Foyt recognizes the insecurity that drives Oona. "Actors are extremely vulnerable because they're hired hands," she says with conviction. "It's horrible. You're always at the whim and mercy of others, facing constant rejection, begging for parts. That's what I was trying to underscore."
But Babyfever was a breakthrough film for Foyt, and her winning performance in Last Summer in the Hamptons should only consolidate her status as a rising star, which means she shouldn't have to resort to tactics as manipulative as Oona's to find work. "Projects are starting to come my way," she confirms. "If something came along, an opportunity to work with Wayne Wang, or Lumet, Nichols, Scorsese, Martha Coolidge, Diane Keaton, of course I'd be interested. I don't feel like I'm that dependent on Henry. I think I could bring just as much to any other work. I'm an actor!
"I think in many ways that's what this film is about," she goes on. "If you're an actor -- how noble a profession that is -- to sort of rekindle the love. Everyone in their soul is an artist. Some people express that through their home or the way they maintain a child. Some people express themselves through arts and crafts. It's very valuable and important to acknowledge that within you."
But when Victoria Foyt looks inside herself, she sees a wife and mother as well as an actor and writer. "The last four and a half years have been very intense," Foyt admits. "Two kids. Cowriting and costarring in two films. I'm looking forward to the luxury of not having to wear so many hats. But things are settling down a bit now. Since I've become a mother I've developed a deeper appreciation for my own parents. My mother raised four kids without help -- no nanny, no maid. Women are heroes." Mary Marvel would be proud.