I liked the hard-core truth of Rude Awakening. But when I first read it, I was scared of it. Part of me was, like, it's so unattractive! But I liked that it didn't glamorize alcohol. And what's admirable about Billie is that she's a straight shooter. She doesn't have a lot of pretense. It's like, 'Take me as I am. You like me, fine! You don't, I don't give a damn!' There's something quite empowering about somebody who doesn't care what other people think. Billie is learning about herself. She's recognized that she has a problem with drugs and alcohol, and she's trying to straighten it out. [31] Sherilyn Fenn, quoted in "The Rise and Thrall of Sherilyn Fenn" by James Steranko Prevue (US). March 1991. pp. 42–43, 53, 57. However, after Sherman-Palladino left the show, the direction for the character changed—the producers decided to make her character a villain in a custody battle. Daddle-shod, bobby-soxed, white bloused, cardigan-sweatered, pleated skirted, with a face that could launch a thousand limos, Audrey Horne is the definitive high school femme fatale. She’s a sort of combination of Dobie Gillis’ Thalia Menninger and Ava Gardner in Pandora and the Flying Dutchman, maybe a little Moriticia Addams, too. I fought to keep the integrity of the story because the producer was bringing in a writer that was making it very soapy. They wanted many scenes of her when she was very overweight. I said, 'I'm not doing that. I'll do one. That's not this woman's life.' For me it was just: I didn't want to make an impression. I just tried to play the truth of the woman. [15] Mid 1990s and guest appearances (1996–1998) [ edit ]

The nudity in Two Moon Junction was really scary, but that’s one of the reasons I did it. I didn’t want to make choices that would always put me in a place that was comfortable and secure. I had never done nudity. I’m not the kind of person who runs down the beach in a G string, so I thought, God, how would I respond in these situations? I thought interesting would happen and I would grow. Interesting things did happen. I cried at the end of all my love scenes.” In 2022, Sherilyn portrayed "Sarah Jane McCubbin," a widow with dementia who plans to be euthanized by her mentally imbalanced son in the psychological drama, "Losing Addison."a b Sherilyn Fenn, quoted in "Fenn-Tastic! Meet Twin Peaks' Mysterious Siren Sherilyn Fenn" by Glenn O'Brien Playboy. December 1990. pp. 82–91, 213–214. Ausiello, Michael (January 18, 2006). "Marion Ross, Sherilyn Fenn, Gilmore Girls, Amy Sherman-Palladino". TV Guide. David Lynch, quoted in "Babes in the Woods: Sharing Pie and Secrets with the Mystery Girls of Twin Peaks" by Bill Zehme. Rolling Stone. Issue 588. October 4, 1990. pp. 68–71, 170. Fenn's interest in directing and children led her to step behind the camera to direct in 2006 a documentary film about the child enrichment program CosmiKids and Judy Julin, the program's founder. She subsequently joined its executive team as executive director of the film and television division.

In 2016, Fenn wrote and published a children's book titled No Man's Land, about a boy who has autism. [52] She was inspired to write the book after her second son, Christian, was diagnosed with autism. [52]

Stories for Sherilyn Fenn

One of young, crystalline, modulated Sherilyn’s ambitions is to be cast in the title role in The Clara Bow Story a project that’s ongoing in Hollywood. She was turned on to the silent-screen star by her friend Prince. In 1991, Hollywood acting coach Roy London chose her to star in his directorial debut Diary of a Hitman, in which she plays a young mother determined to protect her child from hitman Forest Whitaker. According to Fenn, the turning point in her career was when she met London in 1990. She credits him with instilling confidence and newfound enthusiasm.