“I grew up in Hollywood with a family of actors. And I grew up going to auditions and sitting in a waiting room rehearsing lines with my parents when I was older. So I really was in a world where I felt very comfortable and familiar with Hollywood and with acting. I saw my parents and their friends and the group of people that we surround ourselves with really struggling as actors, and I saw the ins and outs of it and the pros and cons. So I was kind of turned off for a couple years by it. But secretly, deep down I always had a passion for it because I loved being the center of attention at all my family dinners [laughs]. I loved being in all the plays, and I always had a really big personality. So it was in me probably since I was really young, and then I didn’t really come to fully recognize it and admit it till I started to pursue it fully at 19.”
Mickey and the Bear is a powerful film. How do you select your projects?
“I’m really selective with the things that I go out for because when I’m not passionate about something, I’m genuinely not good at acting [laughs]. So I have to really like and feel some sort of connection to what I’m going out for, or else it’s really genuinely hard for me to play something I have no connectivity to. When I read Mickey and the Bear, I didn’t even finish the script and called my team and was like, ‘I’m doing it.’ When I ended up booking the job, I went back and reread the script because I hadn’t finished the last 20 pages or so, and I fell even more in love with it. I was like, wait, the ending is crazy; how did I not finish this? I was just really attracted to Mickey’s relationship with her father, her coming of age, her internal struggle between family and herself. I thought it was a beautifully written story and something very important to share—I think this is a dynamic that exists between some father-daughter relationships and veteran relationships. So it had a lot of really important elements that someone looks for.”