Category: Interview

Lola Kirke Would Really Like You To Give A Damn (Ahem, Taylor Swift)

Lola Kirke cares. This is the immediate impression one receives talking to the 26-year-old multi-hyphenate. She cares about upending the “vapid culture” of celebrity. She cares about using her platform to funnel goodness into the world. She cares about making movies with her friend and collaborator Zia Anger. She cares about her music (which she describes as “country-inspired rock and folk”). She cares about being serious and silly, often at the same time.
Most recently, you can see her particular brand of giving a damn in Gemini, a slick, jazzy caper about a personal assistant who transforms into an amateur detective after discovering a dead body. Set in the heart of Hollywood, the film is essentially a contemporary, female-driven take on The Fugitive: The story of a woman tasked with proving her innocence.
The film made its world premiere at SXSW, where Kirke is also doing a set. When she sat down with Vogue in Austin, Kirke opened up about how she navigates Los Angeles, her reluctance to call herself an artist, and why, in 2017, celebrities have a responsibility to speak up about politics.

Considering Gemini is so deeply rooted in Los Angeles, what did you make of the city after graduating from Bard in 2012 and living in New York?
When I first started going out there for work, I was like, “What the fuck is this stupid town?” But I think when I moved to [Los Angeles], I was just excited that it was sunny all the time. Then when it rained for like a week, I was just miserably depressed. What I realized is that L.A. is one rhythm, and it’s your rhythm. You’re in your car, it’s your house, it’s one weather.

You can make it as busy or as not busy as you want.
Exactly. But what I love about New York is how demanding it is of you. You are constantly being asked to adapt—or forced to adapt—to all these different rhythms that are going on around you. As an artist—and I’m not saying myself as an artist, but in general for artists—it’s really important to know what rhythm is and to experience different rhythms and experience a variety of things. In that way, I lean towards the reality of New York more than L.A. But, whatever, I also really fucking love doing things on my terms.

You’re doing a lot these days. Do you have a personal assistant?
No, I fucking wish I had a personal assistant. Full disclosure: I had a personal assistant for a week and it was amazing, but I’m a control freak and deep type-A personality, so I actually spent so much time designing the schedule of my personal assistant that I may as well have done it myself.

Do you often think about career goals and such?
I think that it’s hard not to. I just want to make really good work, and I want to do the best work that I can possibly do as an actor. I think I spent a long time being really embarrassed that I was an actor, which is weird because . . .

I still sense some of that.
In me?

A little, yeah. Earlier you didn’t want to categorize yourself as an artist.
Because it’s weird! I don’t like the “as a [blank]” way of introducing a sentence.

Too self-aggrandizing . . .
Right. I think there’s some trepidation about defining myself as an artist. You have to be accountable as an artist. You can’t just say, “I’m a fucking artist.” But I think as an actor, I’m just beginning to feel excited. Like it’s a really worthy contribution to the world.

Do you find the self-promotional part of this to be difficult?
Yes and no, but it’s so normalized, right? I mean, on Instagram everybody is selling themselves all the time. I don’t mind talking about myself. I’ve been in therapy since I was ten years old, so I’m kind of used to it.

Ten! As a public figure, do you think you have a responsibility to talk publicly about politics?
I mean, in this fucking day and age, yeah, I do. For me, it’s really important to elevate voices and causes that don’t get as much attention with whatever attention I get. I totally understand why some people won’t do that; I definitely think that there are certain celebrities who really could offer more help to grassroots movements with their power—and don’t.

People with a huge platform.
Yeah, like Taylor fucking Swift, who may as well have voted for Trump, as far as I’m concerned, by not doing anything.

I’m still baffled about Tom Brady, too.
I think that the age of celebrity is so confusing and weird, and everyone is a celebrity, and everyone has this weird power that they got because they know how to take a picture of themselves.

