ibiza revival | inside le weekend manumission

Sporting a Canadian tuxedo for the Midnight Madness premiere of his latest film ‘Vintage Violence,’ Cole Sprouse walks casually down King Street West, cutting through festivities after hopping off the 504 streetcar. His first TIFF and first time in the city of Toronto, Sprouse is taking it all in. The vibes, the people, the energy. Not your typical cinematic experience, there’s nothing quite like the feeling of screening a film at midnight and doing a Q&A with avid moviegoers at 2am. It’s electric.

Following disgraced Urban Explorer Carter (Sprouse), ‘Vintage Violence’ intertwines director Eugene Kotlyarenko’s signature use of mixed media and the stunning neon backgrounds of Japan to create a compelling thriller. When Carter meets the alluring Izumi (Kiko Mizuhara) online, their chemistry is palpable. After months of communicating, she persuades him to make the trip from the United States after he finds a cache of very expensive vintage Levi jeans, under the guise of having a buyer. Little does Carter know that the entire thing is a ruse to get the jeans and make some cash. What ensues is a series of events that become increasingly impossible to believe. And at the centre? A naïve Carter who just wants to take his jeans and go home.

Chatting with Schön!, Sprouse discusses meeting with Eugene Kotlyarenko for the first time, how he stops himself from spiralling on social media and more.

You were in Toronto for the first time, attending your first TIFF at Midnight Madness, no less! What was it like doing a Q&A at two in the morning? Was there a lot of caffeine involved?

That was my first Q&A at two in the morning, and I really, really loved Midnight Madness. First off, Peter Kuplowsky does an incredible job with the selection, and he really brought the energy up, which was nice. Because it’s midnight, everyone’s loud, having fun and excited to be there. The late-night screening naturally filters out a more casual audience, so you’re left with people who genuinely want to be there. It’s a very electric crowd. It was beautiful.

I can’t remember the exact name of the theatre we were at, but it was a beautiful old stage and theatre. Toronto was incredible, too. TIFF was electric, and the streets were filled with people who genuinely love cinema. We had great weather the entire time. I couldn’t have asked for a better TIFF experience.

It was serendipitous. And you had no delays on the streetcar, which, if you’re a Torontonian, you know is a minor miracle. You lucked out.

No, it was quick. [Laughs.] We had a bit of a wait for our vehicle, so I said, “You know, why don’t we just take the electric rail?” It seemed like the most efficient option.

I know you weren’t in Toronto for long, but were you able to check out any vintage shops while you were here?

No, and that’s the silly thing about visiting a city on a press tour: you don’t get much time to experience the city itself. I’m definitely going to have to take another trip to Toronto to see the sights and do all the things I wanted to do. Even at TIFF, I have this habit at every festival of foolishly convincing myself I’ll have enough time to see all the films and support other directors and actors. In reality, you only really manage to catch up with people at their after-parties.

Sounds chaotic. So exploring a city on a press tour isn’t exactly ideal. Moving on to Vintage Violence, I watched the film last night and really enjoyed it. Were you already familiar with Eugene Kotlyarenko’s work through Spree?

I’d seen Spree, but my involvement with the film came about pretty serendipitously. I met Eugene through a mutual friend, Kareem Rahma, the host of Subway Takes, who’s also a great actor and musician. We were out having a few beers when Kareem said, “Oh, my buddy’s going to join us,” and that was Eugene. We had a great day, just sitting around and talking about film. About three months later, he reached out and asked if we could jump on a call. He told me he’d written a script and was thinking of me for the lead. I read it, and it was incredible.

I did some more research into Eugene’s work and watched The Code, Wobble Palace and some of his earlier projects. I felt that he has a really strong creative fingerprint, so I was able to get a good sense of the tone he wanted for Vintage Violence. The prospect of shooting in Japan for two months was also incredibly alluring, so it was a no-brainer for me. The script was good, the director had a strong vision, and there was this sense of the movie gods at work in how serendipitously we’d met. The character is an urban explorer and streamer, which was compelling to me because it’s something I used to do a lot of when I first started out in photography. I just felt like all the right ingredients were there.

And it totally worked. Take me back to filming in Japan for those two months. Your camera must have gotten a good workout. Also, are the egg sandwiches as good as everyone claims?

The egg sandwiches are undeniably delicious. We were working a six-day week, which was obviously pretty intense. But I think the energy of being a tourist was so strong that I never really felt tired. The production itself was incredibly energising because the film’s tone was so energetic. We all felt that way. I’d say the biggest distinction between the Japanese team’s approach and what I was used to in North America was the level of premeditation. There was a much more deliberate, preconceived approach to how the Japanese team handled the storyboarding and narrative.

