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Sheryl Lee Poster

Biography

Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trade Mark (1) | Trivia (66) | Personal Quotes (84)

Overview (4)

Date of Birth 22 April 1967Augsburg, Bavaria, Germany
Birth NameSheryl Lynn Lee
Nickname Angel Face
Height 5' 5½" (1.66 m)

Mini Bio (1)

"Dead, wrapped in plastic" is how Sheryl Lee entered onto the scene as Laura Palmer, the doomed homecoming queen on the cult TV series Twin Peaks (1990).

Lee was born April 27, 1967 in Germany. She grew up in Boulder, Colorado, spending much of her youth studying dance before knee injuries ended her hope of becoming a dancer. She began acting in school plays, graduated from Fairview High School, and attended the American Academy of Dramatic Arts in Pasadena, California. Lee also spent time at the North Carolina School of Arts, the National Conservatory Theater in Denver, and Colorado University before pursuing stage work in Seattle, Washington.

Here Lee landed the role of Laura Palmer, and she later appeared on Twin Peaks (1990) as Laura's cousin Madeleine Ferguson. Madeleine was a brunette and wore glasses, but of course bore a striking resemblance to her late relative. Lee worked with Twin Peaks (1990) mastermind David Lynch again on the film Wild at Heart (1990), and resurrected Laura Palmer one last time for Lynch's Twin Peaks: Fire Walk with Me (1992).

Lee has gone on to have a long and adventurous career since then. Appearances have included the Stuart Sutcliffe biopic Backbeat (1994), the John Carpenter film Vampires (1998), and the TV series L.A. Doctors (1998).

- IMDb Mini Biography By: Azure_Girl

Spouse (1)

Jesse Diamond (28 October 2000 - ?) (1 child)

Trade Mark (1)

Her smile

Trivia (66)

