Vintage pornography lines the shelves. Penis and vulva biscuits populate the snack table. Upstairs, one of two tarot card readers offers guests a vision of their future while a compilation of pornographic videos plays on loop a floor below. This event and the series it celebrates are the brainchildren of Eliza Lawrence, a British-born writer and actress currently based in Berlin.
Five years ago, Lawrence launched WASITGOODFORYOU, a website and corresponding Instagram page centred around breaking the taboos of sex. Over time, the site and page have developed a loyal fanbase, with people from around the world submitting their sex stories, poetry, art, and more in an attempt to broaden the conversation around sex. Today, Lawrence is launching her first book with the project, a sort of organised chaos celebrating the beauty, pain, awkwardness, and joy brought about by sex.
The book’s launch event seems to perfectly encapsulate the site’s broad appeal and DIY spirit. Masked viewers crowd into an unfinished basement to hear readings of poetry and erotica. Lawrence laughs as she introduces one of the presenters as a “former lover” — a small detail, but one that speaks to the project’s goal of encouraging people to grow more comfortable with sex and how it interweaves with the rest of our lives.
WASITGOODFORYOU, the official print debut of Lawrence’s project, takes this ethos and expands it in beautiful form. Each page is elegantly and meticulously designed, pairing original poetry and stories from a range of writers with photography, paintings, prints, and more. The book is a labour of love in every sense of the phrase, and as she speaks about the work, Lawrence’s voice rings with proud exhaustion. Her first book may be complete, but to hear her tell it, bigger, grander visions for the project are still in store. Schön! spoke with Lawrence about the book and how sexual taboos have changed since the project’s inception.
You said you started this project to break down the taboos surrounding sex. How have you seen the public conversation around sex taboos change since you started four years ago?
It’s a hard one to answer, this question, because we go through ups and downs of breaking taboos, and then those very taboos you thought had broken begin to become issues again. A particular taboo can be broken down with your age, your education and who you surround yourself with. These things change. For instance, the culture of sex is much stiffer in London as it is in Berlin. In London, we see sex as something we should keep indoors. Which has its own beauty. But since coming to Berlin I have seen that sex is so much more than that thing you do in bed. In Berlin, it morphs into a multicoloured and proud banner that people hold up proudly. So taking WASITGOODFORYOU with me to Berlin has meant I have met artists that are much more open to talking about sex!
How did you find and coordinate the 45 artists you feature in this book? What direction did you give them, or if none, what were you looking for from each artist?
I actually counted again and it’s a total of 49 artists. I have found them in my creative way. I have lived in creative circles and am really happy to talk about what I do in a way that entices people to want to submit their specific art pieces. WASITGOODFORYOU started as a website, and I would ask people via word of mouth, the website itself, and my Instagram platform to submit their poetry, art, illustration, photography, and anything else that fell under the huge umbrella of ‘SEX’. I would then talk to them about their specific art pieces they have used to express their opinion or experience of sex. There is the choice to be anonymous or not, but I encourage them to stand by their work as the more we show ourselves next to our work, [the more] we can expel the taboo that sex is dirty!
What are you hoping to accomplish with this book?
I am hoping that it can access people who wouldn’t be able to access the online realm. I want people to see how beautiful and multilayered sex can be through the colourful design and stylish format. Normally anything to do with sex is pretty penetrating (if want for a better word!), and this book aims to not be scary to pick up because it’s too sexy or too dirty. I want people to proudly use it in any way they want. To educate maybe, to read on the loo, or to use as a springboard for creating more art!
How do you hope to grow WASITGOODFORYOU in the future?
The book itself only aims to get better and better. Making a book is really expensive, and I have spent a few years saving up to buy this initial batch. But the more I make, the more I intend to spend on this book. One day hopefully I will make it hardback or get a publisher involved as it’s hard to do it all alone! In terms of other missions, WASITGOODFORYOU is beginning its own podcast where we will discuss sex in all its formulations and ask guests on it that specialise in these areas. Then I would love to begin a kind of poetry club or some kind of educational monthly event where we discuss sex through our arts. A more live event, so WASITGOODFORYOU becomes 3D!
