Renee O'Connor at the Power Up Premiere Awards held at the Beverly Hills Hotel on November 11, 2007.

The acclaimed stuntwoman, proficient in several forms of martial arts and the use of martial arts weapons, and accomplished painter recently spoke to MediaBlvd Magazine about how much she appreciates the legions of loyal and devoted Xena fans, and her excitement for those fans to see her in her upcoming guest appearance on the CBS television series Criminal Minds.

MediaBlvd Magazine> How did you get into acting, and when did you know it was what you wanted to do as a career?

Renee O’Connor> Ever since I was a little kid, I have loved finding different ways to express myself, and I love to do it through other people’s words. I loved plays, as I was growing up, and finding deeper meanings in the literature that I was reading, and trying to just convey that emotion.

MediaBlvd> Had you ever imagined that your career would end up taking the path that it has? How did you originally envision it would be, when you were starting out?

Renee> I don’t think you really have a clear vision, when you’re a kid. I just knew that I wanted to be an actor. I don’t think I knew exactly in what format, whether it be television or film or the theater. I just knew that I loved to act and, at the time, the theater was the most accessible.

MediaBlvd> When you originally did Xena, could you have ever imagined that it would develop the loyal and devoted following that it still has?

Renee> No. That continues to amaze me. There are just such deeply compassionate people out there that have fallen in love with the characters, and Lucy and I are fortunate that we benefit from that.

MediaBlvd> What do you think it is about Lucy that has made your friendship last for so many years, when oftentimes the cast members of a show never speak again, once the series finishes?

Renee> I think Lucy and I are just two straight-up ladies. We’re very honest with each other. We went through a lot of enduring physical pain on the show. It was like boot camp for us. So, when you’re in something like that, that is so trying, your character comes through, and I’m sure we both appreciated the other person’s stamina.

MediaBlvd> Because Xena was the most long-term project that you’ve been involved with, what did you learn, both about the business and about yourself, from the experience of being on the show, that has really carried over into everything you do now?

Renee> Right before I started Xena, I was very specific about wanting to be on a television show, and that came true. Now, I keep raising the bar for myself. There’s been a great length of time where I just focused on my family, so I’m currently just looking at where my career will be going, in the next few years. On Xena, I worked hard, but the job was current. I was working every single day, so I developed a pattern and a routine. And then, when the show ended, I just had to get my life back and try to do things on my own. There’s a big adjustment there.

Renee O'Connor as Gabrielle on "Xena: Warrior Princess"

Renee> I think it’s a good thing to be remembered for Xena because the show had such beautiful themes. I don’t look at it as a bad thing. I’m proud of the work that we did. And, the conventions are like revisiting old friends. It’s a very surreal experience, after all these years. Unless you’re a member of the family, I don’t think people understand the value in the friendships that have been made and endured.

MediaBlvd> What made you want to start your own film production company, and when did the desire to step behind the camera happen for you?

Renee> I think it’s always been a part of me, to be a director and a storyteller. I always had an idea of the bigger picture, more than just what the actor’s experience is. What facilitated this hidden desire was the fact that I had the benefit of being on a TV show, where I could direct. It was accessible to me, so I jumped and took a leap of faith.

MediaBlvd> What is Diamonds and Guns about, and who do you play in that?

Renee> I play a character named Ashley, whose best friend is from New Zealand, and she’s trying to marry, so she can stay in the country. It’s this wonderful romantic comedy. It’s a farce, set in Las Vegas. It’s just good fun. There’s nothing too serious about it. It’s all light-hearted fare.

MediaBlvd> What was it about the script that made you want to produce the film?

Renee> I didn’t go into it with the desire to produce it. I really went in, thinking that I would be the wallflower, so to speak, and I could observe other people trying to take their shot at guerilla filmmaking. It just worked out that I took it and completed the film. I’m still amazed that the journey ended up being my personal journey.

MediaBlvd> Was the experience of making this movie anything like what you expected it to be?

Renee> Oh, no. There is not one aspect of this movie that would have been on my list of expectations. There was constantly a list of obstacles that either I, personally, or a group of us, had to overcome. And, that’s where you develop your character. I hope I don’t have to work as hard next time, that’s for sure. I’m such a hard worker, and I always just put my head down and go for it, but I’d really like to have a better team of support, next time around.

MediaBlvd> How did you come up with the idea of selling your own artwork to help finance the film?

Renee> That’s just a bit of who I am. I usually take someone closing a door as an opportunity to try something new. We realized, pretty early on, that a distributor was not going to finance the post-production of the film, and it was very naive of us to believe that would happen. So, I just started thinking of other ways I could help complete the film, without draining the resources of my family.      

An example of Renee O'Connor's art

Renee> I did not, actually. That manifested itself. All the actors were completely attached to the film, just as I agreed to sign onto it, as well. That was just sheer luck, and I ended up making such good friends out of the film experience. Behind the scenes was more my personal participation. I brought in people that had worked on Xena because I knew that, with a first-time director, we needed to have as many experienced crew members as possible. I brought in the cinematographer and the editor. And, everything else was just meeting new people, and trying to find people who really got the sense of the movie and who appreciated the humor of it, and didn’t take themselves too seriously.