Are you good at that, by the way?
Eh. After like 40 tries, yeah, I’ll get one or two good ones. I think it’s a vapid culture, but we can do something profound with these outlets and platforms. You can imbue everything you’re doing with meaning. I believe that life is meaningful and I believe there are things that are important that are not getting the attention that they deserve.
It’s pretty clear right now that there’s a lot surrounding reproductive rights that is pretty insane. Environmental issues . . . I don’t even know where to begin on that one. Basically, human rights at large are in jeopardy, and as somebody that is part of celebrity culture, I would rather not be an agent in detracting from that attention. I would rather not be part of the smokescreen that makes everybody think, “Eh, it’s fine,” because it’s not fine.
I feel a lot of gratitude, and gratitude to me is the shortcut to happiness.

Oh, good line. Is that yours?
[Laughs] Yep. I’m kind of like a poet. I’m kind of a big deal.


‘Mozart In the Jungle’ Star Lola Kirke Shares Her Favorite NYC Record Stores, Music Venues & More


Lola Kirke’s Concrete ‘Jungle’
As Mozart in the Jungle continues to hit the right notes with fans and critics, its 26-year-old star Lola Kirke takes Billboard to her real-life Big Apple haunts.

The Manhattan native and current Los Angeles resident, photographed Dec. 28, 2016, in New York, is the daughter of 67-year-old drummer Simon Kirke (Free, Bad Company) and younger sister of Girls star Jemima Kirke, 31.

Lola Kirke as Hailey Rutledge in Mozart. The show’s symphony scenes are filmed at the State University of New York in Purchase.

A1 Record Shop, 439 E. Sixth St.
Growing up in the West Village, Kirke frequented Bleecker Bob’s and Bleecker Street Records, but A1 — its ceiling quilted with album covers — is her go-to “for vinyl LPs,” she says. “I don’t buy CDs, but does anyone anymore?

Avenue D
Kirke once ran into Mozart co-star Gael Garcia Bernal in Alphabet City while she was jogging: “I see this gaggle of dudes kicking a soccer ball around in the middle of the street, and I get closer, and it’s Gael,” she says. “He’s kind to everyone, and so brave with his choices.

TR Crandall Guitars, 179 E. Third St.
The specialty shop is co-owned by Kirke’s pal Alex Whitman. “I feel like an idiot every time I go there … I never know what I’m looking at,” says Kirke, who started playing guitar at age 20.

C’mon Everybody, 325 Franklin Ave.
Kirke used to attend music shows “wherever young assholes go” in New York. This Bed-Stuy cocktail lounge, with a performance space that nods to ’70s Manhattan, is her current must-visit.

Lincoln Center
Kirke admits she only recently fell in love with the uptown performing-arts complex that features prominently on the show. “This past season of Mozart gave me a great window into opera,” she says. “I’ve been enjoying listening to it, especially with breakfast. It’s very decadent.



Lola Kirke Talks Industry, Instagram and the Power of Giving a Damn


In our Jan/Feb issue, Mozart in the Jungle star Lola Kirke poses in tennis whites and sounds off on the perks and perils of personal branding. Below, we’re proud to offer more of Kirke’s unfiltered insights, covering her career (both in TV and music), feminism, social media and more. Enjoy.

If you’re in the spotlight as a young person now, you have to figure out your brand. Are you just an actor? Are you an actor and an activist? Are you an actor and an activist and a musician? ‘And’ ad nauseam. I feel like I’m still finding my voice. I wish I could say, ‘This is my cause. This is my purpose on earth,’ but at the moment the world is such a mess; anything can be your cause. I don’t feel pressure to present feminism as part of my brand, because it just is. If I say that, though, it sounds like it’s part of what I’m selling, and that gets a little complicated. But there is a commercial side to being an artist, and I’m lucky that people are buying it, at least to some degree. Being politically active is fucking cool. There’s space to be so many different things. Just give a damn.

