![]() But all of them are their own person - they’re all hard to understand and hard to figure out, just like I am. I can find myself in those roles, so it makes it easy to connect to. I find that I relate to most of the characters that I play on a really personal level, just because we’re the same age, we’re girls, and we’re growing. What’s your secret to getting into that mode? Okay, so I mean this as a compliment: You’re very good at playing the kind of defiant, almost bratty…Īs a former bratty teenage girl, I appreciate it. That whole project was kind of like going to high school with the coolest kids.I felt like I was a popular kid because of Saoirse and Beanie, and they’re all fantastic actors and just really nice. I’ve always been a fan of mumblecore and her films, and so to work with her was just so much fun. She was one of those directors who, when people asked me, “Who do you wanna work with one day?” I’d say Greta Gerwig. I’m a huge fan of Greta Gerwig and working with her was also a dream come true. It was a completely different way of going about it, but I love both and I would love to work with both of them again.Īnd how did those styles compare to working with Greta on Lady Bird ? We took an entire day for one scene, and we did it a million different ways. Whereas with Martin McDonagh, we shot it like a play. Jean-Marc Vallée shoots very freely, and we shot 360 and you’re always in the scene for hours. Every role has been so different, every person I’ve worked with has taught me something new. I’ve done this year are not similar in any way. It’s kind of amazing how we all end up with a film or a TV show, but we all go about it differently. What was that like, working on these two projects concurrently? How did Jean-Marc’s direction compare to Martin McDonagh’s?Įverybody has different processes. So it was a really great experience for me as a person, just learning how to get what you want, and just as an artist to fight for a role. I was working on one set, so I had to go to Jean-Marc and say, “Hey, Jean-Marc, remember that audition - you let me go meet the director on my lunch break? Well I booked it, so now can you move dates around for Big Little Lies so I can go shoot this in Asheville, North Carolina?” It was kind of a really great experience for me, because not only did I have to fight really hard just in my audition, but then I had to fight really hard to get the dates cleared out. I remember I was working on Big Little Lies at the time, and I kind of had to fight for the role. I cared about the story so much, and I just wanted it to have that level of importance. The character was central to the story, because the movie is about Angela’s death and how her mom avenges that. When I read the script by Martin McDonagh, I knew that movie was going to be incredible. What drew you to the part in Three Billboards? ![]() I’ve been traveling so much I had to get a new suitcase. ![]() and London, and I’m like, This is the coolest thing ever. I’ve done a lot of traveling between New York and L.A. I’ve gotten to see the people that I worked with and it’s just been really special for me. I didn’t know that all these projects were gonna come out together at the same time or anything. Do people tell you they’ve seen you everywhere? There’s something comforting in the way Newton, 20, describes playing girls who aren’t that much younger than her: “Underneath all that anger towards Frances or Reese is love, is a lost girl who’s growing, and that’s me.” With those three projects, plus her role in Halt and Catch Fire, which finished its fourth and final season in October, Newton has been Caleb Landry Jones–level busy. That same month, her death prompted the onscreen vengeance of her movie-mom Frances McDormand in Three Billboards Outside Ebbing, Missouri. By November, she was the nerdy, bespectacled straight- edge rolling her eyes at Saoirse Ronan in Lady Bird. In February, Newton was Reese Witherspoon’s rebellious daughter on Big Little Lies, sneaking around on her laptop, scheming to sell her virginity online. But while playing a trio of teen girls across some of the year’s best offerings, Newton has also showed us each girl’s big heart. At best, her characters disrespect their mothers at worst, they’re downright mean. Kathryn Newton has perfected the angsty teen-girl sneer: an eye-roll paired with a muttered insult, plus a glare icier than anything at Morgenstern’s. ![]()
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