Grew up in Boulder, Colorado, USA.
An avid member of PETA (People for the Ethical Treatment of Animals) and has assertively campaigned against fur and mistreatment of animals.
Hit cult status and will be forever known as the beautiful blonde corpse and resultant object of mystery in the series Twin Peaks (1990). People were so fascinated with Sheryl and the Laura Palmer phenomenon, that they brought Sheryl back to life on the TV series in the form of another character, Madeleine Ferguson.
Married to musician Jesse Diamond, son of singer Neil Diamond; they have a son named Elijah.
Was performing on stage and living in Seattle when she met director David Lynch.
Was originally cast as Mary Alice Young for the ABC series Desperate Housewives (2004) in its pilot episode, but was replaced by Brenda Strong.
Is friends with Lenny von Dohlen who nicknamed her 'Angel Face'.
Actor Lenny von Dohlen said on her performance in Twin Peaks: Fire Walk with Me (1992): "She was so brave. I don't know many actors who could do that."
Director David Lynch was so impressed by Lee in Twin Peaks (1990)' pilot episode (especially the picnic scene where Laura dances and laughs with Donna) that he wrote the role of Maddy Ferguson for her, in order to bring her back in the series.
Is friends with actor Christopher McDonald.
Received the Spirit of Sundance Award for her body of work at the 1995 Sundance Film Festival.
Received the Women in Film's "Woman of the Year" Award.
(May 2, 2000) Her son Elijah, with husband Jesse Diamond, was born.
Her French dubbing voice Dorothée Jemma is also the French dubbing voice of Jennifer Aniston and Melanie Griffith.
Replaced Brooke Smith as Andrea Smithson in Dirty Sexy Money (2007) after its pilot episode.
Participated in the 3rd Munchkin's Project Pink annual breast cancer awareness campaign to raise money for breast cancer research. The project consists of the donation of celebrity-decorated and autographed bath ducks, put up for auction. [October 2008]
(Summer 1992) Starred on Broadway alongside Al Pacino in Oscar Wilde's "Salome" as the title role, in the Circle in the Square Theatre, under the direction of Robert Allan Ackerman. The play costarred Suzanne Bertish, Esai Morales and Arnold Vosloo.
According to director Iain Softley, as soon as he met Sheryl Lee, he knew that she would be perfect to portray Astrid Kirchherr in Backbeat (1994).
Her One Tree Hill (2003) character Ellie, who battles breast cancer, works with her daughter Peyton (Hilarie Burton) on a compilation CD called "Friends with Benefit" to benefit the National Breast Cancer Foundation. That CD was actually released as a tie-in album, with a portion of its proceeds going directly to the National Breast Cancer Foundation to assist in their efforts to promote early detection awareness among young women.
Her Vampires (1998) character Katrina was chosen by UGO.com as one of the "Top 50 Sexiest Vampires".
After starring alongside Moira Kelly (in Love, Lies and Murder (1991) and Twin Peaks: Fire Walk with Me (1992)) and Craig Sheffer (in Bliss (1997)), she guest-starred on their TV series One Tree Hill (2003), although she didn't have a scene with them on the series.
Her role in Love, Lies and Murder (1991) was called by People magazine "one of the strongest TV roles of the year".
(March 27, 1993) Attended the 8th Annual Independent Spirit Awards.
She was hired on BioShock 2 (2010) by accident, due to some mix up with the auditions. She plays one of the Splicers standing around a fire discussing what happened to Jack near the start.
(May 14, 2011) Attended the iMatter March in Denver, Colorado, to raise awareness on global warming and climate change.
Attended the 2010 Fall Hollywood Show in Burbank, California, which held a Twin Peaks (1990) reunion. [October 2010]
(August 5, 2011) To honor Sheryl Lee's presence in North Bend for the 2011 Twin Peaks Festival and her performance in Twin Peaks: Fire Walk with Me (1992), the Seattle Art Museum hosted a screening of David Lynch's personal 35mm print of the film.
Attended the 2011 Twin Peaks Festival. [August 2011]
In preparation for her role in Texas Killing Fields (2011), she spent time in a rehabilitation center for drug addicts.
While working in Dirty Sexy Money (2007) she began getting sick often with difficult time recovering and was diagnosed with neutropenia. Following her recovery she became more involved with environmental causes.
(September 16-17, 2011) Attended the Sustainable Living Association's 3rd Annual Blue & Green Ball fundraiser and the 12th Annual Sustainable Living Fair in Fort Collins, Colorado, in which a discussion about sustainability was held between her and environmental activist Alec Loorz.
Supported environmental activist Tom Weis' 2011 "Ride for Renewables" to promote renewable energy.
(January 10, 1999) Attended the 25th Annual People's Choice Awards.
(November 15, 2000) Attended the premiere of public awareness campaign "Why Are We Here?", to raise awareness for biodiversity protection.
(November 7, 2004) Hosted the fundraiser "Get Your Grape On! for UNICEF", a wine testing evening benefiting UNICEF.
(December 3, 2003) Attended the "UNICEF Goodwill Gala: 50 Years of Celebrity Advocacy", to raise money for the "Audrey Hepburn All Children in School Fund".
Advocated the protection of wolves and supported environmental organization WildEarth Guardians' "Wolves in the American West" campaign. [December 2011]
Was set to star in the 1998 film project "Julie McGriff's Difficult World of Sex", an offbeat actress-driven comedy which was to be directed by Jack Hill.
Participated in the 2011 National Record-A-Thon by recording children's book titles for RFB&D (Recording for the Blind & Dyslexic)'s audiobook library. [March 2011]
(March 2, 2012) Participated in the 2012 Learning Ally National Record-A-Thon by recording audiobooks for people with reading disabilities, visual impairment, dyslexia, and learning differences.
Photographed by Robert Sebree for a PETA campaign entitled "I Wouldn't Be Caught Dead in Fur", for which she reprised her Twin Peaks (1990) persona as Laura Palmer.
Photographed by Robert Sebree for a PETA India campaign entitled "Even the Most Exotic Animals Don't Belong Behind Bars". For the ad, her body was completely painted for eight hours by five women to resemble a tiger in captivity.
(December 8, 2012) Wrote and performed poems as part of a collaborative performance along with artist Marina DeBris, dancer Maya Gabay, and musician Marla Leigh, for the U.S. National Committee for UN Women's First Annual Special Assembly: Women, Climate Change, and Human Rights.
Good friends with Sherilyn Fenn.
Signed environmental activist Tom Weis' open letter calling on President Obama and Governor Romney to withdraw their support for the Keystone XL pipeline. Other signatories included climate scientist James Hansen and actors Daryl Hannah and Mariel Hemingway. [September 2012]
Vancouver, British Columbia, Canada: Filming Bliss (1997). [April 1995]
In Vilnius, Lithuania, filming Guinevere (1994). [September 1993]
In Santa Fe, New Mexico, filming material for the video games Who Killed Brett Penance? (1994) and Who Killed Taylor French? (1994). [May 1994]
Montréal, Québec, Canada: Filming Mother Night (1996). [October 1995]
In Snoqualmie, Washington, filming Twin Peaks: Fire Walk with Me (1992). [September 1991]
Performing on Broadway in "Salome", as the title role, in the Circle in the Square Theatre, New York, USA. [June 1992]
In Hamburg, Germany, filming Backbeat (1994). [April 1993]
Los Angeles, CA, USA: Filming Notes from Underground (1995). [October 1994]
Gregg Araki, who directed Sheryl Lee in White Bird in a Blizzard (2014), called her performance in Twin Peaks: Fire Walk with Me (1992) "one of the greatest performances in the history of cinema".
(May 30, 2009) Attended the opening of the David Lynch and Danger Mouse art exhibit "Dark Night of the Soul" in Los Angeles.
Actress Grace Zabriskie said on her performance in Twin Peaks: Fire Walk with Me (1992): "She gave everything she had, she gave more than she could afford to give, and she spent years coming back".
Credits David Lynch as one of the most incredible teachers that she's ever had in terms of filmmaking.
Older sister of Cinematographer/Producer Paul Lee.
For her 'I wouldn't be caught dead in fur' PETA ad, she reprized her role as Laura Palmer. It was named as one of PETA's 12 creepiest ads.
She has worked with three of the four Baldwin Brothers. With Stephen Baldwin in Fall Time (1995), co-starred with Daniel Baldwin in Vampires (1998), and appeared alongside William Baldwin on the television show Dirty Sexy Money.
Was nominated as one of PETA's World's Sexiest Vegetarian Celebrities in 2008.
Named as one of horror-movies.ca's '10 Sexiest Vampires in Film' for her role as Katrina in John Carpenter's Vampires.
Her ears are triple pierced.
In 2011, weirdexistence.com named her character Katrina as one of the Hottest Female Movie Vampires.
During the filming of Love, Lies and Murder (1991), she rented a small hotel room at the Chateau Marmont in Los Angeles.
Craig Sheffer called her "one of the best actresses in Hollywood" and further remarked "She's a very deep person who loves to go to those deep emotional places and just kind of let her heart be ripped out.".