I feel grateful to play a character who is walking on path parallel to mine as a young woman and a young creative professional. Being a classical musician in an orchestra shares a lot of same properties of being an actress, in the sense that you are performing other people’s work instead of creating your own. You are relying on other people to notice you and recognize you and give you a job. You are functioning in a much larger machine that you’re a part of, that you’re not necessarily at the helm of.

I relate to that dilemma of being passionate about something from a young age and forming an identity about that one thing. It’s nice to know what you want to do early on, but I think that it’s also really limiting. Being open to the idea that you have a lot of possibilities has been important for me. I mean, playing music has always been a part of me. So to elevate it out of the realm of hobby and make it like slightly more professional is empowering. The thread of my work and my music is about self-doubt, love or whatever else. To make art, or to make sounds in this world, is a political act, and it feels good to ally with other women and other non-gender binary voices who are doing the same.

I just got Instagram and it blows my mind. I had an account a couple of years ago and in the time that I’ve been off, it’s transformed from a tool to just show people pretty pictures and gloat about your life into this mechanism for personal branding. There are people who I have no idea who they really are, but I know what they look like from every angle—and so do 100,000 other people.

There are so many things that do not sit right with me—women’s issues, which bleed into health issues, which then bleed into foreign policy issues. This is a really interesting time to be human, and I think it’s wonderful time to be a woman in how there are so many opportunities. Yes, women are on the spectrum of minorities in this world, but it’s important to be part of the energy seeking to change that. There’s so much creative potential in this transformation women are experiencing as a group. I’m fascinated by it.

I’ve been incredibly lucky to work with directors and networks like Amazon that privilege my individuality as a woman and my choices for my own body. I’ve never really been asked to alter my appearance—and that’s probably not going to be the reality for my career. Your art does not get to be your own in this industry, whether you’re an actor or director or any other kind of filmmaker. There are scenarios where I could see changing the way my body looks, like becoming stronger or becoming leaner, that would be necessary telling a story about a certain character. If I’m playing a person in the Army, they’re not going to have a soft tummy like I do. So far, I’ve felt wanted for who I am. And that’s pretty special.


Lola Kirke says we need to ‘wake the f— up’

Lola Kirke offers me some of the bread she’s eating. She holds up a croissant and we tear it apart like a wishbone. She’s been given too much, enough for two, yet you get the sense she’d break bread anyway. But the actress also has something else on her mind: The third season of “Mozart in the Jungle” — the award-gobbling dramedy about a sometimes struggling New York symphony — drops on Amazon on Dec. 9.

Once again, Kirke plays Hailey, the aspiring oboist and occasional assistant to flighty conductor Rodrigo (Gael Garcia Bernal). Since last we saw them, the band, as it were, has temporarily broken up. Hailey and Rodrigo have both gone abroad, and before they return to the States, they wind up in Venice, working with a temperamental opera singer (Monica Bellucci).

But of course, Kirke — 26, also of “Mistress America” and the Tom Cruise thriller “American Made,” due next year — doesn’t mind talking Trump first. But we decide to be positive, not negative.

I think we’re at this point where we can still make a difference. What about you?
Like many privileged white people, I was living under the assumption that Hillary would win and the world would be restored to normalcy. A lot of people, mostly people of color, I’ve spoken to have said, “Hello! Wake the f— up! That was never a reality. The things you are fearing now are the things we have always been fearing.” I was doing some minimal work on the Hillary campaign towards the end. Since then, it’s been really important to focus on what I can actually do, instead of getting overwhelmed by the big whole. Democracy isn’t that sexy. It’s just calling your representatives over and over again, or taking Paul Ryan’s health care survey, which everyone should do, by calling his office. I try to keep it really simple.

That might also involve finding a way to talk to Trump voters, in a civil way.
Perhaps this is optimistic, but I think not talking to people who have different political views than you do is what got us here in the first place. Trying to have conversations with people who are different from you — that’s the f—ing essence of life! Everyone’s different from you, even people united by liberalism. Then again, easier said than done. But trying to engage in conversation with people who have different views is a really valuable thing to do.