WASITGOODFORYOU (35€) is available for pre-order here.
To call Alexander Hodge a rising star would be an understatement. With a presence that feels both grounded and electric, the Chinese-Australian actor first caught the world’s attention as Andrew on HBO’s ‘Insecure’ — the calm, confident partner who instantly became a fan favourite (and is still affectionately referred to as “Asian Bae” by his fans). But to define Hodge by a single role would miss the point entirely.
Born in Sydney to a Chinese father and Irish-Australian mother, Hodge’s path to Hollywood wasn’t exactly linear. A rugby injury nudged him toward the arts, and from there, he found power in performance — especially in roles that challenged the narrow depictions of Asian masculinity that dominated his youth. He’s been vocal about the need for authentic representation, calling out tokenism and pushing for characters with depth, vulnerability, and range.
Hodge opens up to Schön! about his career trajectory, his interest in genre-bending projects, his experiences working with masters like Edie Falco and Colman Domingo, and his multicultural identity in a candid and insightful conversation.
Fans still lovingly call you “Asian Bae” from your time on ‘Insecure’. How do you feel that role shaped your public image, and how have you evolved since then as an actor? Do you still get called “Asian Bae”?
Look, I think there are a lot worse things to be associated with than that role, that character, and that show. I loved my time on ‘Insecure’. I loved that character. I loved the way he reached people. I really have — and always will have — a deep gratitude towards the people of ‘Insecure’ and the time I spent on that show. I was young, 26, when I first appeared, and those were the first few years of my career. I’m really grateful that this is how things began.
It’s something that people still find impactful and meaningful, and the fact that it still resonates today — that’s something I’m very thankful for. Look, if that ends up being the highest height my career ever reaches, I’ll still be very happy. But I’m also thankful that I’ve continued to work and progress since then.
Yeah, and also it’s been kind of almost ten years, right? It’s been nine years since the show premiered, I think.
Yeah, it’s been nine years. I felt really old just then — if you were gonna say ten, I might’ve lost it. But no, not quite!
Can you tell me about ‘Garden Society’? You recently joined it—what can you tell us about this new project and the character you play in it?
Yeah, ‘Grosse Pointe Garden Society‘ is something that I think makes network TV great. That’s its strength. Shows like this haven’t really been on our TVs for a while — since streaming got big and a lot changed in the industry. Network television itself has changed a lot over the last ten years. I think ‘Garden Society’ is the kind of show that brings people together around a house. It’s something people watch in groups. It’s similar to Insecure in that way—there was so much conversation around the story and characters.
I call it “anthemic” because it’s designed to be experienced in the community. It’s not meant to be consumed alone. It’s rewarding when you watch it with friends or family, because then you can talk about each character—who’s being a shitty person or a good person, who’s changing from episode to episode and making you like them more or less. And on top of that, the scandal—the murder and crime elements—are playful and fun. To me, that’s what makes network TV great.
I also did a little research before the interview, and it seems like you love breaking genre moulds. From ‘Joyride’ to ‘Wellmania and ‘Skater’, you’ve taken on some bold roles. What excites you most about projects like that, which push traditional boundaries?
It’s a convenient way to pitch something. It helps executives understand what they’re buying into. But as a consumer or viewer, genre can be restrictive. Our favourite comedies can teach us something deep. Our most serious dramas can still be funny. They can have levity and pathos. I think that reflects real life—the duality of things. I can remember the worst times in my life, and still laugh about how ridiculous my situation was. And I’ve had great days that ended with my motorbike breaking down. There’s always that juxtaposition. So I think challenging genre confines is important — it makes the work feel more real, more relatable, more multidimensional.
jacket. Polo Ralph Lauren
tank top. Calvin Klein
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jacket. Polo Ralph Lauren
tank top. Calvin Klein
jacket. Polo Ralph Lauren
tank top. Calvin Klein
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jacket. Polo Ralph Lauren
tank top. Calvin Klein
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You also star alongside major talents like Edie Falco and Colman Domingo. What have you learned from working with such seasoned actors? Working with legends like that must be wild.
