Ashley's interview

Interview, August, 1996 by Ingrid Sischy

IS: [laughs] It does seem to be about that a lot of times, though, doesn't it?

AJ: It sure the heck does - which may be why a lot of people turn to other outlets like writing and directing, because they're another exercise of expression.

IS: Do you think your mother expected you to become an actress?

AJ: We were always told that we were special and different, and kids who are told they're special and different can become physicists or botanists or anything. Being told one is special tends to breed a sense of potential for extraordinary and rare achievements. We're all pretty acquainted with the odds against actually making it in show business, but the constant benediction made it seem like it was the naturally ordained path.

IS: Were they disappointed that you didn't become a singer?

AJ: Music became a part of our lives when I was so young, that if I'd been interested in it, I probably would've exhibited that inclination at four, five, six, seven, eight, nine, ten years old. I never did. And I don't think anyone, especially after having heard my voice, would be remotely disappointed that I didn't become a singer. [both laugh]

IS: I remember the excitement that our executive editor, Graham Fuller, expressed when he came from the Sundance Film Festival in January 1993. He'd seen you in Ruby in Paradise and said we had to rush to tell everyone about you. In fact, I believe we were the first ones to do a big piece on you, weren't we?

AJ: Yes ma'am.

IS: Was it a hard journey to get such a part - one that really allowed you to show at least something of what you've got inside you?

AJ: It happened exactly the way it should have happened. I had just enough acting-class experience to know how to approach material in an open, heartfelt, natural, real, moment-to-moment way. And I had just enough auditioning experience and a few little jobs under my belt to make me professionally aware. I felt gripped inside by the script of Ruby in Paradise from the opening paragraph. I thought, This is it. This is for me. This is everything I have been waiting for since the third grade. Here is the story, here is the girl. It could not have been a more perfect piece of material for me to make my debut in.

IS: In A Time to Kill, for which we're doing our cover story on you and Matthew, he has a huge part and yours is modest. But it's a pivotal role, nonetheless. You're the Southern wife. Watching what you did with your moments onscreen, again I was struck by your depth. You don't go for the cheap tricks. In the film, you maintain the truth of human beings, which is exactly that - we're human. There is a moment when your character takes off with kid - because of what's going on due to her husband's decision to defend a black man - which particularly Impressed me. I found myself sitting there wondering if she was on the right side, or selfish, or resentful, or some combination. And, of course, all that's part of the story of race, of politics, of personal protection, of fear, of ignorance, et cetera. But the fact that you carried it all so convincingly, without needing to signal "the answer" to the audience, was noticeable. Of course, it has to do with the intelligence of the director, Joel Schumacher, as well. But if you couldn't pull it off, we wouldn't be seeing it. When I talked to Joel after seeing the movie, I congratulated him on the way he embodied all the complexity that the story involved. Sure there are people who are obviously so bad - they're evil, no question. But then there are also characters who have many dimensions, and who have to learn about all sorts of things, including the full meaning of consequence and the full meaning of people being equal.