Kerry Washington is one of those actresses whose name you might not recognize immediately but whose work you just as quickly recognize and admire. She has one of the most intriguing resumes of any actress her age. The 31-year-old stunning beauty has stolen scenes in The Human Stain, She Hate Me, Ray, Mr. & Mrs. Smith, Fantastic Four, The Last King of Scotland, The Dead Girl, and I Think I Love My Wife, among others. An actor is only as good as the people he's acting with and Washington starred opposite two of the last four Best Actor winners - Jamie Foxx in Ray and Forest Whitaker in The Last King of Scotland. That alone is remarkable. And her varied resume continues in the next few months, starting with her excellent work in Lakeview Terrace this Friday opposite Samuel L. Jackson and Patrick Wilson and continuing through Spike Lee's Miracle at St. Anna next week and several projects in production. She's charming, funny, beautiful, and very, very talented and she sat down with us recently in Chicago to discuss her new movie, her past work, and much more.

(Note: I could hear Washington talking to someone before I came in the room but no one came out, which makes the following, funny exchange make a lot more sense.)

THE DEADBOLT: Were you just on a phoner or did someone disappear?

KERRY WASHINGTON: Um, we killed her. She's actually cut up in pieces in the bathtub.

THE DEADBOLT: So, if I don't do well enough?

WASHINGTON: Uh-huh. Do you feel pressure? You've got two chances, let's hear the first one. (Laughs.)

THE DEADBOLT: (Nervously.) I liked the movie.

WASHINGTON: (Laughs.) Oh, good. You know, she wasn't a fan. (Laughs.) No, it was a phoner.

THE DEADBOLT: One of the things I liked about the movie...

WASHINGTON: I'm glad there was more than one.

THE DEADBOLT: ...was the rising tension and I think your character represents that tension the most because you go from happy and excited about your new home to a shaky mess by the end. As most people know, movies aren't filmed sequentially. You might be filming two drastically different parts of the movie in one day. So, how do you do that? How do you turn that knob as an actress?

WASHINGTON: I don't know how other people do it, but, for me, you would laugh if you looked at my scripts. They're covered in post-its and highlighter notes and pencil scribbling because I'm always trying to track where I am in that journey and remember the before and the after. For me, it really takes a lot of homework to have a clear map in your mind of where you are on the emotional journey. It was totally shot out of order. What's interesting is that some of it we HAD to shoot in order because we had to be not really settled into the house and then settled into the house and then screwing up the house because somebody broke in. Because we were in real houses in a real neighborhood, there was a certain level of natural progression. We found these real houses right next to each other and it was so trippy because they were the exact same layout in both houses but one was completely updated, gentrified house and the other was the working-class version.

THE DEADBOLT: What first attracted you to the screenplay?

WASHINGTON: I like to work. (Laughs.)

THE DEADBOLT: You don't seem to have trouble doing that.

WASHINGTON: From your mouth to God's ears. There were two things that really stood out for me. One was, to be totally honest, I had never seen this kind of black woman on screen before. You know, this kind of Birkenstock-wearing, crunch granola, Berkeley graduate, progressive, open-minded, artist type. I was excited of the idea of that on the screen because I have a lot of friends like that of all different races and ethnicity. And there's a little bit of that in me. I really liked the idea. To me, she represents this new generation of inclusivity and how much more fluid culture and identity are becoming. I love that. I also, the thing that really struck me when I read the script, was the idea of a misuse of power and abuse of authority. One of my best girlfriends is from Vermont and we used to joke that she was really surprised when I explained to her that, for me, when I see police officers, I don't feel safe. For her, growing up in Vermont, it's always good news when the cops are around. For me, growing up in the Bronx, it's like it could go either way. I really liked the idea that the film is about what happens when people in society who are supposed to protect and serve wind up causing a lot of harm and anxiety. I think it's becoming relevant on a national scale. Here we have a President who we've trusted to be Commander in Chief and we've wound up in a war for no good reason where people are dying every day. To me, there's a huge abuse of authority in the Executive Office right now.

THE DEADBOLT: I like the idea of "a new generation of exclusivity." Do you think there's a generational element to the film between you and Abel [Samuel L. Jackson's character]?