Some of my favourite stories came from my time with Edie Falco. She would share these incredible battle stories from ‘The Sopranos’ and ‘Nurse Jackie’. I learned so much about James Gandolfini from her anecdotes. But more than that, Edie on set was one of the most relaxed actors I’ve ever seen. She was completely unfazed, even in stressful situations. I learned how to treat this like a job, to know what I’m there for, and to really understand my place in the room. Edie was so great at knowing her job — what she was there to do and what she was being paid for.
Colman is another version of that. He understands his own essence and his strengths in any room. He has this infectious energy, this zest for life, that just rubs off on you. From him, I learned to give myself permission to be playful, to feel young, to be less serious. When I was younger, I had this intense drive to be a “serious actor” — that struggling, indie artist kind of thing. I identified with that angst and restlessness. But now, in my early thirties, I think more about playing. I want to bring childlike curiosity to what I do. And seeing these incredible professionals who are also playful, light, and full of joy — that changed my approach.
It almost sounds like an experimental approach to performance—maybe that’s the best way to do it.
Exactly. This job isn’t like a traditional corporate job with a fixed structure. You can land a huge opportunity at any moment. So there’s a lot of trial and error—you have to see what works for you.
What works today might not work tomorrow. So you need the elasticity to rearrange yourself or recalibrate depending on what the moment requires—whether it’s a comedic scene, a dramatic one, or something else entirely. You’re not the same person every day, and no one else on set is either. One day your scene partner might need something totally different from you. Or the director might. Maybe one day you don’t crack any jokes, and the next you do—just to get through the 13th hour of the day. It’s about adaptability in both craft and personality.
You grew up in Australia, played rugby, and trained in martial arts. Do those physical disciplines influence your acting — presence, focus, choreography maybe?
Yeah, definitely. I grew up playing rugby and I still box today. I train at a boxing gym. It’s always important to maintain a deep understanding of your physical instrument—your body. That’s something I learned from theatre school too. How your body moves, how it communicates—that’s essential, especially on camera. Even when it comes to tension, like when there’s something brewing in a boxing gym or on a rugby field, understanding that kind of physical anticipation adds to performance.
For this show, we’re working on some fight scenes. My character doesn’t know how to fight, so we’ve been playing with that. I know how someone would throw a punch, and I know how someone wouldn’t—so I can layer that into the performance and storytelling.
I also thought martial arts and acting both require discipline — so maybe that’s another connection?
That’s so true. Actually, acting helps my boxing too. When I’m sparring, I can fall into rigidity because of my athletic background — I’m used to being coached and following instructions. But sparring with someone new is unpredictable.
Acting has trained me to be present. In boxing, if you’re not present, you’ll probably get your nose broken. (laughs) But that presence — that improvisation — helps in both worlds. Between “action” and “cut,” no one’s guiding you. You have to respond to what’s in front of you, to your scene partner.
But martial arts stays as a hobby, right? Not something you would ever do professionally?
Absolutely not. I’m too involved, too slow, and honestly, I’m too precious about my face. (laughs) I’d have a losing record! No professional ambitions in that area—don’t worry.
You trained at the American Academy of Dramatic Arts and were part of the ABC Talent Showcase. How did those experiences prepare you for where you are now?
You’ve really done your homework! Theatre gave me a solid foundation — discipline, voice work, physical movement, technical awareness. But beyond that, it gave me deep script analysis skills and an appreciation for history and storytelling. Yes, there’s raw talent and instinct, but backing that up with craft is essential. Whether it’s formal education or personal study, there’s a lot to be said for humbling yourself and continuing to learn.
The ABC Disney Showcase taught me to trust myself—to believe in what makes me different. Out of 10,000 people auditioning, most can say the lines. The difference is why you say them the way you do. Maybe it’s because I played rugby, or because I love cooking—whatever it is, that unique life experience comes through in performance.
So being unique moves you to the front of the line, maybe?