In North American cinema, I think there’s an assumption of spontaneity, both on set and in the way audiences experience a film. I don’t think that was necessarily the case on our set, so that was a significant distinction from what I was used to. But I think the beauty of the production was in the intersection of those two approaches to the natural chaos of a film set. The Venn diagram right in the middle was incredibly intriguing. Overall, the entire experience was a dream.

Carter meets Izumi (Kiko Mizuhara) through a livestream and puts his faith in her almost immediately. I think that speaks to the instantaneous relationships we form through social media and how readily we trust people through that lens. I follow you, you follow me back, and suddenly we’re mutuals. What is it about Izumi that prompts such an instinctive reaction from Carter? Why does he trust her so completely? The chemistry is immediate.

I played Carter as someone who’s quite naive, if not a little dumb at times. I think he’s hopeful. When we meet him, he’s disgraced and at a pretty low point. In one of the original scripts, although I don’t know if it’s ever really mentioned in this cut, he’d spent some time in jail. He was finally like a bird out of a cage, and the world had given him an opportunity. He was so hopeful that he followed it almost blindly.

One of the interesting things about social media is that, before Carter goes to Japan, he builds quite a substantial relationship with Izumi. And she fools him. I think that speaks to something we’re dealing with in the post-social-media age: we don’t really know someone until we’ve spent a significant amount of time with them in proximity. We can trick ourselves into believing in the version of someone they perform online, through FaceTime or other forms of long-distance communication. What you picked up on is an important theme, not just in Vintage Violence, but in some of Eugene’s other films as well.

At TIFF, you spoke about how we’re still in the Wild West of social media, only just beginning to find our bearings. For all the good it can do, there’s always a darker side, which the film explores. When you find yourself doomscrolling or spending too much time online, what do you do to pull yourself out of that spiral?

That’s an interesting question. I recently moved to New York, and I try to fill my days with as much spontaneity as possible. I think New York is a great city for that, although you can do it pretty much anywhere. First of all, you have to get up. You have to stand up. What I do is simply walk out the door. New York rewards you for doing that. It’s one of the last truly walkable cities in the United States. That’s what works for me personally. I know there are apps that can limit your screen time, but I’m 34. I grew up with the internet as it evolved, and I remember a time when we didn’t have it. Over the years, I’ve noticed a direct correlation between how much time I spend on social media and how I feel. The more time I spend on it, the worse I feel.

Thankfully, I’ve developed enough self-awareness to recognise what’s happening with my body and mental health. I can catch myself and think, “Oh, right. Maybe I don’t feel good because I’ve spent six hours on my phone today.” I think that’s a pretty common experience. Most of us don’t feel particularly good when we spend all day on our phones, on the internet or scrolling through social media. It’s important to figure out what works for you and find a way to step away. I’m a big believer that, although social media has brought quite a bit of good into the world, it isn’t ultimately a force for good. I think it has deeply complicated most of our lives in ways that aren’t necessarily beneficial.

When I talk about the “Wild West,” I mean that we’re essentially guinea pigs for these companies, trying to figure out how this technology affects us. We’re the first generation to have grown up dealing with it on this scale. Now, enough time has passed for us to start realising that we don’t necessarily enjoy it all that much. I don’t know how many people genuinely feel happy after spending an entire day online. But I also think we’re beginning to see some encouraging trends, particularly among Gen Z and younger generations. There’s a massive resurgence in the collection and appreciation of physical media. We’re seeing a renewed appreciation for going to the cinema, as well as for physical third spaces where people can gather. There’s also a return to a simpler, more natural way of living.

If you ask any of my millennial friends what they hope their lives will look like in ten years, most will say something like, “I want to farm with chickens and goats. I want a little plot of land.” I think that speaks to how we’ve split our identities in two: one rooted in our real, lived experiences and the other existing entirely in the virtual world. We’re yearning to reconnect those two sides of ourselves, and I think it’s important for all of us to find ways to do that.

photography. Mallory Turner
talent. Cole Sprouse
editor. Kelsey Barnes
interview. Dana Reboe

Being brought up around sets her entire life, Lilah Pate never took a moment of it for granted. Though show business was never an option before the age of 18 due to her parents’ reservations, Lilah made a point of absorbing everything around her like a sponge, knowing very early on that creating was in her future. Carefully cultivating her voice away from prying eyes and keeping it as close to the chest as possible, music, songwriting and acting just felt right. The perfect conduit to Pate’s ravenous creative appetite. From writing her own music to taking improv classes to add another skill to her acting repertoire, she was always determined to find herself in a creative environment. Now, in Rebel Wilson’s ‘Girl Group ’, Pate has the best of both worlds. Acting and singing. A blend of two disciplines she holds most dear; she was able to put the range of her abilities to the test.