It’s hard to know how to start the conversation, though. It’s usually one side yelling or flinging names.
There’s this thing called “non-violence communication.” I’m not the master of it; I’ve read a little bit about it. But it does wonders for your interpersonal relationships, as well as your political influence. You ground everything in your own experience and try to remove judgment. And you f—ing listen. People don’t listen.

I’m not sure how to even tie what we’ve been talking to into “Mozart in the Jungle,” but here goes: This is a show about orchestral music, which is already not doing that well, and will be in likely even tougher shape under the new administration that sees no use for the classical arts.
I like that this show is about asking if it’s possible to sustain an artistic practice in more antiquated mediums, like classical music. It shows how f—ing difficult that is. In a capitalist society, things that do not make money get thrown out very quickly. We watched it again last night, and everything post-election has a new meaning. Watching the scene where the orchestra is locked out of their building last night, I went, ‘Wow, this show knew what was going on, in a way.’ It’s about protecting the arts and arts education and the lack of that in schools.

On a lighter note, what was it like working with Monica Bellucci? I only ask because she’s such a goddess.
I share that feeling. She has one of those voices that when she speaks, it makes you feel very warm and tingly inside. Also, she’s a listener. As a dumb American, and obnoxious human that I am, I’ll be like [blabbers nonsense], and she’ll be like [sits still, waits several beats, then lets out a light laugh]. A minute later, she’ll react, as though she’s taking it in. Because she cares. She’s processing what you say.



Artist: Lola Kirke
Hometown: New York
Latest Album: Lola Kirke
Personal Nicknames: Lo, Lols, Lolita

What song do you wish you had written?
“That’s Life” by Frank Sinatra

If money were no object, where would you live and what would you do?
Somewhere in the past, but I would also time travel!

If the After-Life exists, what song will be playing when you arrive?
The entirety of Grateful Dead, Go to Heaven.

How often do you do laundry?

What was the last movie that you really loved?
Working Girl!

If you could re-live one year of your life, which would it be and why?
18, so I could be badder and pick up the guitar sooner.

What’s your favorite culinary spice?

Morning person or night owl?
Ew … I’m becoming a morning person.

Mustard or mayo?


Lola for I-D Magazine


It’s 10am on Friday morning, and Lola Kirke rings me from the road. She’s headed out from her eastside home to begin filming in Malibu (which, we both agree isn’t really Los Angeles although we both know that it technically is). It’s a change of pace — not just because of the beachy locale known for its palatial waterfront properties — but also for the fact that the star of Amazon’s Golden Globe winning Mozart in the Jungle and Noah Baumbach’s Mistress America has barely returned home from a mini cross-country tour promoting the release of her self-titled debut EP. The record is a handful of folksy tracks — a dreamy, experimental Americana — to accompany fantasies of settling on a utopian homestead in Joshua Tree. She recorded it at Moon Canyon Sound in Mt. Washington surrounded by beer, pizza, and her closest friends.

As she drives down the Pacific Coast Highway (a journey that can sometimes feel like it takes as long as traversing the country), we talk about the grounding power of anonymity, trusting your instincts, and playing for seven people smack in the middle of nowhere.

You just wrapped shooting your third season as overachieving oboist Hailey Rutledge on Mozart in the Jungle. How has playing that role inspired you to pursue your more musical side?
Not directly, but I’m sure subconsciously. I’ve been really lucky to play a character who is traveling this parallel path to my own. She’s doing this one thing that she’s done her entire life — that she identifies with and has been defined by — which is to play the oboe. And for me that’s being an actor. Then, in this season, my character starts conducting and, in doing so, assumes a role of leadership and control. For me, expanding my identity — being like “No, I’m also going to be a musician” — is a similar gesture. As a musician, I get to express the things that I want to express, not the things that someone else has put on a page. I love doing that as well, but this is more of a direct expression, and it’s something that I get to make mostly by myself or with people that I choose, as opposed to on a film set where I still just feel lucky to be there.