Yeah, I guess. I mean, I’m a little hesitant to use the word “unique” because I don’t think it’s something you can really mine. I don’t think you go out searching for uniqueness. In my experience, it’s more about relaxing—reclining—into yourself. It’s about stopping the search for something outside the bounds of who you already are, and instead going inward. Understanding and embracing that version of yourself, rather than trying to chase anything else. You’re not trying to give the De Niro version, or the Jennifer Lawrence version—you’re giving the version that’s uniquely you. And I think that’s something society doesn’t always encourage us to do. But it’s probably the most honest and powerful thing you can offer.
Do you gravitate toward one type of project more than another? Or is the story always what draws you in—because your credits span both indie gems and big mainstream hits?
I think my career reflects that I was, for a long time, chasing status or chasing an ideal. That’s why I’ve done a bit of everything—network TV, cable, indie films, studio films, theatre. It’s like, if there was a type of work out there, I probably tried to do a version of it. At the time, I think I was chasing someone else’s career. I had this idea of what I was supposed to be or who I wanted to emulate. But now, the number one thing I look for is the people involved.
Is this a group of people I want to spend six, eight, ten months—or even years—with? And if not, then there has to be another reason to do it. Either it’s so creatively fulfilling that it can’t be ignored, or it pays me really well. (laughs) At this point in my life, what matters most is two things: time and happiness. If I’m going to dedicate my time to something, it needs to make me happy. When I was younger, I’d watch a movie and think, “I’m supposed to be in a Paul Thomas Anderson film,” or “I’m supposed to be in a Wong Kar Wai movie.” But as I’ve gotten older, I’ve let go of that ego. I realised—maybe I’m just supposed to be me, and that will resonate somewhere. And if it does, great. If it doesn’t, I’ll still continue to be that person.
So your other priorities—like your sense of ego—have shifted a bit in recent years?
Yeah, I’d say so. I think the last few years have really humbled me. As I’ve grown older and gone through some personal things, I’ve realised how much of my energy used to go into chasing the audience of thousands. I was so focused on legacy, on doing something meaningful, on leaving a mark. Then I got to therapy and kind of realised—why was I so obsessed with the audience of thousands? What was wrong with the audience of three? What’s wrong with meaning something to the people who mean the most to you? And once I landed on that, I’ve been really okay with it ever since.
coat. Louis Vuitton
t-shirt. Paly Hollywood
trousers. Stylist’s Own
boots. Talent’s Own
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knit tank. ZANKOV
shirt (on chair). Aknvas
jeans. Agol
coat. Louis Vuitton
t-shirt. Paly Hollywood
trousers. Stylist’s Own
boots. Talent’s Own
opposite
knit tank. ZANKOV
shirt (on chair). Aknvas
jeans. Agol
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As an actor of Chinese and Irish descent, how do you navigate representation and identity in the industry? Do you feel like the landscape is shifting meaningfully—or maybe not so much?
Thankfully, there aren’t that many Chinese-Irish-Australian actors out there, so if someone’s looking for one, I’ll probably be one of the first phone calls. (laughs) But seriously, the story of representation is a complicated one. I can’t control whether people identify with me or not. Maybe Australians do. Maybe Chinese people do. Maybe Irish people do—or maybe none of them do. Maybe mixed-race people see themselves in me—or maybe they don’t. Representation, at its core, is really about commonality. It’s about seeing something in someone else that reflects something in you. I might be representing people who don’t look like me at all, but if I’ve shown up authentically, and that somehow gave someone visibility or validation—then I’ve done my part. I’m passionate about the Asian community, the third-culture community, the Australian community… even communities I’m not necessarily a part of. But the most important thing is being authentic.
You hinted earlier at how hard it is to even talk about representation nowadays. Were you going to say more about that?
Yeah… It’s really hard to have a conversation these days—about anything. It sucks that people who don’t agree can’t even talk to each other anymore. The hope, to me, is the ability to break bread. I know I’m speaking vaguely, but it’s hard to be specific because the problem is systemic. It’s cultural. It’s that we don’t even agree on facts anymore. Everyone picks and chooses where they get their information from—whether it’s cultural, scientific, medical, political.