And she got to see the fruits of that labour play out on one of the biggest screens on the international stage. Premiering at the Toronto International Film Festival, Pate was watching the final cut of ‘Girl Group,’ alongside the audience for the first time.  It was a true ‘pinch me’ moment, and one that she isn’t likely to forget anytime soon.

Chatting with Schön! Magazine, Lilah Pate discusses growing up in the industry, blending her love of music and acting, why everyone should take an improv class at least once in their life, and so much more.    

You grew up in the industry, you’ve spent time on film sets, you’ve been all over the world, and you said in another interview, you were able to focus on your craft outside of the world’s opinion. I think that’s huge. How did growing up in the industry and being able to hone your own voice help shape you into the artist you are today? 

What a great question. Not many people have the privilege of letting their minds run wild with creativity because they’re constantly burdened by the realities of life and its responsibilities. I’m one of the very lucky few who got to explore my imagination and creative side in a real way. From the time I was born, being around film sets and those creative worlds was what I knew. That was what a job looked like to me. Because of that, I had the opportunity to explore my craft and learn, but I wasn’t allowed to act professionally until I was 18.

I was almost 18 when I finally convinced my parents to let me give it a shot. They wanted to make sure I wasn’t pursuing acting for fame or fortune, because the odds of achieving that in any artistic field are so slim. They would ask me, “If you’re 80 years old and an acting teacher in your hometown, would that fulfill you? How much do you love the craft?” They reminded me that if I wanted to act, I could do local theater, take classes, or make iPhone movies with my friends. I didn’t have to pursue it professionally. They wanted to make sure I could handle the rejection and competitiveness of the industry, but they also wanted me to be a kid for as long as possible and do it simply for the joy of it. I think that approach allowed me to be around professional environments while still being a free spirit who was just getting to play.

Eventually, I found an open casting call posted online by an agency in Raleigh, North Carolina. I was 17, and I kept asking my parents, “Can I please go? Can I please go?” They told me I could drive down and audition, but they weren’t going to call in any favors. So I went, and I signed with the agency. My second audition was for ‘The Summer I Turned Pretty’, which I went on to do in the first season. I filmed it during my senior year of high school, shortly after turning 18. Even then, my parents still wanted me to go to college.

The rule was that they would help support me as long as I was in school and getting an education. If I wanted to pursue acting professionally, that was amazing—they loved me and supported me—but I would be completely on my own. I knew I wanted to stay in school and keep learning, so I took two years to just be a student and focus on getting better. Eventually, I told myself, “Okay, I’m really ready to audition again.” Then I got a manager in L.A., and things started to change. Now, I’m fully working.

What does your unique brand of creativity look like?

I primarily live in Wilmington, North Carolina, although I travel all the time and work all over the world. When I’m home, like I am right now, I really like being in nature. I just wrapped a movie here last night, fortunately only about an hour outside Wilmington, so I’ve been able to spend most of the past month at home, aside from my lovely adventure at TIFF. I like having my feet on the earth. I meditate a lot and imagine my feet growing roots into the ground to help me feel grounded. I love watching the sunrise every morning, doing puzzles, and colouring. I make these really bad little sketches because I’m not good at drawing, but they make me so happy. They’re little characters, and I have hundreds of them all over my room.

I always want to have artistic outlets that are purely for expression. I have a keyboard, and I’ll write a song; I have my guitar and ukulele. I spend a lot of time in nature, too. We live on the water, so I take our boat out. I think being free and living your life is the best way for me to maintain an open dialogue with whatever creative forces move through me. I never want to close myself off to that. In the past, I didn’t fully understand when my mom would tell me, “You’re such an open vessel. Don’t close yourself off.” It’s instinctive for me to feel everything and then pour it into something creative. As I’ve gotten older, I’ve realized that you have to keep that communication open. When I write a song, for example, inspiration usually comes when I’m in the shower, out on a walk, or not distracting myself with a device, music, a podcast, or television. Something will just shoot through me, and I have to write it down right then.

