Israeli-born gynecologist. Her maternal grandparents were American Jews, whereas her paternal grandparents were Jewish immigrants to Israel. Portman and her family first lived in Washington, D.C., but relocated to Connecticut in 1988 and then moved to Long Island in 1990. While living in Washington Portman attended Charles E. Smith Jewish Day School in Rockville, Maryland. Her native language is Hebrew. While living on Long Island, she attended a Jewish elementary school, the Solomon Schechter Day School of Nassau County. She studied ballet and modern dance at the American Theater Dance Workshop, and regularly attended the Usdan Center for the Creative and Performing Arts. Describing her early life, Portman has said that she was "different from the other kids. I was more ambitious. I knew what I liked and what I wanted, and I worked very hard. I was a very serious kid." When Portman was ten years old, a Revlon agent spotted her at a pizza restaurant and asked her to become a child model. She turned down the offer but used the opportunity to get an acting agent. She auditioned for the 1992 off-Broadway Ruthless!, a musical about a girl who is prepared to commit murder to get the lead in a school play. Portman and Britney Spears were chosen as understudies for star Laura Bell Bundy. Career 1994–1998: Early work Six months after Ruthless! ended, Portman auditioned for and secured a leading role in Luc Besson's action drama Léon: The Professional (1994). To protect her privacy, she adopted her paternal grandmother's maiden name, Portman, as her stage name. She played Mathilda, an orphan child who befriends a middle-aged hitman (played by Jean Reno). Her parents were reluctant to let her do the part due to the explicit sexual and violent nature of the script, but agreed after Besson took out the nudity and the killings committed by Portman's character. Portman herself said that after those scenes were removed, she found nothing objectionable about the content. Even so, her mother was displeased with some of the "sexual twists and turns" in the finished film, which were not part of the script. Hal Hinson of The Washington Post commended Portman for bringing a "genuine sense of tragedy" to her part, but Peter Rainer of the Los Angeles Times believed that she wasn't "enough of an actress to unfold Mathilda's pain" and criticized Besson's sexualization of her character. After filming The