WASHINGTON: Totally. I think there's so much going on. When he gets upset about the PDA in the pool, that feels very generational to me. I've had that issue with my family about "you and your boyfriend, you're always touching each other." One of my favorite things to do is to ask people what they think the film is about. Some people will say that it's about an interracial couple. Some people will say it's about an abuse of authority. Some people will say that it's about what happens in a neighborhood during the process of gentrification. Here you have this guy who talks about working overtime his whole career to build this life and here we are talking about our "starter home" and we're bringing in landscape architects and putting up trees like it's nothing. And we're driving a fancy new Prius while he's trying to maintain his car in his driveway. There's also a sense of economic difference. And I think the age thing is a big deal. I think we're just of different worlds - Abel and Chris & Lisa. I love the scene at the party where he talks about Chris being a Democrat like it's a derogatory thing. And you really go, "There's a LOT going on here."

THE DEADBOLT: A lot more than just "angry neighbor."

WASHINGTON: (Laughs.) Yeah, yeah. And yet there is just that element too in that it is a psychological thriller like Single White Female or Fatal Attraction where you have the hero characters going "How did we wind up with this crazy person in our lives?"

THE DEADBOLT: But it has a lot more going on than that. I think it's about how a lot of the urban issues are moving out to the suburbs. The movie features racial and class issues that Hollywood has always portrayed in major cities like New York but in the burbs.

WASHINGTON: That's right. And I think that that also is about the way our society is changing, where culture and race and identity are all becoming more fluid. I was laughing with my assistant last night. There's a hilarious phrase - "Urban Media" - which means "black media", but black people are moving out of cities and white people, or should I say more affluent people, are taking over cities, especially with the price of gas now. So, what are they going to do? Are they going to start calling "black media", "Suburban"? What's gonna happen with that? (Laughs.)

THE DEADBOLT: What's most important to you with a project like this? The overall script, your character or who you're working with?

WASHINGTON: All of it. It's all of it. For me, what HAS to be true is that when I read the script - this is going to sound so L.A. - I have to connect with it on a visceral level, on the inside.

THE DEADBOLT: The whole story?

WASHINGTON: Yeah. And my character especially. But the whole story has to really effect me. I find that when I really want to do something, it's because, in a way, the character already lives inside me. Even when it's totally different from me. Like when I did the film The Dead Girl - she's a crack-addicted prostitute and when I read the script I had such a negative reaction to it I literally threw it across the room, but I could hear the character's voice already in my head. I already knew her. It doesn't mean that I have no homework to do as an actor. What do I know about being a crack whore? Nothing, but I could hear her inside of me already. And, similarly, what do I know as a kid from the Bronx about a Southern black woman living in the '50s to play Della B [in Ray]? But I could hear her inside me in some kind of soulful way. And then, I need to know who's attached and who's involved.

THE DEADBOLT: Who was involved in this?

WASHINGTON: Actually, I was the first one. I SO was taken by the script and I kind of stalked the producers. I said, "It depends a lot on who else comes on board, but I love this project. I hope you get the right people because I really want to be a part of it." When they brought Neil [LaBute] on, I thought this was a perfect match. He SO understands the quirky, inner darkness of character. Everyone in this movie is hiding something. We all have these secrets. And he really gets that. When Patrick [Wilson] came on board, I actually got a little nervous. His latest ladies are Ellen Page and Kate Winslet, so I better bring my A game. I really, really loved working with him. I felt like I had a real kind of colleague.

THE DEADBOLT: You said in the production notes that he makes you a better actor. Why?

WASHINGTON: I'm so glad I said that. It's true. Because we have very similar toolboxes. I knew that he would be doing his homework. It inspired me to come to work with more questions. It inspired me to dig deeper and search more. Commit to truth. Really invest. I am that kind of actor, but when you work with somebody that talented it just brings out the best in you. It's like a basketball game. When you play with somebody great, you have to push yourself to the next level.

THE DEADBOLT: Did you have a long rehearsal process?

WASHINGTON: Not long.

THE DEADBOLT: But was Neil real big on off-set character discussion?

WASHINGTON: We had to because we have a lot of interesting conversations as a couple. We had to talk a lot about - "What's our history here? How much have we dealt with? What do we understand about each other culturally?" We're sort of on that path of racial understanding. On that path of cultural understanding that anyone goes on in a relationship if you're different religions, ethnicity, races. "Where are we? How much have we talked about?" It was a constant process. And fun. Because we both really like to work that way.

THE DEADBOLT: What makes Neil different as a director?

WASHINGTON: He's really funny. He's hilarious. He's so light-hearted and open and generous and easy-going. It makes the work so much easier because there's such a sense of freedom because "everything's okay." We're just here to do the best job and do what we all do. He's really lovely to work with. He's not a yeller. He gives great feedback but doesn't hound you. He's really fun and I would work with him again in a minute. I'm hoping to be the next Aaron Eckhart. (Laughs.) "Nurse Betty 2."