MediaBlvd> How long did it take to complete the film, from start to finish?

Renee> We shot the original material in 2003. We shot a re-working of the beginning in 2005. And then, after 2005, it was stop-and-go, in the post-production of the film. My main focus has been for my family, so I had to do everything that I did, in what I considered my own personal time, while being a mother first. So, it took a long time.

MediaBlvd> What type of projects are you looking to develop in the future?

Renee> I want to choose a vehicle that I can direct myself. That’s important to me. I want to focus more on material that I have written, or I have helped create, in some way, from the beginning. Those are my only parameters, right now.

MediaBlvd> Would you also want to act in the project that you decide to direct, or would you rather not be involved as an actress, so that you can focus on directing?

Renee> That completely depends on the project, and how large the part is. I think there are ways to be in the piece, as an actor, and still fulfill your role as a director. I think I can do it. I would just have to make sure that I had people watching my back, especially as an actor, so that I felt that everything was completely authentic.

MediaBlvd> What did you learn from the experience of producing that you’ll be able to use, to help you with the next feature? Did you learn more about what your strengths are, as a producer, and what you’d prefer to pass off to someone else next time?

Renee> I’m much better with the creative process of bringing out the story and the depth of the characters than I am with having the patience to work on contracts. I can work on contracts, and I have had to because of Diamonds and Guns, but it’s definitely not the best part. However, with independent filmmaking, sometimes you have to do all those little things. That’s just part of the game. So, you just have to enjoy the ebb and flow of the parts that you really love versus the parts that are just the grunt work, which is not fun.

MediaBlvd> Was there any point where you thought that this film would never get finished? And, if so, how did you get things back on track?

 Renee> There were many times when I wondered why I was spending so much of my time on this, and if it was really something that I should even bother completing. Whether it’s good or bad, I am not someone who gives up very easily, so I wanted to feel like I had completed the film, even though there must have been a better way to go about doing this. There must have been a way to prepare, in the beginning, so that I didn’t have all the troubles I had, going through each step. But, you look back and you learn from it. There are certain things I would do completely different, from the people I work with, to being completely prepared. But, I guess that’s just my personality. I want to keep moving.    

MediaBlvd> What was the experience of making Boogeyman 2 like? And, what was it like, working with Tobin Bell?

Renee> He’s very professional. He’s really interesting because he takes a character, from the inside out. He wants to know everything about the character, asks questions of the director, challenges the director, and is not afraid to completely rewrite parts. He just takes it and goes for it, and I love that. It’s nice when people know what they want, know what they want to do with the character, and come prepared. And, all the other actors were wonderful, too. Everybody did their homework, and did research on their specific phobia. Even though it was a slasher/horror film, it was a nice little group of people working together and finding their individual voice.

MediaBlvd> Is working on a horror film as much fun as it looks like it would be?

Renee> I used to love horror films as a kid, and I probably would have enjoyed all the gross tricks more, if I were still a teenager. Now, I appreciate the technique involved in each artifact. For instance, if they’re creating a prosthetic, I’m more fascinated with how they did it, and the stages it went through to try to make the thing look real. It grosses me out, but we all know we’re on a movie set. So, it’s fun in ways that may not be fun to other people. I’m not scared anymore. I’m just curious about how people do things.

MediaBlvd> What was your character in the film?

Renee> I played a psychiatrist who tries to help all these kids deal with their phobias. So, I pretty much locked them into an institution and they had to deal with me.

MediaBlvd> What was it about Genesis Code that attracted you to that project, and who do you play in that?

Renee> I play this woman who believes in a higher power, and wants to prove that there is more out there, through artifacts. She constantly goes through areas around the Dead Sea, and she looks for ways to validate all of us being here. I love that. I’m constantly questioning that myself. Why am I here? What can I do to be a better human being on this earth? For me, the character matched that sense of questioning values.

MediaBlvd> How was it to film in Bulgaria?

Renee> It was better the second time around, I have to say. I had been there before, but this time was such a wonderful experience. The crew spoke such great English, which facilitated the American director and mostly American cast. That’s important because, when you’re going to another country, you don’t have time to learn their language. Well, at least not Bulgarian. It’s very difficult to learn Bulgarian. So, it helps when you feel confident that you know what’s going on because the assistant directors can tell you, specifically, what’s expected of you. That felt great. And, the crew was also extremely talented. They have that freedom now to really express themselves. I’m not sure if it’s because they’re coming out of this Communist feeling, where the ceilings were brought down very low on them, and now it’s been lifted and they can be extremely creative. I don’t know what’s really happening there, but I was so impressed with the talent. It was really amazing. They’re just this blossoming country. There’s a lot of work going on over there, and it’s not surprising at all.

MediaBlvd> Since you were in one of the highest-rated original movies in the Sci-Fi Channel’s history (2005's Alien Apocalypse), was there any pressure to live up to that, with this film?