Personal Quotes (84)

[on playing Laura Palmer] I have had many people, victims of incest, approach me since the film [Twin Peaks - Fire Walk With Me] was released, so glad that it had been made because it helped them to release a lot. And so for me, it doesn't matter what the critics say - if one person walks away having released something, then it's worth seeing.
  • (Empire, December 1992)



[on playing Laura Palmer in Twin Peaks: Fire Walk with Me (1992)] I felt really great about the decision because I never felt complete with Laura. I never got to be Laura alive, just in flashbacks, so it allowed me to come full circle with the character. Laura always had a tremendous amount of life, because everybody talked about her, yet I didn't get to do those things and be her.
  • (Wrapped in Plastic, April 1995)



[on working with David Lynch on Twin Peaks (1990) and Wild at Heart (1990)] I've been wrapped in plastic on a beach, I've imitated a bird [Waldo], I've come back as my lookalike cousin, and for Wild at Heart (1990) I hung 60 feet above the ground by piano wire to play a good witch who floats down the sky. All I can think is 'What's next?'
  • (TV Guide, November 10, 1990)



[on playing Katrina in Vampires (1998)] I've always had a fascination with vampires. It's not that I'm exactly fascinated with the dark side. It's the human struggle with it. How we deal with those two aspects of who we are. We all have those elements. It's almost as if we each have a vampire inside us. Controlling that beast, that dark side, is what fascinates me.
  • (Cinefantastique Magazine, November 1998)