That’s my creative process. It looks different depending on what I’m doing, whether it’s acting, screenwriting, or music. But I think having these outlets that are just for play keeps that part of me alive.

I feel like the more we disconnect from social media and other distractions and get in touch with ourselves, the more creativity can flow.

Absolutely. With social media, you start focusing on the outcome, how something will be perceived, and how to game the system so it’s received well. But creating art stems from the purest feelings of human emotion and the need to create. I try to remind myself that I’m not on a specific timeline. There isn’t a goal I have to achieve by a certain age. As long as I keep creating things that mean something to me and continue getting better, I have faith that things will work out. I just try to keep that at the core instead of getting lost in social media and the comparison game.

With ‘Girl Group’, what were your immediate thoughts when the script came across your desk?

The script is just hilarious. The second I saw the audition pop up in my inbox with Rebel Wilson attached, I thought, “Oh my gosh, I want this one.” I knew I needed to be as free as possible in the audition, especially because they were putting together an ensemble of people to create this girl group in the film. I loved it and wanted to be part of it. I’d recently gotten more into improv and comedy. I took a couple of comedy classes in college and some outside of college, too. It was something I really wanted to explore, which is funny because my mom was always telling me, “Go into comedy, go into comedy, go into comedy!” And I’d say, “I want to be a dramatic, serious actor.” Of course, you can do both.

I also think improv really pushes you to be fully present in the moment. I genuinely never know where a take is going to go. It’s not a system where I say my line, and we fall into a rhythm without actually hearing each other. Improv brings you back to the root of what acting is in such a fun way. It allows you to be completely in the moment and have those pure reactions. I was obsessed with it and couldn’t believe I got to bring it to life.

What was your first improv class like?

My first-ever improv class was when I was really little. These days, I don’t have social anxiety. If anything, I feel like I have the opposite. I’m very free to be myself. I have this “We’re on a floating rock; it doesn’t matter that much” mindset. Have fun, live your life, make it an adventure. But when I was little, I remember taking my first improv class in New York City, where I think we were living for about a year. I was pushed into a circle and told to do something, and I just started crying. I was so anxious! I think it was because I was around a bunch of younger kids, and I thought I should have been in the teenage class.

I went back to improv before college, when I was living in Charleston, and took a class where I was the youngest person in a room full of adults. I had so much fun with them, even though some of the exercises involved just staring at each other. It’s a humiliation ritual! That’s half of what film and theatre classes feel like, too. I studied film and theatre in college, and you do things like movement for the actor, where you’re walking around on the floor like animals. Anyone who hasn’t taken a theatre class would look at you and wonder, “What is going on?”

But those exercises help you get out of your head and into your body, in a way, so you can perform onstage or in front of 100 crew members without being so self-conscious. You learn to let go. It’s about recognizing that if I’m feeling really insecure in an interaction, I’m not actually listening to you or connecting with you. All these classes and exercises are designed to get you out of that fixation on how you’re being perceived. They help you be emotionally honest and present with other people, whether in conversation or in a scene. I think all of those experiences have come together to help me grow as an actor.

You’re making me want to take an improv class.

I genuinely think everyone should take an improv class, especially people in long-term relationships. In any relationship, we can get so used to hearing things a certain way that we assume we know what the other person means. Half the time, during an argument, we’re not even listening to each other. We’re thinking, “I know you’re upset with me for this reason, and I’m upset with you for that reason.” But in improv, you have to listen to each other. I’ve seen married couples I’m friends with take improv classes even though they aren’t actors, and it has helped fix their marriages. After years together, couples can stop really hearing each other. They assume they’re going to be criticized or nagged about something, so they react before the other person has even finished speaking. Improv makes them actually listen to each other again. It’s beautiful.

As a millennial, I loved the film because I grew up with Destiny’s Child, the Spice Girls, and the Pussycat Dolls. Now we’re seeing a resurgence of girl groups, from KATSEYE and BLACKPINK to BABYMETAL. Why do you think this formula continues to work so well?

I think there’s nothing more powerful than a group of women coming together and singing about female empowerment, independence, and not needing a man. Those messages are so important for young people. That’s something I love about groups like the Spice Girls in particular: each member has her own individual identity. What I loved about this movie is that we’re all so unique. Each of us brings something special to the group, and I think the way that individuality is highlighted is really beautiful.

You’re a musician yourself, and you got to blend both of your loves together. How rewarding was that?