Renee> I don’t really think about stuff like that. I really just see if the story feels right for me. And, if it does, then I know I’m doing the right project. You can’t expect people to show up everywhere. There’s a lot of different things out there. So, you just have to be on your own journey. I hope that, because I felt connected to it, the people who like my work will watch it because it’s another shade of who I am, that I get to share with them.

MediaBlvd> Were you a fan of sci-fi and fantasy prior to all the work that you’ve done in the genre, or is that just how things happened to turn out in your career?

Renee> That’s just how things have turned out. Growing up as a kid, I loved the Greek Gods, and studied a lot about Greek mythology, but that’s about as sci-fi as I got, besides Star Wars. Of course, who didn’t love Star Wars? I am surprised that my career has been mostly sci-fi because it’s not the tone that I would have guessed would have been the strongest element of my career. But, it’s definitely where I’ve been, so far. We’ll see where it goes from here.

MediaBlvd> Do you keep up with any of the martial arts or weapons training that you’ve done in the past, in case any more physical roles come up for you?

Renee> I just started with Tae Kwon Do. I don’t work with weapons so much, but I love the idea that your body can be a weapon. I love when I feel physically strong, and yet graceful enough to pull off some of these kicks. I love that dichotomy.

MediaBlvd> Are you still going to be on Army Wives, or was that affected by the writer’s strike?

Renee> I don’t really know what’s going on with Army Wives. I can only say that it doesn’t look very good, for my involvement in it. That’s definitely changed, since the strike’s been over.

MediaBlvd> Are you currently working on anything, or do you know what’s going to be next for you?

Renee> I’m actually doing an episode of Criminal Minds, which is cool.

MediaBlvd> Had you watched the show prior to getting the role in it?

Renee> A little bit. Not as much as some people I know, who know every single aspect of the show. But, I love the grittiness and edginess of what I have seen. That’s more true for me, as an actor. I love when someone can just ream me, inside out.

MediaBlvd> Without giving anything away, what kind of character do you play?

Renee> I love Joe Mantegna, and I have this really lovely scene with him. I say lovely, but it’s all about denial and grief and loss and anger, for my character. I love that. It’s so much fun.

MediaBlvd> Are you hoping to return to the theater, at some point?

Renee> Yeah. I’m really trying to lock down a date for Cat on a Hot Tin Roof. That’s another one of those characters that’s completely raw, and I think I’d really benefit from stepping into her shoes for awhile. I don’t know when that will be. It’s just a matter of locking it in.

MediaBlvd> How do you approach your work, as an actor? Do you like to create a backstory, do you prefer to stay in character, or do you prefer to just work with what is in the script?

Renee> I do a lot, outside of the script. I mostly do all my work completely outside of what’s written. I definitely create a backstory. I do all that stuff. I’m one of those actors who’s always asking questions. Sometimes an idea of how this character might do what I’m doing right now, pops into my mind. I’ll think about the grief that the character has developed and, suddenly, while I’m in Target and I feel like I can’t breathe. Something pops into my head and I’ll go, “Wow! Oh, my gosh, think of how many people walk through Target and get through their daily life, but the pain underneath is so strong.” And then, I take that and feel fortunate that I am an actor, and I don’t have to live every moment of every day like that. You just feel grateful for what you have, when you have it.

MediaBlvd> Has it become any easier for you to juggle work and family?

Renee> No. There’s nothing easy about that.

MediaBlvd> What does it take to make you want to take time away from your family, by going to work?

Renee> My family comes first, so I really don’t know. I just have to take it in stride and hope that the jobs I really want to do, and really love, come my way. I don’t like turning down work, that’s for sure. But, sometimes I just have to, if it doesn’t feel like it’s going to stretch me enough, and make me miss the wonderful part of being with my family. I love acting, though. It’s a conflict, but I’m trying to work through it.

MediaBlvd> Is there anything specific that you’re looking to produce next?

Renee> Yes, but I have no confirmed answer on it yet, so there’s no point in talking about it until I know when I’m doing it. It’s one of my own projects. I’m trying to only talk about stuff when I’m in it, like Criminal Minds. Army Wives was a great example of being really excited about something that was way ahead of its time. So, I’m learning from that.

MediaBlvd> Are there any types of roles or projects that you’re still hoping to be able to explore, at some point in your career, that you haven’t gotten the chance to yet?

Renee> I’m completely open to anything. I’m completely open to seeing what’s out there. I definitely don’t turn things down without really giving it some thought. I don’t say no to anything without seeing if it feels right for me, at the time. That said, anything could come my way. There’s so much more that I probably haven’t even thought about, that could come my way. I think it’s really interesting when I’m surprised.

MediaBlvd> Do you ever see a time in your career where you would give up acting and just focus on production, either as a producer or director? Or, would you like to always go back and forth between it all?

Renee> At this point in my career, I definitely want to have my hand in acting. I don’t know what it will be like, five, six or seven years from now. It might be a different situation. But, where I’m at right now, I’m still exploring what it feels like to be an actor. I’m still excited about it, still curious about it, still feel passionate about it. So, I’m definitely not ready to say goodbye to that part of how I express myself. It’s so much fun.