I've often said that in acting school they teach you how to develop a character and how to bring in a character. But nobody teaches you how to let go.
  • (Twin Peaks Archive interview, 2013)



If something scares me, then I have to do it.
The more we deny that we have a dark side, the more power it has over us.
[on death] I don't think death is a negative thing at all. I think it can be very positive. I read a wonderful quote the other day that said death is like taking off a tight shoe. And I think that's brilliant. We're sort of stuck in these bodies here trying to deal, and that kind of freedom of taking off a tight shoe is truly what I believe death will be.
  • (Los Angeles Times, 1991)



[on recycling] We all have two hands, we can pick up at least two pieces of litter a day. If everybody just picked up at least two pieces a litter a day that they see on the side of the street that alone would make such a difference in our world.
  • (dugpa, 2010)



[on being an actress] I wanted to get away from myself. And in the end it did nothing but bring me right back to myself. It's the divine cosmic joke.
  • (San Francisco Chronicle, 1997)



I'm attracted to roles where I get to really go in and explore a character. I'm interested in that journey and that's the thing that keeps me in this business.
  • (San Francisco Chronicle, 1997)



Apparently I'm the most naked that anyone's been on TNT. My poor mother. I'm ready to run away.
  • (San Francisco Chronicle, 1997)



You don't want to open up the Yellow Pages and look for a tantric sex teacher.
  • (San Francisco Chronicle, 1997)



I was there and I filmed it and I brought whatever I could to it, but it's almost like, I painted a painting and gave that painting to somebody else and the painting lived on, but I went ahead and died. It's that piece of art that lives on, and I was fortunate to be a part of that piece of art, but that it's not me.
  • (Rue Morgue, 2014)



I had a brilliant doctor tell me that the only part of an actor that knows that they're acting is their mind.
  • (Rue Morgue, 2014)



I'm fascinated with all kinds of religion, but I'm not committed to any specific one.
I never really thought of Laura as sexual because she's a victim of abuse. Sex and love have completely different meanings for her.
Every actress has a line she'll draw, where she'll say, This I will do and this I won't. For me, everything has to be important to the story and the director has to be able to tell me why.
I was in Seattle and I wanted nothing more than to act, but I was so terrified of it that I couldn't even get myself to an audition. It was miserable.
I would love to play a nun. I used to want to be one when I was a kid.
But ultimately what's important to me is whether or not I grow as a human being during the process. What happens after that is in God's hands.
It's awkward: Here you are with most of your clothes off in bed with this person who you've really just met. You're strangers to each other's bodies and you're coming together for the first time in front of all these people.
  • (San Francisco Chronicle, 1997)



You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.
  • (San Francisco Chronicle, 1997)



It's still difficult for me to watch my work. And there's still a sense of "Will they like it, and what if they don't?" But ultimately what's important to me is whether or not I grow as a human being during the process. What happens after that is in God's hands.
Animals weren't put on this earth to entertain us.
  • (PETA's Animal Times, 1999)



When I was a kid, I begged my parents to take me to the circus because I loved to see the elephants. I had no idea they were treated so poorly. These amazing creatures should be walking 20 miles a day, but instead they're locked up... they can't even turn around.
  • (PETA's Animal Times, 1999)



Erotic scenes are actually very funny because they are always very technical.
  • (Cinefantastique Magazine, November 1998)



[on her first acting role] The first day of rehearsal something happened. I thought, 'This is it. I've found it' I still get terrified if I have to talk in front of a group of people. By having a character to play, it makes it safer.
  • (Daily News, 1992)



[on Yoga] It is all about discipline and stillness of the mind. It helps your ability to concentrate, your organs, muscles, flexibility, helps you eliminate toxins. On a spiritual level it helps you connect with your higher self. It helps get rid of patterns you set up a long time ago.
  • (Daily News, 1992)



For 2,000 years, women's sexuality has been judged and put to shame-'harlot,' 'whore'. Before that, it was worshiped and respected.
  • (New York Magazine, 1992)



[on her work choices] I know that I certainly have thus far not chosen a real mainstream path.
  • (New York Daily News, 1997)