This was honestly one of the most rewarding experiences of my life. I grew up singing. It was my first love and what I always wanted to do, but it was also something I lost confidence in. I remember being at a talent show when I was little, and the girl who performed before me had one of those voices that made you feel like she was put on this earth by God to sing. It was beyond natural. Her tone was unlike anything I’d ever heard. I knew I had a pretty voice and good pitch, but I didn’t have that jaw-dropping voice. I thought that meant there wasn’t room for me. I think there’s this mindset that there’s a limit to how much music, talent, or success the world can accommodate, and it causes so much inner turmoil.

I continued singing for myself, but I largely stopped singing out loud. I’d write little songs, but I became shy about sharing them. I thought, “I love doing this, but maybe I’ll just be a songwriter.” I’ve always written poetry, so I figured I could write for other people because I still didn’t have the confidence to pursue music on my own. But when you open your heart to something you feel you’re meant to do, the universe can align with that pretty quickly. I always had this nagging voice telling me to pursue music, but I kept thinking, “I’m not good enough, and I don’t want to try something when there are people who are genuinely so talented at it.”

Then I directed a short film, and I went to lunch one day with the people who composed the score. I asked them, “Do you guys ever produce music? I’ve written so many songs, but I’ve never heard them.” They invited me to come by, and I spent a week recording songs I’d written. I showed up with a 100-page document of songs I’d written over the years, starting when I was 14. I just wanted to hear what some of them sounded like, and it was so much fun. Literally two weeks later, I got the audition for this movie, and I had to sing. It was one of those situations where I just had to fake it till I made it. I’d taken vocal lessons my whole life and done musical theatre, but when I booked the role, I remember thinking, “They think I can do this.” I was hearing everyone else’s voices, and they were incredible. If they thought I could blend into this world, why shouldn’t I believe it, too?

That experience lit a fire under me to pursue music without expectations. I want to make songs and art that I feel called to create and continue getting better. Rather than comparing yourself to other vocalists, admire them, look up to them, let them motivate you, and then make your own work and see what happens. That’s what music is to me: a creative art project that I’m taking seriously. I’m trying really hard, but I also have acting and screenwriting to fall back on. Music is something I do after work or between days off. This movie reignited that passion for me.

“Fake it till you make it” is such a powerful statement because eventually, it stops being fake and becomes real confidence. Speaking of confidence, you debuted your first single, “Shoebox,” last month. Why did now feel like the right time to share your music?

 It’s funny because, despite knowing so many people in the music industry, I knew absolutely nothing about how it worked. I didn’t know how to sign with a label or what a producer really did. I knew less than nothing, and I was learning very quickly. After I came back from London, I wrote some more songs and sent them to a connection in the music industry, basically asking, “Are these horrible?” I’m fine with the answer being yes. I’m not an artist who hates their work or a tortured artist. When I work really hard on a project, I can be very hard on myself. I don’t just gas myself up all the time.

I also feel a real sense of fulfillment in starting something and finishing it. Those demos ended up being shared around without my knowledge, and suddenly I was hearing from different labels. I remember thinking, “Whoa, what’s happening?” I decided to go to L.A. for a couple of months to work with producers, which I’d never done before. I knew I was going to book something by April that would require me to move, so I thought, “Okay, I have half of January, February, and March to go to L.A. and work on music. Let’s see if I can start a music career in two and a half months.”

My dad thought I was putting a lot of pressure on myself by setting a deadline to book a major project by April. I told him I wasn’t going back to school and wanted to pursue this. He’s always encouraged me to take screenwriting seriously rather than waiting for my dream roles to come along, empowering myself as a woman behind the lens and creating those opportunities. So he told me that if I didn’t book something by April, I had to go somewhere for a month and write a script from start to finish.

That sounds like a good deal.

I knew I was going to book something, so I wasn’t worried. I would have loved that alternative, too. Either I was going to take writing seriously and really focus for a month, or I was going to L.A. to make music. I went to L.A., started making music, and began meeting with music managers. I created an entire pitch for my project. I also got my heart broken while filming this movie, so I had a whole body of work that I needed to bring to life. I had so much I wanted to say and create. I wrote and completed so many songs while I was in L.A. Eventually, I chose a label I loved, knew, and trusted to give me agency over my art and creative process. Then I went off to film the show.

My dad was so kind to get my song placed in ‘Outer Banks’, which I didn’t even know was happening. He’s my biggest supporter, and I know how much he loves me, but I never really thought that would happen. That placement meant I had to release “Shoebox” sooner than expected. I’ve written so many songs and made so many demos, and I think I always told myself, “I’m going to keep getting better.” The next batch is always better than the last.