Also, the experience this last season of learning how to conduct showed me to trust myself, and that I know what’s best with my own music, because as a musician I still feel a bit like an amateur sometimes. Especially when I’m in a room with people who have identified as a musician their whole lives the way that I’ve identified as an actor. Hailey and her kind of “fake it ’til you make it” mentality, and the confidence that she has to employ as a conductor, is something that I have had to employ as a musician. The last thing I’ll say is that classical music has never been something that I’ve been particularly passionate or knowledgeable about. I’ve always had to substitute a genre of music that I do love — and I think stepping into the role of a musician more this year has made it so that in future seasons I’ll have better access into what that love that Hailey has looks like.

You describe stepping into the role of musician as a way of asserting control, rather than relinquishing it. How does pursuing music make you feel more in control?
Being an actor, you achieve a level of control, perhaps, at a certain point in your career. But for the most part you’re at the whim of the director, writer, editor, makeup, hair, basically everyone. It’s a collaborative effort, and more often than not that collaboration can bleed into something a little less democratic. As a musician, at the level that I’m at, I don’t have a big record label lording over me telling me what they want. I don’t even have a big fan base to please. So there’s something really freeing about the expression of music for me right now. I don’t know what that would look like if people starting writing negative reviews about me, and if I was aiming to please or trying to maintain an image. But right now it feels like I get to do what I want, and that feels great.

Full interview:

Lola for Nylon Magazine


Late last month, Lola Kirke took the stage at Baby’s All Right in Brooklyn, New York, to celebrate the release of her debut, self-titled EP. Flanked by five other musicians (including her boyfriend, Wyndham Boylan, who also produced the record), she played bleeding-heart, country-dusted rock, marking her official foray into a professional music career. In that world, Kirke is still a relative unknown. For the tour she just completed—an 8-stop jaunt between New York and Los Angeles—she traveled in a small van with friends and collaborators, playing at intimate clubs along the way. And yet two weeks prior to the show at Baby’s All Right, the 26-year-old performer found herself on the cover of The Village Voice. That’s because, in Lola Kirke’s other life, she happens to be an actress on the cusp of stardom.

Kirke, who grew up in New York City to artistic parents (her father is the former drummer for the rock bands Free and Bad Company; her mother owned a popular clothing boutique in Manhattan’s West Village), wanted to act since she was young. But when she left the city to study at Bard College in New York’s Hudson Valley, other artistic pursuits began to take hold. While majoring in film theory, Kirke took up music, guitar, and singing with friends, and eventually formed an alt-country band, She Rose. But when Kirke returned to the city after graduation, with her sister Jemima a star thanks to her role on HBO’s Girls, the acting bug took over, and Kirke quickly found work, first in a small but pivotal role in David Fincher’s Gone Girl, and then as one of two leads in Noah Baumbach’s well-received indie, Mistress America.

Now, Kirke sits at the top of casting lists across Hollywood and is one audition away from the role that will launch her to rarified movie stardom. But until that happens, Kirke is thrilled to follow her artistic muse wherever it leads her. She just wrapped her third season as the ambitious oboist Hailey on Amazon’s Mozart in the Jungle, and will next star opposite Jemima in writer Emma Forrest’s directorial debut, Untogether. We recently spoke with Kirke, who splits her time between New York and Los Angeles, about why she felt the need to start her music career now, how her college experience changed her life, and what she’s learned about Hollywood.

Full interview:

Lola for interview Magazine


I definitely feel like I’m more creative when I’m a little bit down,” explains Lola Kirke over the phone. “I’m so uncomfortable when I’m a little bit down, I just have to do something about it. I’m happy that doing something translates into something constructive rather than destructive.