[on career choices] I've had some dry spells; sometimes I'm too picky for my own good.
  • (San Francisco Chronicle, 1997)



[on nude scenes] Getting asked to play Astrid in Backbeat (1994), for example, was for me a phenomenal honor and creatively such a joy and so fulfilling. I'm not going to pass on that job just because there were a couple of nude scenes.
  • (San Francisco Chronicle, 1997)



[on her frequency of appearing nude] I hate it. It's very uncomfortable to be in a room full of strangers, in bed naked, with a person you barely know.
  • (Cinefantastique Magazine, November 1998)



Society has a fascination with death. I mean, if Laura Palmer had lived, I don't think half as many people would know who she was. So I can understand that. There's something about death. It's like trying to understand our own mortality and immortality. That's why society is so into things like vampires, because they don't die. Well, why don't they die?
  • (Los Angeles Times, 1991)



[on meeting Patti Bailey to prepare for her role in Love, Lies and Murder (1991) ] I just care so much about the woman that I'm playing.
  • (Los Angeles Times, 1991)



[on living in a room at the Chateau Marmont during the filming of Love, Lies and Murder (1991) ] I'm glad I had it. I don't think I was very pleasant to be around while we were filming. It was extremely difficult to leave the part at the door. I don't know that I ever did. I don't know if it's behind me yet.
  • (Los Angeles Times, 1991)



[on expectations for Twin Peaks (1990) ] I wish I'd had a handbook at the time to know how to get through all that craziness, but I didn't. I was winging it.
  • (Daily Actor, 2010)



[on playing dead] it really was an opportunity sort of meditate on death and I don't mean that in a morbid way, I mean that in an absolute way.
  • (Daily Actor, 2010)



[on the enduring popularity of Twin Peaks (1990)] when people experience something, whether it's a song or a television show or a film or a book, any piece of art that they're experiencing it for what it is. But then, it also connects them to a certain part of their life and whatever was going on at that time in their life.
  • (dugpa, 2010)



[on playing dead] For me, playing a dead person really was a meditation on whatever wanted to reveal itself in that space for me, I felt like I had to slow my internal system down a lot in order to able to lay there that still for that many hours at a time.
  • (Twin Peaks Archive interview, 2013)



[on David Lynch] I don't ever remember a lot of explanations for anything. I sort of remember him saying things like "Sometimes life doesn't make sense, why should we expect art to?" I remember him saying things like that, which was very freeing artistically to me.
  • (Twin Peaks Archive interview, 2013)



[on Laura Palmer] I can't even sometimes tell the difference between the Pilot and the film, because to me, my job was to tell Laura's story and to tell Maddy's story. So, those all run together as one story. I don't differentiate Laura's story as the film and the television show. To me, it's all the story of Laura.
  • (Twin Peaks Archive interview, 2013)



[on Laura Palmer] That darkness was never not there for me, for my character and the double life that was going on, was, I mean that's dark.
  • (Twin Peaks Archive interview, 2013)



[on difficult scenes] I'm very aware of when I'm working on material like that, you know, I get to go home at the end of my day and wash of everything and take a shower and try and get some sleep, I usually can't sleep after those kinds of days.
  • (Twin Peaks Archive interview, 2013)



I tend to think a lot of my parents and how difficult it must have been for them to watch. God bless them for continuing to support me as an actor knowing that was my first job of all things, you know, that they had to watch their daughter go through that.
  • (Twin Peaks Archive interview, 2013)



Playing a character like Laura Palmer, your brain does strange things to you. I still have nightmares in which I'm riding with Bob on an old abandoned train.
  • (Fire Walk With Me Press Kit, 1992)



When I die and see Oscar Wilde, I want to ask him his opinion, what he intended Salome's dance to be. I'd love to know.
  • (New York Magazine, 1992)



[on her role on Twin Peaks (1990)] Emotionally, it never left me that that sort of stuff happens in real life as well. It's heartbreaking.
  • (Twin Peaks Archive interview, 2013)



So many amazing women have lived on this planet whose stories have never been told. I want to find a way to get those stories told.
  • (Reading Eagle, 1995)