So when we use words like “diversity” or “representation,” they mean different things to different people. That makes it impossible to have a sincere conversation. I just wish we could all gather at one table and start with a shared language or some rhetorical common ground. Then we could actually go somewhere with these conversations.
Because right now, if I say “inclusion,” someone else might say “reverse racism.” If I say “representation,” someone else might say, “Well, only 1.4% of that ethnicity exists in this country—why should they be overrepresented?” But 1.4% isn’t zero. It still matters. The fact that these words trigger so many different interpretations shows how difficult it’s become to talk meaningfully about these things.
You’ve worked across continents—from the US to Australia. Do you notice any major differences in storytelling cultures or production environments?
(laughs) You’re trying to get me in trouble. I think it’s great that production is global now. The pandemic and the strikes forced a lot of lateral thinking, which ended up creating more jobs around the world. That’s a good thing. Eventually, I think it’ll lead to a more democratic approach to storytelling. But for now, the US is still far and away the number one when it comes to production. Maybe the UK or Europe is a close second.
I haven’t worked in India or China or Nigeria, so I can’t speak to those industries. But based on my experience, American-run productions have always been the benchmark. That said, I love working in other countries. South African crews, Australian crews, Irish crews—I’ve worked with so many brilliant teams. The culture in each place influences the work in exciting ways. In the US, it’s very much “live to work.” Everything revolves around work. In other countries, like, I’ve worked somewhere where I couldn’t reach anyone from Friday night to Monday morning. They just don’t answer work emails on weekends. (laughs) It just differs. Every place has its own rhythm.
Yeah, I think the US still leads the way, but that doesn’t mean other countries aren’t doing incredible things too.
Totally. And if we wanted to get into the deeper reasons why the US holds that top spot—well, that’s where history and capitalism come into play. The US rewards effort. When you give 100%, the system is designed to give back to you in some way. And that’s part of why it thrives.
sweater + button down. Polo Ralph Lauren
jacket + trousers. Dolce & Gabbana
tie. Louis Vuitton
sweater + button down. Polo Ralph Lauren
jacket + trousers. Dolce & Gabbana
tie. Louis Vuitton
“The world is little, people are little, human life is little. There is only one big thing – desire.” Willa Cather
When looking for inspiration for 48th issue, there was an aspect of creativity which we realised we rarely look at: the initial spark. What moves us, what inspires us and what pushes us to act? At the heart of it all is desire. It’s the inspiration that compels us to create; that sensation of longing for something, the idea which is at the inception of it all. That, dear readers, was the starting point to our issue – the dynamic energy behind all our greatest actions in life.
Desire can be interpreted in multiple ways, as we learnt when we asked our collaborators to embody and represent what the act of desiring was for them. It’s a philosophical question that opens us up to the multiplicity of experiences of human life. From mind and creativity to body and beauty, from concrete IRL love to spiritual longing: desire moves us in many ways.
We start with cover star Emma Myers, captured by Cameron Postforoosh in CHANEL. An example that dreams really can come true, Myers tells us how her childhood obsessions were realised, from working with hero Jack Black and starring in ‘A Minecraft Movie’ to being immortalised as a LEGO mini figure. Meanwhile, model and content creator Calum Harper is soon set to achieve his childhood ambition of becoming an actor, and Stephanie Suganami shares her excitement about her first feature film ‘Opus’.
Accomplished actor Jason Isaacs recounts how he coveted a role in ‘The White Lotus’ and why “having an interesting time at work”, such as in his latest film ‘The Salt Path’, is more important to him than career goals. The desire to weave stories seems to be a common theme; Alicia Von Rittberg entrances in Fendi, as she contemplates her character’s true motivations in ‘Dinner for Five – Killer for One’. Wunmi Mosaku stuns in Pandora, while telling us why discovering new characters, worlds and genres motivates her, including horror film ‘Sinners’. Meanwhile, Zoë Bleu Sidel talks us through making Luc Besson’s ‘Dracula: A Love Tale’ and why it’s less about horror than about a love and longing that transcends lifetimes.
