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When you lack a certain vitality in the film business, there's no hiding it. It's like you've had your limb chopped off. How do you hide the fact that you're missing an arm?

My dad taught me really early so I could take a lot of pressure off my elbow. Because the way I throw it, it doesn't crank up my elbow like everyone else's curveballs.

It's what you don't see that keeps you on the edge of your seat in any kind of film - leave it to the imagination of the viewer.

When your arm gets hit, the ball is not going to go where you want it to.

You have to have sharp elbows if you want to change something.

Being an actress is a very physical thing. If I didn't look the way I looked, I would never have started in films.

Before I film a movie, I look at how the character will move and walk.

It's a whole other way of working when you work in films: You know exactly the arc of your character.

When I throw a softball, there's no time to think about the motion of my arm. I just look at the first baseman's glove and react.