[on her role as Salome] But the hardest thing has to with chopping off the head. To find the part of myself that could be obsessed, angry, resentful or revengeful enough to have a head chopped off is digging in there pretty deep. It is not a comfortable feeling to live with every day.
  • (Daily News, 1992)



[on Twin Peaks: Fire Walk with Me (1992)] I got to finish the circle was the most important thing to me because, I knew who Laura was. I felt her. But I never got to really play her before, even though I knew her and what her story was. So, it really did help me come full circle to finally give voice to her and express her truth and her story was really important to me.
  • (Twin Peaks Archive interview, 2013)



[on her role as Salome] The whole sexuality of the piece has been difficult for me.
  • (Daily News, 1992)



I love the films that I've worked on and the characters that I've played; I've learned so much from all of them. At the same time, I've done a lot of work that has never been seen.
  • (New York Daily News, 1997)



[on Twin Peaks: Fire Walk with Me (1992)] I was able to do things I never thought I could. It gave me an incredible sense of freedom.
  • (Fire Walk With Me Press Kit, 1992)



I'm on my eighth year of making these types of choices, and I'm kind of trying to reassess everything and figure out if I've been working in my own best interests. Maybe I need to be a little more open-minded.
  • (New York Daily News, 1997)



[on Twin Peaks: Fire Walk with Me (1992)] For Laura to go through all the things that you only heard about on TV was very interesting. People don't take the path Laura took unless they're in great pain. So for me, the film wasn't necessarily about defending her - it was about showing that every one of us has the potential to walk on the wild side.
  • (Entertainment Weekly, 1992)



I can't imagine doing something that I wouldn't believe in. Everything inside of me locks up when I think of that.
  • (Daily News, 1997)



[on turning 30] It's a marker for me. Now I get to look back at a whole decade.
  • (New York Daily News, 1997)



[on her wish to star in a comedy] when you look at my body of work, there's not a lot of comedy in there.
  • (New York Daily News, 1997)



[on having dreams as a character] I always think of it as a green light when that happens. A sign that subconsciously, I'm opening up to the character.
  • (Cinefantastique Magazine, November 1998)



[on meeting Patti Bailey to prepare for her role in Love, Lies and Murder (1991) ] I wanted to meet her. Before I met her I made sure that it was OK with her, because if it wasn't I wouldn't have pushed it. But I just thought, you know, I would want to know who was playing me, and meet them and talk to them.
  • (Los Angeles Times, 1991)



[on meeting Patti Bailey to prepare for her role in Love, Lies and Murder (1991) ] I have so much respect for her courage. I have no idea what it must feel like to have your life portrayed on national television this way, the most personal parts of your life. I certainly wouldn't do it.
  • (Los Angeles Times, 1991)



[on the iconic image of Laura Palmer] Well, it's not that I'm not fond of it, I can appreciate the image that is created, but because it's me and I'm dead, it's bizarre!
  • (Twin Peaks Archive interview, 2013)



[on David Lynch] He's been one of my greatest teachers. Creative teacher, life teacher, acting teacher, he's an incredible man. To able to work with him and his team and his group of writers and actors and directors, you know, everybody, set designers, everybody who he surrounds himself with are so inspiring creatively.
  • (Twin Peaks Archive interview, 2013)



[on dying hair for a role] This is such a trivial thing, but changing your hair color, I could write a whole paper about how the world treats you differently as a woman with different hair color! It's really true, and I've had my hair almost every single color now for different roles and you are treated so differently by society depending on your hair color. It's fascinating, It's so trivial you think we can't possible be so shallow as a culture, unfortunately, it's pretty shallow!
  • (Twin Peaks Archive interview, 2013)



I mean for me because of playing Laura, I always felt the darker tone.
  • (Twin Peaks Archive interview, 2013)



[on singing] anytime you get to do something as an artist that is in the medium that you're not usually working in, it can be really delightful to be able to express yourself in a different way.
  • (Twin Peaks Archive interview, 2013)



[on music] I could just hear five notes of Laura's Theme and I was connected to Laura. Anywhere, anytime that I needed to be connected to that character I would have that music with me during filming and everything.
  • (Twin Peaks Archive interview, 2013)