It’s scary to start something, especially when you don’t have an audience yet. Beginning anything from scratch makes you feel vulnerable. But at a certain point, you just have to start. I know I’m going to grow, but these songs mean something to me at this point in my life, and I’m proud of them. I’m directing my own music videos, too. It’s time to stop saying you want to do something, going back into the studio, and waiting. You have to choose your favourites and move forward.

Bringing it back to ‘Girl Group,’ take me back to the premiere. What was it like watching the film alongside an audience?

I was terrified! First, I’d never watched myself with such a large audience. Second, I’d never watched something on that scale without seeing it beforehand, and I hadn’t seen the film at all. There was so much improv, and Rebel’s original cut of the movie was three hours long, so I knew a lot would be cut. I didn’t know which jokes would make it or what the final shape of the movie would be. With a comedy that has so much improvisation and so much plot to fit into a certain amount of time, I had no idea what to expect. But I felt so much joy and pride for everyone involved, and I didn’t go in with too many expectations.

I’ve been to other premieres where I was really nervous beforehand, but this time, I got ready super early. My parents came, which was so much fun, and I love this group of people so much. Being reunited with them meant everything to me. The TIFF atmosphere was incredible. The red carpet, the people, the whole experience—it was amazing. They made me feel like a star, which was the sweetest thing ever. I remember thinking, “You don’t know who I am, but thank you for pretending you do!” It was such a great experience, and I’m so proud of the movie.

 I can’t wait for the film to get a wider release so more people can see it. I think it’s going to be a hit. It’s giving ‘Pitch Perfect 4′ vibes. What’s something you learned from making this movie?

The biggest thing that comes to mind is watching Rebel Wilson direct, write, and star in the movie. Wearing that many hats is incredibly difficult, and she did it with such grace and kindness. I want to direct and write in the future. I’ve written and directed a short film, but I deliberately didn’t star in it because I wanted full control over the shots and frames I was creating. I didn’t want to get caught up in taking extra time to watch everything back.

Since then, I’ve directed two music videos that I also starred in, and I learned so much from that experience. Watching Rebel taught me a lot about running a set while also performing in it. It’s a lot to balance. I was also so inspired by the improv skills of these veteran actors. They kept me on my toes. Sometimes, I’d forget I was even in the take because I’d get so caught up watching a back-and-forth between Rebel and Jamie Lee Curtis. They’d be going back and forth like a ping-pong match, and I’d think, “Oh my gosh, I’m still in the frame!” I was completely enamoured with them.

If you could write a song for Xplode, what would it be about? What would it center on?

So many ideas come to mind. I think it would be a “Misfit” song, something like a Bad News Bears anthem. A song about underdogs and ride-or-die friendship. So many of us are unique and awesome, and I think capturing that energy in a song would be really fun.

When do you move from creating art for yourself to feeling like it’s good enough to share?

That’s a really good question. I’m someone who needs silence to create. I have ADHD and dyslexia, so even the sound of rain can make it difficult for me to concentrate. I can’t go to a coffee shop and socialize while I’m writing. It’s a very solitary experience. Even when I’m developing a character, I’ll journal as that person and try to understand everything about them. Eventually, I reach a point where there’s this bubble of excitement and I want to share what I’ve created.

The people I share my work with most are my parents. I’ll be in my room writing, and a few hours will go by. Then I’ll reread what I’ve written and sprint to my dad’s office shouting, “Read this!” even if he’s in the middle of a meeting. I definitely share things with my parents first, sometimes before they’re even finished, because I’m just so excited. With other people, I’ve learned that it’s important to seek opinions without becoming emotionally dependent on them. At the end of the day, you have to trust your gut.

There have been times when I’ve really liked something, shared it with someone, and they’ve called it “cringey” or criticized it in some other way. Suddenly, you start carrying that judgment around with you. So it’s important to know what you genuinely like and trust your instincts. I have a core group of people whose opinions I really value.

photography. Mallory Turner
talent. Lilah Pate
make up. Dani Parkes
hair. Joseph Chase
editor. Kelsey Barnes
interview. Dana Reboe

dress. Simkhai
shoes. Tory Burch

Perry Mattfeld has built a career defined by versatility, curiosity, and an instinct for inhabiting characters worlds away from her own. Mentored by Debbie Allen as a young dancer, Mattfeld earned a BFA in acting from USC before making her mark as an actress, first capturing audiences’ attention as Murphy Mason in The CW’s ‘In the Dark’. Across four seasons, she brought a fierce, unfiltered complexity to the role, earning a devoted international following and establishing herself as a compelling presence on screen.