Born in London and raised in Brooklyn, Kirke is a well-regarded actor-on-the-rise. Over the last three-odd years, she has worked with powerhouse directors such as David Fincher (Gone Girl) and starred in indie movies like 2014’s coming-of-age screwball comedy Mistress America. As aspiring oboist Hailey Rutledge, she is the poster-woman for Mozart in the Jungle, Amazon’s most successful original series to-date. Earlier this year, she wrapped American Made, Doug Liman’s new thriller starring Tom Cruise. Though she is the youngest child in a family of creatives, she seems to have quickly escaped the shadow of her siblings’ and parents’ achievements. For her next project, she will act opposite her real-life sister Jemima Kirke in Emma Forrest’s directorial debut Untogether.

But Kirke isn’t one to let success make her complacent. Tomorrow, the 26-year-old will release her debut EP as a singer, songwriter, and guitarist via Spirit House. “It’s been this amazing re-entry into being a struggling artist,” she says with a laugh. Simply titled EP, the four-track record is a dreamy blend of folk, country, and rock. “Gene Clark is one of my all-time favorite musicians. He’s a founding member of the Byrds and he coined this new genre called ‘cosmic American,'” she explains. “It was that moment in the ’70s where great rock ‘n’ roll musicians started making country music and got rejected by the country fans and the rock ‘n’ roll fans,” she continues. “I hope to become part of the cosmic American tradition.”
EMMA BROWN: I want to talk about your music, but I read that you grew up wanting to be an actor. That was your original goal. Is that true?

LOLA KIRKE: I started playing music when I was 18. My heart was just broken so badly that I decided that I really wanted to start playing music. It felt like the only thing that I could do in response to that. And I’ve been playing ever since.

I had every opportunity to learn an instrument when I was younger, but I was more interested in watching TV and that’s really it. [laughs] I had no kind of work ethic and I always felt that music—especially rock ‘n’ roll—was a more for boys. Growing up with my dad being a musician, it seemed like a male centric world to me. I just didn’t know many girls playing guitar. All my best girlfriends play guitar now, which is kind of a funny world to live in. Perhaps like attracts like, and that’s why I found myself in a circle of women who are so passionate about making music. But beyond that, [music] was just something that I felt that I couldn’t do for whatever reason. It takes a lot of courage to be a performer. And even though I was performing all the time as an actress and I was doing all of these plays as a kid, there’s a vulnerability about being a musician that you don’t get [when] you perform somebody else’s work. You perform the thing that you made, that’s inside of you, and to subject that to any kind of scrutiny is terrifying. It’s still terrifying to me.

BROWN: So you picked up a guitar and started writing songs?

KIRKE: Yeah, I started writing songs. Then I started playing every Monday at the local bar with a group of girls who still remain my best friends. Then I was playing music by myself for a long time, and writing songs, and then my boyfriend [Wyndham Boylan-Garnett]—who actually produced my record—encouraged me to put an EP together. I’m really happy with it.

BROWN: When you picked up the guitar, did you just teach yourself?

KIRKE: I actually started on the ukulele like many hip young ladies in 2008. I ordered all these books on the internet called Jumpin’ Jim’s Ukulele Songbooks. [laughs] They had a country book, or a songs from movies book or a Beach Boys book, so I actually got a lot of my sense of notes and rhythm and how to play an instrument with strings from the ukulele. Then I realized that I really didn’t like the sound of the ukulele so much so I started playing the guitar.

Full interview:


Lola Kirke and Breeda Wool Discuss ‘AWOL’ Before TFF Premiere


On a day when many youth in the LGBT community take a vow of silence to raise awareness about discrimination, the movie “AWOL” is adding a new story to the conversation. The movie, directed by Deb Shoval, was initially filmed as a short. After winning awards at Sundance in 2011, it was developed into a feature film starring Lola Kirke and Breeda Wool and is now returning to the festival circuit, this time premiering at TriBeCa Film Festival.