But weaving stories spills into many disciplines. Actor, artist and musician Booboo Stewart explains how art addresses his yearning for greater self-understanding. Kelly McCormacklongs for a way back to the truth, which she finds through music. She also tells us what drew her to her new film ‘Sorry, Baby’. Michael Cimino wants to up his game and resonate with audiences through his upcoming music and screen projects “Until Dawn” and “Motorheads”.
Dressed in Louis Vuitton, recording artist, DJ and producer Badchieff tells us how he explores themes of desire and loss. Summer Walker reveals why she’s ready to start a fresh chapter and explore new themes and genres in her music. Both talk us through their new albums.
The multi-faceted Jameela Jamil aims to put “uplifting and positive content out into the world” with movies such as Pixar’s ‘Elio’, while staying true to herself and embracing her imperfections. On the set of a Miu Miu special, author, entrepreneur and sustainability advocate Kiara Nirghin shares why she strives for a future where technology and AI are used for the greater good.
Fashion and desire have long gone hand in hand. In Paris, we shoot the H&M Studio Resort Capsule Collection against the iconic skyline and explore the dynamic energy of movement with the Fall 2025 Collection’s Lifestyle Capsule from Dior Men. In Milan, meanwhile, we enter an ‘Alice in Wonderland’ style universe, with the DEDAR Milano x Westwing collection.
Falling in love with life, exploring new dreams, letting yourself be inspired, opening yourself up to new possibilities; these are just some of the sensations we’d like to conjure within these pages. We hope you’re as inspired as we were making this issue.
shirt + trousers. SHWETAMBARI
earrings. Amber’s collection of
Native American jewellery designers
shirt + trousers. SHWETAMBARI
earrings. Amber’s collection of
Native American jewellery designers
Credits
Amber Midthunder is currently making a double-impact debut: The high tempo of ‘Novocaine‘ and the quiet depth of ‘Opus‘ prove her versatility from two different ends. With these projects, both released on the same day, Midthunder discusses her collaboration with Jack Quaid, working with A24 and director MAG, the transformation of her acting since ‘Prey’ and the importance of authenticity and cultural storytelling. Whether it’s her inner strength or her explosive charisma, Amber is proving in every form that she is one of the most dynamic voices of her generation – and this is just the beginning.
jacket. SARAWONG
jeans. ICON DENIM L.A.
shoes. KAZAR STUDIO
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necklaces. Swarovski
jacket. SARAWONG
jeans. ICON DENIM L.A.
shoes. KAZAR STUDIO
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necklaces. Swarovski
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You have two exciting projects releasing on the same day — ‘Novocaine’ and ‘Opus’. How did working on these two very different films back-to-back shape you creatively?
I really appreciate getting a chance to experience variety and I love being challenged – however that may take shape. Novocaine was such a fun role and a little intimidating because I’ve not really gotten to play a character who is so normal, so in a way that was extremely vulnerable but, at the same time, the movie is so energetic and fun that reaching that level of energy was new for me.
Opus brings together an impressive cast and is being released by A24. What can you tell us about your character and what drew you to the project?
This character has almost no dialogue but to still be challenged to create someone with a full life, story and presence was a fun idea to me. I love A24 and MAG is such a talented director, he has so much vision and style and also kindness and he really seemed attuned to something that made me really excited to see and be a part of what he’d do with this movie.
jacket. THEO
necklaces. Swarovski
jacket. THEO
necklaces. Swarovski
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‘Novocaine’ leans into action-comedy. How was that experience different from your past roles, and what did you enjoy most about working with Jack Quaid?
It was so much fun. Sherry was a fun new challenge, she’s a little guarded but she’s also charming and fun and I liked getting to play with that balance. I could not have asked for a better partner in this film than Jack, he absolutely killed it in this movie.
You gained major recognition for your role in ‘Prey’, which earned you both awards and nominations. How do you reflect on the impact of that performance now, nearly three years later?