Now, Mattfeld is embracing a new kind of intensity in Hulu’s comedy series ‘Chad Powers’, starring opposite Glen Powell as Ricky, the determined daughter of Powell’s enigmatic football player. Blending sharp comedy with unexpected emotional depth, her performance has drawn critical acclaim, with critics praising her quiet intensity and standout work in the series’ most surprising moments. As Season 2 raises the stakes for Ricky, Mattfeld continues to demonstrate a remarkable range, moving effortlessly between humour, vulnerability, and drama.

Beyond ‘Chad Powers’, Mattfeld will appear in Netflix’s upcoming feature ‘The 99’ers’, a celebration of the trailblazing 1999 U.S. Women’s National Soccer Team, whose historic World Cup victory helped reshape women’s sports. With credits spanning ‘The Idea of You’ and ‘Long Bright River’, Mattfeld remains drawn to immersive roles and stories that leave a lasting impression. For Schön!, she reflects on her journey from dance to acting, the transformative experience of playing Murphy Mason, finding Ricky’s quiet intensity, and the many worlds she hopes to explore next.

dress. Simkhai
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top + skirt. Tibi
shoes. Toteme
bracelet. Shannon Bond

You began your career as a ballet dancer under the mentorship of Debbie Allen. What did those early years teach you about discipline, performance, and connecting with an audience? 

Dance, specifically at the Debbie Allen Dance Academy, exposed me to diversity of experience and art. I trained in ballet, hip hop, tap, flamenco, African dance, modern dance, and more. I’m a big believer that the more you’re exposed to as an actor, the more you familiarize yourself with people from different walks of life, the more you observe, the more you have to offer to these characters. 

You eventually transitioned from ballet into acting and went on to earn a BFA in acting from USC. Was there a particular moment when you realized acting was going to become your primary creative path?

 I was actually training in all three – dancing, singing, and acting. But something kept drawing me to acting class. At age 12, I was hired by Mattel to perform as an American Girl Doll in the west coast theatrical tour. I did over 160 live performances over the next couple years. That’s when acting started to move to the forefront, even while I kept up dance & voice lessons. 

Looking back at your earliest acting roles, what do you remember most about being a young actor learning how to navigate auditions, sets, and the business? 

I’ll never forget calling my acting professor from USC, Mr. Hacker, the night before I was expected on set for my first day filming Shameless in 2017. I was so nervous! I was really lucky to have my professors, my peers, and my manager, Josiah Akinyele, to help guide me in the beginning. I’m still navigating the business! I think I always will be, especially as it continues to evolve and change. I’m never afraid to call some of my veteran actor costars for advice. 

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top + trousers. Max Mara
boots. Loeffler Randall
earrings. Shannon Bond

Your breakthrough came with In the Dark, where you played Murphy Mason for four seasons. What did that character demand from you that you hadn’t experienced in your earlier work? 

“Murphy Mason” was a role that required a mental, emotional, and physical commitment unlike anything I’d ever experienced. I was up for the challenge & am forever grateful to the creators who believed in me. Carrying a show is a lot of work. Each season was a demanding 7-8 month grind, and as the lead character, I needed to set an example of professionalism, dedication, and a strong work ethic. It’s why I have so much respect for Glen, who’s leading us on Chad Powers. He’s the first one at work and the last one to leave. And he does it all with a smile. 

Murphy became such a complicated and unconventional character, and the series developed a passionate international audience through Netflix. How did it feel watching the character resonate with viewers around the world? 

Many people don’t know that In The Dark was inspired by a real woman, my dear friend, Lorri Bernson. I fell in love with her raw, unfiltered, wit and charm, the same way audiences around the world fell in love with Murphy’s. I love how passionately people feel about Murphy. She changed my life, and she changed many other peoples’ lives, too. 

You’ve since taken on very different projects, from The Idea of You to Long Bright River. What draws you to a role now, and has that changed as you’ve gained more experience? 

I love a research project. I’m always drawn to a role that allows me to fully immerse myself in a different world. There are multiple roles I’ve played where I am unrecognizable. I’d also say that I’m never chasing the size of a role, I’m chasing good stories being made by and with special people. 