The movie is born out of the LGBT community,” said Kirke, sitting in the coffee shop at Standard East Village on Friday with Wool a few hours before the film’s worldwide premiere. “I think that’s really important — it’s not a film made by a straight man, or a straight woman for that matter,” Wool continued. She starred in the original short as well. “It’s a political story absolutely, but it’s a love story number-one.

Kirke portrays Joey, a young woman from Wilkes-Barre, Pa., who falls in love with Rayna (played by Wool), a married woman who lives in a trailer deep in the woods outside of town. With few options ahead of her, Joey enlists in the Army — but before being deployed to Afghanistan, she decides to run away to Canada to try and start a new life with Rayna.

It was one of the first scripts I read when I started actively pursuing this type of work right after college,” said Kirke. “What really drew me to the movie is the fact that it is a love story in a landscape of socioeconomic questions and concerns,” she continued. “What are the options here? How do I become a member of society? How do I leave this society that’s very static and elevate myself in the world? The military is the most viable option for the character I play.

The female-driven film was shot on-location in Wilkes-Barre and nearby Kingston over an extended time period. “Everyone was really excited for us to be there. Except one time when we shot in a Goodwill parking lot, we got chased out,” said Kirke.

There are a lot of places in this movie that are very off the grid,” Wool reiterated. “I think there’s also a topic that Deb explores in the film of the luxury of being LGBT as somewhat reserved for the wealthy. The difference between economically deprived areas in the United States and what that LGBT community looks like in contrast to a well-articulated, educated group of feminist theorists and LGBT voices as opposed to people who don’t have that same dialogue. This film is about people who don’t necessarily have a language.

Not that the movie aims to be didactic. It’s simply giving voice to stories that haven’t been told. Kirke perhaps summed it up best: “To exist in a world where what you feel isn’t being compromised by the legislation around you is a major f—ing privilege.

Source: WWD

Issue Magazine



CL: So far we’ve seen you as Greta in Gone Girl—the minor but memorable con artist; Liv in Free the Nipple—the confident ringleader of a group of activists; Tracy in Mistress America—the naive yet ambitious Barnard college student; and Hailey in Mozart in the Jungle—a sexy but geeky oboist. Did these roles all feel vastly different? Or do you see a common thread?

LK: In the casting world I think I lean toward dorky. I would like to play more roles like the one I did in Gone Girl. In Mozart in the Jungle and Mistress America, I play a kind of similar character who appears to be submissive but ultimately isn’t. What connects all of my characters so far is the fact that they’re all more than what you see.
In Gone Girl, you meet this character and think she’s one thing, but then find out she’s going to fucking betray someone and get whatever she wants. In Mistress America, the dynamic is similar: you meet Tracy, this unassuming, sweet girl and then find out she’s going to write whatever she wants to about the people around her.
I haven’t yet gotten to play in-your-face sexy people, and I count myself lucky for not being pigeon-holed as a typically “sexy” woman in the films I’ve been in so far. But I also think dismissing sexiness is limiting. I want to play sexy roles. I am sexy. I feel sexy, and I don’t think that to be sexy means one thing.

CL: You’ve also worked on films that span a vast array of genres, as well as different budgets and set sizes. How have your experiences on these distinct sets differed?

LK: Hopefully throughout the career that I hope I have, I’ll get to walk between different sets. The only big movies I’ve made so far have been Doug Liman’s movie Mena, which is coming out next year, and David Fincher’s Gone Girl. Both of those directors were deeply interested in good performances. Doug Liman was really into us playing around with lines and giving suggestions, while David Fincher was much more regimented, though he still created a challenging and supportive environment for actors.
I will say that I don’t think small sets are necessarily more conducive to good performances. A film with a small budget might not have the money to shoot a necessary scene, so they tell the actors to just do more exposition, which often isn’t the best choice. Though that was definitely not the case for Mistress America, which didn’t have a big budget. We were all changing in minivans and eating rogue Kind bars while shooting.

Full interview you can read HERE

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