What was the first thing you noticed when you Goods Script?
I had met India for coffee and we were just chatting about films and art that we love. She talked about 35 Shots of Rum and The Loneliest Planet. I was already so excited to read her script because I already knew I liked her taste. I was just so fascinated by the little nuances and how subtle the film was, as I could already tell, and was thinking in my head about how I wanted to approach it in a way that felt super authentic but allowed me to portray something really big.
Silence and moments of calm play a big role in the film. How do you show what’s going on in Sam’s head when there is little to no dialogue in these scenes?
I noticed that very early on. So many pages are Matt and Chris talking about pretty much nothing and Sam is just in the background. India had stressed to me that no matter what was happening, the focus was on Sam’s perspective. I just wanted to keep it as authentic as possible and make sure we see her in moments where she’s listening, even when they don’t think she is, and how she finds that balance. I think the interesting thing about it being in nature and away from an environment where everyone is comfortable is that it really makes everyone have to listen to each other and talk more.
Yes, everyone opens up and says things they probably wouldn’t have said at dinner.
Absolutely. Sam has these significant moments where she realizes that these men are not superheroes and are actually very flawed. It’s not that she falls out of love with them, but her perception changes. It’s such a special thing between a daughter and a father that I think is very intimate for people. The shyest, sweetest teenage girls came to me after the film and came with their father. It made me feel so good that they both understood that there was a message here. Even older women came to me and told me that they felt very noticed.
Did you have the opportunity to watch the film with your own father?
The first time my dad saw the film was at the Sundance premiere and we were sitting next to each other. I love him very much, but of course we have our faults and we’re both very strong personalities. So we clash. But it was also very interesting to see what he learned from it. There’s a scene where I’m crying and I saw him get emotional. He was like, “I don’t think I’ll ever get used to seeing you cry, even if it’s for a camera.”
What do you think you will take away from Goods and use throughout your career?
I’ve learned so much. I feel like I’m starting to understand how the world of acting really works, which is something you don’t learn in school. As far as the actual acting goes, I’ve really learned to become one with the camera, or at least develop a mutual respect for each other. Because I never want to pretend it’s not there, because that feels fake. I’ve been able to be really comfortable with having it (the camera) right in front of my face.
What do you expect from your acting roles? What kind of films do you want to do and which ones do you want to play the lead role in?
I’m just so happy to work with tasteful, passionate people who want to tell their story truly and truthfully.
Are there any directors on your wish list that you would like to work with?
Paul Thomas Anderson really opened up a whole new level of film for me. He was the first director that when I saw one of his films, I immediately had to see everything he had done. That being said, there are other cool up-and-coming artists that I like. I’m very excited to see what Charlotte Wells does next.