Then came Chad Powers, where you play Ricky, Jake’s daughter. What was your first reaction when you read the role and learned what the series was going to be? I could not put the Chad Powers script down. I was cracking up laughing while reading it. I was obsessed! I felt an immediate connection to Ricky, and felt like I could tap into the football world so naturally, since I am a football fan in real life. I had seen Eli Manning’s original skit, and couldn’t believe how Michael Waldron & Glen Powell had created a full fledged, brilliant, comedy, inspired by such a simple prank. 

top. Nordstrom
skirt. Calvin Klein Vintage

Ricky has a toughness and determination beneath the surface, and critics have described your performance as “quietly intense.” How did you approach finding that balance between what Ricky says and what she keeps inside? 

With the guidance of our excellent directors, it’s been fun to figure out when things should be said with my eyes only. This is especially relevant in Ricky’s storyline as she’s carrying such a big secret. Glen & I have to communicate so much between each other without saying anything out loud – serving that “quiet intensity.”

You’re working opposite Glen Powell, who is also carrying a lot of the comedy and physical transformation of the show. What was your chemistry like when you first started working together? 

I couldn’t draw up a better costar if I tried. Glen is a comedic GENIUS. So much of what you get on screen is improvised. That’s what makes working with him so fun. We are just playing as we go, feeding off of our chemistry, trusting that the other is completely open to whatever comes up. I love him!

The series can be broad and very funny, but Ricky also gets some surprisingly emotional and dramatic material. How did you navigate moving between those two tones without losing the character?

 My job is to ground our show and bring believability – not to try to be funny. I’m surrounded by incredible, veteran actors (Steve Zahn? Are you kidding me?!). I do my best to be present, listen, and respond in the moment, whether I’m in a dramatic scene or a comedic one. 

coat. Calvin Klein Vintage
shoes. Khaite
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top + skirt. Tibi
bracelet. Shannon Bond

Critics have singled out your work in the season finale and described it as one of the show’s biggest surprises. Without spoiling anything, was there a particular scene or sequence in Season 2 that challenged you the most? 

The final episode of Chad Powers Season 2 is another epic masterpiece, brilliantly directed by Michael Waldron. This episode is an emotional rollercoaster for Ricky – especially the last very last scene. There’s relief, excitement, hope, heartbreak, romance, thrill, and panic, all at the same time. 

What have you discovered about yourself as an actor through playing Ricky that you didn’t necessarily expect when you first got the part? 

Ricky definitely evolves from Season 1 to Season 2. She starts very stiff and reserved – still finding her voice and her footing. I wasn’t expecting Michael to encourage me into the physical comedy. Ricky becomes more and more disjointed, flailing through life as the stakes raise & her situation becomes unhinged. It’s really fun and spontaneous.

top. Nordstrom
skirt. Calvin Klein Vintage
shoes. Simkhai
earrings. Alexis Bittar

Your next project, The 99’ers, takes you into the story of the 1999 U.S. Women’s World Cup team. What was it like stepping into a real-world story with such a significant place in women’s sports history? 

The Netflix movie about the 1999 Women’s US National Soccer Team is an extremely empowering story I get to tell with a really special group of girls. It’s iconic, it’s historic, and I can’t wait for the world to know about the strength of these trailblazing women. 

You’ve moved from ballet to television drama, comedy, film, and now a sports story. Do you see those different disciplines as connected somehow, or does each project require you to start from scratch? 

There will always be some sort of through line with my characters, even if they are from different worlds. Because with every character I play, there is going to be a personal touch that makes it “Perry’s version.” Something that draws from my personal life, as a former athlete, dancer, student, and now, mom. And believe it or not, many of these characters often have more in common than you’d think. 

When you look at where you are now—from your beginnings as a dancer to In the Dark, Chad Powers, and The 99’ers—what kind of roles or stories are you hoping to explore next? 

There are so many kinds of roles I want to try. I want to do a western, I want to be in an action movie, I want to do a Victorian period piece, I want to play a southern belle, I want to learn another language for a role – I could go on and on! I want to tell stories that stick with people. And as long as I keep getting lucky, there are so many more to tell.

dress. Simkhai
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dress. Simkhai

photography. Emily Pinto
fashion. Ariana Velazquez
talent. Perry Mattfeld
hair. Craig Gangi for Exclusive Artists using ROZ
make up. Katie Mellinger
lighting. Shahin Ansari
production. Cassidy Cocke
on-site production. Evan Daves
production design. Paris Peterson
editor. Kelsey Barnes
location. Sungold Studio