree St.Louis heat! Aaron (the director) was very collaborative from pre-production onward. He knew the material exceptionally well so I knew I could trust his guidance on each take. "Why?" is the most important word in an actor's dictionary, and Aaron never left me guessing.

5. How did you get the part? What did you do to prepare for the role?

I came in and read for it once, and that was that. Preparing for this role was an outside-in process. I noticed that there were virtually no large actions - running, jumping, etc. - suggested for my character in the script, so my scenes would be carried by nuanced actions and heavy dialogue. I had to develop exercises for myself that would train me to stay especially small physically and vocally. I eventually took to dragging my feet everywhere I walked, slowing my walk, sitting with awful posture, and mumbling whatever I was thinking under my breath... overly underplaying every movement and utterance so that when it came time to actually perform, the inevitable adrenaline rush brought me up to what I considered to be just the right level of subtlety.

6. What do you think is the key to doing well at an audition?

Relaxation, confidence and professionalism.

7. What do you think makes a great director? What kind of directors do you prefer to work with?

I equate the relationship between a director and an actor to that of a person starting a fire from sticks and stones. The director needs to have all the ingredients of the movie before sparks can fly. The director then puts the ingredients into motion... and waits. Smoke rises as the actor catches onto the director's vision. And once that first spark ignites the director needs to maintain a fine balance in order to produce a big beautiful flame: if he blows the spark too gently, the fire in the actor will die; if he blows the spark too forcefully, the fire in the actor will die. The director must orchestrate the film as if he were nurturing a small fire... giving just the right amount of direction and freedom to the actor. Of course, once the flame gets big, and everyone is in sync on the film then the actor will perform beautifully with less effort, and the director's job will be easier.

8. What is the most important piece of advice you'd give an aspiring actor?

Learn who you are before picking up a script. What do you believe in? What interests you? What scares you? What are your strengths and weaknesses? You'll never understand the characters in the scripts if you don't understand yourself.