THE DEADBOLT: You've done such a variety of film. Is there one kind of film you like doing more?

WASHINGTON: I like doing different things all the time. I never want to get lazy, you know what I mean? I never want to get lazy about what I do because I feel really lucky to be doing what I'm doing. I have to be honest, I do LOVE action. I did a lot of my own stunts in this and the fight scenes. I love it. I'm like, "Throw me HARDER!" I love it. I love the physicality of it. I danced a lot. "Let's do it again!" I do love that, but, yeah, I got to say, for me the joy is in switching it up. I remember when I was doing the junket for Little Man, people were like, "This is SO different. We've never seen you do this kind of movie before." And that was the most fun I've ever had on a set. What caused me to even read a Wayans Brothers script was that I had just finished The Last King of Scotland. And I couldn't figure out what to do next, but I knew I had to do something that made me fall in love with the joy of acting again. The joy for me is in changing it up. After Little Man, I did The Dead Girl. (Laughs.) So, I swing back and forth. I actually just finished a comedy with Eddie Murphy.

THE DEADBOLT: And you did the Spike Lee movie, Miracle at St. Anna.

WASHINGTON: Yeah, but the Spike movie was like half a scene. Spike called me and was like "There's one woman in the whole movie and it's just a day of shooting will you do it?" Spike calls me and it's like, "How high? Where do you need me and when?" I love him.

THE DEADBOLT: That's interesting. What directors would you sign on for script unseen?

WASHINGTON: Well, I did it for Spike. It's interesting. I got the call for She Hate Me and no one had seen the script because it was this super top secret thing. And he had fired the lead actress. And he wanted to call me in to replace her. And so I literally bought a ticket and got on a plane to fly to New York and meet him and hadn't read the script. They handed me the script in my car on the way to the plane. Somewhere around Chicago, in my plane, I was like "Oh my God. What did I get myself into? It's too late to back out but this is MADNESS. Just madness. I'm really gonna play a lipstick lesbian pimp? What am I doing?" So, I literally did it for Spike. And I was just so happy when he offered me the part. I cried for three weeks. Who else? I really trust Taylor Hackford [director of Ray]. I don't know. To be honest with you, I really have to read the script.

THE DEADBOLT: I understand. I wouldn't want to lock you into anything if someone great wanted you for something awful.

WASHINGTON: Exactly. I would be like, "You can't believe everything you read, folks." (Laughs.)

THE DEADBOLT: Is there anyone specifically you'd like to work with?

WASHINGTON: So many. I'd love to work with Chiwetel Ejiofor. I'm dying to work with Jeffrey Wright. I'd love to work with Cate Blanchett. I'd love to work with Kate Winslet. I'd love to work with her husband. I'd really love to work with Spielberg. He's been a hero of mine. I don't know who else. Those are a few. I've been really lucky. That was one of the fun things about working with Eddie Murphy [on the upcoming One Thousand Words]. I feel like I've worked with all of these people who have benefited from what he's achieved and created like Chris Rock and Jamie Foxx. So, going to work with him was like going to the source. Going to the King.

THE DEADBOLT: Tell us a little bit about that film.

WASHINGTON: It's SO great. I'm really proud of this movie. It's called One Thousand Words. It's this really poignant, meaningful story about this guy learns to mean what he says and say what he means. He gets this spell put on him where he only has one thousand words to live. Where it's funny, is that on page 20, it basically turns into a Charlie Chaplin movie for Eddie Murphy. He can't speak. And he's such a fantastic silent actor. But this is different because it's small and it's human and it's subtle. It's such a meaningful movie about learning to be a man of your word.

THE DEADBOLT: Before I get wrapped up, tell us a little bit about V-Day.

WASHINGTON: It's an organization that I'm on the board of. It's Eve Ensler's organization and our goal is to end violence against women. We're hoping to put ourselves out of business as an organization because there will be no more violence against women soon. They've raised more money than anyone else to eradicate this problem all over the world. We have a really great website - vday.org. Every year we go to a different conflict zone. Last year, it was New Orleans. We went back to New Orleans and took over the Superdome and reclaimed it as a place of healing. It was fantastic. This year, our conflict zone is the Congo and we're actually building a city of peace within the Congo. It's an incredible organization. I'm really proud to be a part of it.

Lakeview Terrace opens this Friday, September 19th.