I’m so grateful. That movie changed my life in so many ways and just to be able to be a part of showing what Natives have to offer as collaborators and storytellers. I’m so proud and I’m excited to see hopefully what other doors that can open up.
sweater. Michael Kors
necklace. Amber’s collection of Native american jewellery designers
opposite
jacket. SIXDO
trousers. SHAO
earrings. Amber’s collection of Native american jewellery designers
sweater. Michael Kors
necklace. Amber’s collection of Native american jewellery designers
opposite
jacket. SIXDO
trousers. SHAO
earrings. Amber’s collection of Native american jewellery designers
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Looking back at ‘The Ice Road’, what was it like acting alongside legends like Liam Neeson and Laurence Fishburne so early in your film career?
I’ve been able to witness a lot of amazing actors and they’ve all been so different. I never went to acting class or formally studied. It’s been like having the ultimate master class in all the different actors I’ve worked with and witnessed.
You’ve taken on physically demanding and emotionally rich roles. How do you typically prepare for a new character? Do you have a process that evolved over time?
It always starts with chemistry. Finding the natural places of connection. I think with every character it’s a little bit different but that’s part of the fun.
How do you balance instinct and technique when approaching a role—especially one that carries cultural or emotional weight like Naru in ‘Prey’?
Honestly, the fact that culture was involved made it so much easier and more fun. I loved getting to learn about Comanche culture and history and have that be a part of my job, I felt so fortunate and I would love to get to do that more.
shirt. AKNVAS
shirt. AKNVAS
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As someone who began acting at a young age, how do you feel your relationship with the craft has changed as you’ve grown and taken on more complex roles?
I moved to LA to pursue acting when I was 17 and I love who I was as an artist then and who I’ve become now and I’m excited to see who I’ll be in another 10 years. I was so serious then, I’ve learned to live with a lot more lightness. That seriousness is still my foundation but if you’re going to do something for as long as I plan to do this you learn that it’s okay for it to take shape in all different kinds of ways. As a person and an artist, you’ll always be transforming and evolving. As an actor part of the job is to translate different life experiences of a character so gaining more life experience as a person has undoubtedly influenced my work.
You’ve worked in both independent film and larger studio productions. Do you approach these environments differently as an actress?
Every project and every character takes shape in its own way. The practicality of working in these environments is different of course but as far as the work itself the approach is consistent.
Being named one of Variety’s 10 Actors to Watch and a TIFF Rising Star are huge industry nods. How did that kind of recognition affect your sense of direction or responsibility as a performer?
It’s hard to say exactly. It’s an honour to be included and it’s definitely affirming and I’m so grateful and at the same time, that’s not what I’m doing it for. This job has so many different facets and areas but it’s nice to be out there and feel seen.
sweater. Michael Kors
skirt. SCULPTOR
necklace. Amber’s collection of Native american jewellery designers
opposite
shirt + trousers. SHWETAMBARI
shoes. KAZAR STUDIO
earrings. Amber’s collection of Native American jewellery designers
sweater. Michael Kors
skirt. SCULPTOR
necklace. Amber’s collection of Native american jewellery designers
opposite
shirt + trousers. SHWETAMBARI
shoes. KAZAR STUDIO
earrings. Amber’s collection of Native American jewellery designers
Credits
Representation is still evolving in Hollywood. As an Indigenous actress, do you feel the kinds of roles being written today are changing—and do you see yourself influencing that shift?
I think some people are starting to get it, while others are still catching up. There’s still a lot to be done but I’m so proud to see so many of my (native) friends and all of their successes and that we get to come up and celebrate together. I think what’s important is that while we celebrate we also continue to apply pressure and keep the growth going.
What’s something you hope audiences take away from your work—whether it’s in genre films like ‘Prey’ or more grounded dramas like ‘The Wheel’?
Every project has a different purpose. I always want people to feel something, to walk away having some sort of conversation whether that’s something fun like Novocaine or emotional like The Wheel or all of the cultural conversations that came out of Prey, which obviously matter to me the most. I think they all fill a different spot.
jacket. SIXDO
trousers. SHAO
shoes. VANDA NOVAK
earrings. Amber’s collection of Native american jewellery designers
jacket. SIXDO
trousers. SHAO
shoes. VANDA NOVAK
earrings. Amber’s collection of Native american jewellery designers