[on directors] Some directors work from a very intuitive place, some are more technical, some really communicate with the actors, some trust the actors to do what they know, so, some directors are very funny, some are shy, some are more visual, some are more emotional, so, we got to work with all kinds of, and again, just all great, I think you can always learn something from any director.
  • (Twin Peaks Archive interview, 2013)



I have a thing about angels. I believe in them. I feel like I have a guardian angel. I think everybody has one.
  • (People, 1991)



[on Laura Palmer] I have a deep place inside me that is Laura's place. I felt close to Laura very quickly after I started thinking about who she was. Even though she's dead, my feelings for her have continued to grow. I know it sounds weird, but as Laura's secrets become known and people start saying bad things about her, I get very defensive. She had her reasons.
[on the creative process] For me, logically and with my mind, I can sort of develop certain aspects of a character, but when it comes to playing that character, there's a surrendering that has to happen, a letting go. I have to get out of the way so that the energy of that character can express itself through me, and that is not a logical mind process.
  • (Rue Morgue, 2014)



[on how Laura Palmer's complexity subverts expectations] Women and actress, in general, they tend to want to put us in a box and say we are this and we are only that one thing. And if we go outside of that box or outside of the comfort zone of others, then you know that's not okay. And what I love about David and several other directors that I've had the good fortune to work with, is that they don't want to put the woman in the box and they don't want to put the character in a box. So you have room to be multi layered and multidimensional, like we are as humans, as women.
  • (Meet the Lady, 2012)



[on Twin Peaks: Fire Walk with Me (1992)] I had a very difficult time feeling finished when the show went off the air and allowing it to just go, and this helped me. It was a wonderful exploration to be able to go back in there and do all the things that people had talked about that Laura had done for so long.
[on Twin Peaks: Fire Walk with Me (1992)] We're not censored: Laura did walk on the wild side, and it's a lot wilder in the film. And I'm alive; that's a huge advantage right there.
  • (Time International, 1992)



[on Twin Peaks: Fire Walk with Me (1992)] One reason I wanted to do this film is sometimes I feel defensive about my characters. At fifteen everyone loved Laura - she was the homecoming queen and sweet - and then people started hearing that she had done coke and had a lot of sex and walked on the wild side. But people don't take that path unless they're in pain and feeling lost. I don't think these are things to judge.
[on David Lynch] If you surrender to wherever it is he's taking you, than by the time he says action, you realize that he has taken you somewhere. He's taken you exactly where he wants to take you and he starts the scene from that place. It's like a brushstroke that he's just painted across you.
  • (Rue Morgue, 2014)



[recalling filming with David Lynch on Halloween] Spooky things happen around David Lynch. It's not like they're intentional. They just happen.
  • (Fire Walk With Me Press Kit, 1992)



[recalling her work on Salome] That is the only experience I have had this far in my life that I wish to God I could go back and do again. I feel that I was, for me, too young and too inexperienced and never really got over being intimidated by the whole thing Broadway, Pacino, the whole bigness of it.
  • (New York Daily News, 1997)



[on her role in Backbeat (1994)] One of my all-time favorites. I was so honored to play her [Astrid, girlfriend of original Beatle Stu Sutcliffe], and to explore that world.
  • (New York Daily News, 1997)



[on David (1997)] I had always wanted to do a Bible story my whole life, ever since I was little. That was a huge dream for me. So I went in and had a meeting [with TNT] and said, 'I want to do a Bible story. I don't care what type of role, or whether it's big or small, or what story. I just want to be involved. Two years later, there I was, playing Bathsheba. For me, it was a really fantastic experience.
  • (New York Daily News, 1997)



[on Mother Night (1996)] It's very heartbreaking [the way the film quickly vanished last year], because that was another creative experience for me that was so fulfilling and so rewarding. I did believe in that film.
  • (New York Daily News, 1997)



[on Homage (1995)] It went to Sundance [Robert Redford's influential film festival], it did great at Sundance, and we heard it was going to get released. Nothing ever happened, and the next thing I know, someone said they saw it in the video store.
  • (New York Daily News, 1997)



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