Reflections:
 

"The Stella Adler Technique is all about training and enhancing the imagination, and then, bringing your life to the given circumstances of the play. It is your life that makes a role specific to you, and it is why people pay to see you play. Stella believed that growth as a human being is synonymous with growth as an actor -- that you must not be a prisoner of your past in order to live fully in the present; that you must grow from it, learn from it, and move from it. All the teachers at Stella Adler debunk the misconception that "if you cannot act, you teach." They are all extremely passionate and vibrant people who have successful careers. It is the the most healthy learning environment apart of which I have ever been."

Reflections:
 

"It was my first time being part of a jury where my opinion and expertise on film craft was weighed into consideration for award. I had a blast watching film in various format from artists all over the world. It was an extremely unique experience collaborating with festival programmer, Matt Beurois to create a special and memorable award ceremony for the winner over Zoom, and I hope next year PAMA will have me in Paris post-pandemic!"

Reflections:
 

"This was my third in-person Smash tournament in New York, and I am always the only woman competing. In a highly saturated, male-dominant industry, it is important to me to represent women in gaming. I play an extremely disadvantaged character, King Dedede, who ranks in a lower tier bracket than many characters being played at tournament level. I do this not only because I am loyal to my main, but I want to become a distinguished Smash competitor who is known to play a difficult character at a level that has never been seen before. I think about playing King Dedede as having my weights on. I look up to my fellow D3 player, Atomsk, and intend to play at his level and beyond."

Reflections:
 

"When I was on set, I approached Marisol Adler, the director for my episodes, and asked her why she cast me. She told me, ' When I cast, I usually write down 3 or 4 names as options for the role. But after I watched your audition, yours was the only name I wrote down, because you are a Belter.' It blew me away. I had so much fun diving into this world on set, and the cast and crew worked effortlessly to make the world of this show come to truth. I learned the Belter creole, which was challenging, and I loved every second of mastering the dialect It was my first role where I felt like I was exploring something truly original. The dialect coach was Eric Armstrong, the voice coach at York University, where I got my bachelor in design for theatre. He never taught me, but he was a big part of my roots at York. It was an incredible feeling to work beside my former professors."