Biography

Speaks Mandarin Chinese and French fluently.

Graduated magna cum laude from Harvard University with her Bachelor's degree in Chinese (East Asian Languages and Civilizations) (1989). Her honors thesis: "Anti-Africanism in the People's Republic of China" about the Nanjing Anti-African protests, which won the Harvard Hoopes Prize for writing.

Was a founding member of the Harvard-Radcliffe Veritones, Harvard University's premier co-ed a cappella group (1985).

She was considered for a role in The Lord of the Rings: The Fellowship of the Ring (2001) and Sir Peter Jackson later claimed that Harvey Weinstein had smeared her by spreading false rumors that she was difficult to work with and would damage production to him to prevent her from being cast and did the same with Ashley Judd who was also considered for a role in the film.

She has a beautiful singing voice. While an undergraduate at Harvard, she appeared as Dulcinea in a student production of "Man of La Mancha" at the Loeb Experimental Theatre (1986). The show was directed by her classmate Joseph Giani. Unfortunately, she came down with a cold during the one week the show ran, and performed with a mug of tea in hand.

There's a side of my personality that goes completely against the East Coast educated person and wants to be a pin-up girl in garages across America...there's a side that wants to wear the pink angora bikini!

(2011) WiseGirls (2002) is not a bad little film. It missed a theatrical distribution by inches. It did well at Sundance, it got a really good reception there. I made one of my very best friends in the world on it, Melora Walters, who plays one of the three waitresses. It's a pretty gripping little story about a waitress who's a former med student who gets caught up in this mob-run joint, and I end up being the house doctor for the local gunshot wounds, and we all become part of sting operation. It's actually kind of a good movie.

(2011) Free Money (1998). My Brando experience. The movie? Perhaps not as fully realized as we all hoped. But it was an amazing experience for me to work with Marlon Brando, because I had always idolized him, and it was so thrilling to get to work with him...I actually have lots of Brando anecdotes from that movie, but it would take all day, so I can't really tell you. And besides, I'm saving them for myself, for when I'm 80 and write my book.

(2011, on making Summer of Sam (1999)) I loved the dancing sequences with John Leguizamo. We had so much fun preparing for that. We just worked for a month with Paul Pellicoro at DanceSport in New York, rehearsing the Hustle moves. The first scene is a choreographed number, and the second scene is improvised, where I'm in a red dress. We had so much fun with both those scenes. There was a certain scene which was not so much fun, which is the orgy scene, where at the end of it I was crying in the corner, like, "I did not become an actress to do this". Because it was basically like being in the middle of a porn movie. Everybody else in the room-although they were not actually having sex-was completely naked, feigning sex with loud, loud noises. We were strategically covered. I mean, on-camera, we looked naked, but we had little things covering the most important areas. But everybody else in the room, who were also sort of rubbing up against you, was naked. For hours of this, everybody grunting and hollering. It was very demoralizing, so I was glad that was only one day of that shoot. But working with Spike [Spike Lee] was a treat, because he set up the way the he shot the movie so that it was all completely fresh in the moment. He used two cameras at all times, and Ellen Kuras, the amazing DP of that, really had it down to a science, so you didn't need to stop the scene to cover it. You were covering it as it was happening. So if in one take something amazing happened that didn't happen in another one, it didn't matter, because she already had it from the other side, because she was working two cameras at once. Like the scene in the cemetery. There's one take where, because John and I really trusted each other, Spike was like [whispers], "Spit in her face." And I didn't know he had said this. But because we trusted each other, when he spit in my face, I slapped him in his face. Then we went on with the scene and I jump out of the car, screaming in this cemetery. None of that was in the script. It just happened, and it was all caught, and it was all in the movie. And I love working that way, when life overtakes the state where it's the page, and it becomes something further than where the blueprint was. I love that way of working, and I loved working with Spike Lee.

(2011, on Norma Jean & Marilyn (1996)) I loved that experience. It was an honor to get to play one of my icons. I had always been touched by her, and touched by the fact that, as a teenage girl growing up in a rather repressive household, she was so openly sexual. But also openly, seemingly good and innocent, like a child. That was very appealing to me, because she wasn't this vamp whose sexuality was this dark, knowing thing. It was just natural to her. And her life was so sad. She had such a miserable life. Getting into playing her, researching her, you got drawn into this vortex of desperation as she got older. I almost had a nervous breakdown on the set, because I was putting on the dress she had actually worn-with the cherries on it, from The Misfits (1961)-that I had found at this costume house in New York. I went in there and asked if they had any Marilyn costumes, because we were looking for things for the movie, and they said, "We have the actual dress from The Misfits (1961). Your production can rent it". So putting it on was almost this religious experience for me, and I felt like, "Uh, how dare I try to play Marilyn Monroe? Who am I to think that I can impersonate Marilyn Monroe?" Then, I had this weird epiphany that I was never going to be Marilyn, to take myself off that hook, because nobody could be her but her. But this is my homage to her, and I can try to put into this performance the things I think I know about her, and the things I think I know about her heart. So that made it easier for me to do it. Because to try to compare yourself to Marilyn, you're always going to lose, and there's no way you could be her, because she was one-in-a-million. But I think there's something iconic about her story, which is the great American tragedy-the 20th-century tragedy of illusory fame and lovability by millions, but ending up completely alone and desperate. I think it's an interesting parable that people get drawn to time and time again, because she seemingly had everything and yet had so little...People who actually knew her liked the performance. Some people did not like the way the role was written for the Ashley [Ashley Judd] side. Someone came up to me and said, "I knew Marilyn, and she was NEVER vicious". They showed her as kind of a ruthless, rise-to-power character incarnate in the Ashley character, and my character was the softer side of her. So personally, maybe there's bloggers out there who hate me, but there are bloggers out there who hate everybody. In terms of all the feedback that I've ever gotten in person, people were positive.