IN CONVERSATION WITH ABBY QUINN

interview by JANA LETONJA

Abby Quinn continues to establish herself as one of the most compelling young actors of her generation, seamlessly moving between indie darlings and major studio projects. She stars next in Dan Levy’s upcoming Netflix series Big Mistakes, a role poised to introduce her to an even wider audience. Fresh off the SXSW premiere of Crash Land, she has also recently wrapped Behemoth for Searchlight alongside Pedro Pascal and Olivia Wilde. Known for standout performances in Landline, Little Women, I’m Thinking of Ending Things, Shithouse, and Knock at the Cabin, she continues to build a career defined by sharp instincts, emotional depth, and an undeniable screen presence.

Big Mistakes is your next big release. What drew you to the role of Natalie?

When I first read the script, I was immediately drawn to how Natalie walks the line between being the seemingly most put-together member of the family and clearly having a bit of trouble with her own emotional regulation. I feel like I’ve been waiting for a role like this my whole life, and I love that I got to really lean into the wackiness of Natalie as well as her confrontational and ambitious side. I think it is fair to say that I am pretty type B, so it was a fun challenge to step into Natalie’s shoes, to dive headfirst into a true departure from myself. I feel so lucky to get to take on this role, and am endlessly grateful to Dan for allowing me to find my version of Natalie. He really encouraged everyone in the cast to embrace their natural instincts and to craft the versions of these characters that are entirely unique to them, and I had so much fun every day I got to be Natalie.

The show has such a strong ensemble cast. How did that dynamic shape your performance?

Most of my scenes were with, and I can’t believe I’m saying this, the one and only Laurie Metcalf. Being in the presence of Laurie makes anyone a better actor, and person, for that matter. My character’s main motivation is to be Laurie’s favourite child at all times and to always appear as the most well-equipped and successful sibling. I think I started to subconsciously base some of my character’s mannerisms off of Laurie’s to come across as her mini-me. The cast didn’t really have much time to get to know one another before filming began, but everyone hit it off right away, and I would say we all bonded very quickly. I think it’s a testament to Dan’s creative vision and his ability to bring together a group of people who he instinctively knows will have a shared sense of humour and open-heartedness. It was clear to me from day one that this was everyone’s dream project to be a part of, and starting from that place laid out the groundwork for an incredibly supportive and loving environment.

What do you think audiences are going to connect with most in Big Mistakes?

I think a lot of people are going to identify with the chaotic family dynamic depicted within the Morelli family. There’s a lot of yelling and talking over one another, and struggling to connect. However, despite the Morellis ’ chaotic way of communicating with one another, it’s clear that there is a true desire to be there for one another; they just are not equipped with the tools to do so. I think the audience will develop a lot of empathy for these characters. Despite all being very flawed in their own ways, it’s evident that they are coming from a goodish place. I think a lot of people are going to walk away after having watched our show thinking, “Holy shit, I need to go hug my Mom and maybe stop screaming so much”. 

Natalie is part of a complex family dynamic. How did you approach building that relationship on screen?

I think there was an immediate sense of familiarity between Dan, Taylor, Laurie and myself. We really lucked out that the first scene we all shot together was the opening scene of the first episode. We were able to rehearse a bit the day before shooting and find our rhythm, though I feel that so much of that rhythm was innate and existed between all of us immediately. The very first day of shooting could have very well felt intense and rigid, but that could not have been further from the case. There was a lot of freedom and laughter and joy on that first day, and I think it gave us all permission to carry those feelings with us for the rest of filming.

Crash Land just premiered at SXSW. What was that experience like for you?

I had the time of my life working on Crash Land. I made that movie with some of my best and dearest friends, and it truly brings me to tears thinking about it. I met the director, Dempsey Bryk, over a decade ago. We both had small roles in an episode of Black Mirror and met on our first day of shooting. From the first day I met Dempsey, he told me about his plans for the future and all of the movies he wanted to make down the line. I’ve always been so inspired by him, and I feel so lucky to know him and to have grown up alongside him. Another one of my most cherished experiences in life thus far was working on Hell Of A Summer with Billy and Finn, who are also in Crash Land. I love working with them so much. They are easily two of the funniest and smartest people I have ever met. I can only hope that we get to continue making movies together for the rest of our lives. Needless to say, I loved my experience on Crash Land, and I hope everyone gets to see it soon. 

What can you share about your character in Crash Land and the story overall?

Crash Land is about a group of rambunctious childhood friends who spend the majority of their time filming and performing stunts. They manage to gain quite a reputation among those in their small hometown, and the film begins at a time of immense change in their lives, while they are also facing the looming predicament of whether or not to venture away from home. I play Jemma, a French-Canadian girl who is grappling with her own loneliness while living a very solitary and reclusive life. That is, until she meets ‘the boys’, and her life is suddenly filled with a calibre of friendship she has never known. I would say that one of the pillars of the movie is getting to witness the boys and Jemma discover deeper parts of themselves as a result of knowing each other. 

You recently also wrapped Behemoth with Pedro Pascal and Olivia Wilde. What excited you about that film?

Just about everything excited me about this project. I remember getting the audition for Behemoth and seeing Tony Gilroy’s name, as well as the rest of the cast list, and thinking to myself, “I can’t wait to see this movie and find out who books this role.” It truly did not even cross my mind that my experience with Behemoth could go beyond the audition phase. I was completely blown away by the script and could not put it down. Tony is a genius and a maestro, and he procured the ensemble, the cast and crew with so much specificity and care. He’s also just the coolest, warmest person in the world and made it a point to make everyone on set feel welcomed and vital to the story he was telling.

Looking back at your earlier work in Landline, how do you feel your craft has evolved since then?

I’ve been reflecting on that time a lot lately, and in many ways, I think my experience on Landline has helped shape my entire mindset when it comes to what I find to be most meaningful in regards to acting, and the kind of people and projects I want to surround myself with. I learned so much on that set from Gillian, Liz, Jenny, Edie and John. Whenever I find myself feeling anxious and preoccupied on a set with things that have nothing at all to do with acting or with the story at hand, I think back to my time filming Landline and try to tap into the mindset I had back then. I had no concept of what might come after filming, no questions about what people would think about the movie once it’s done, or whether anyone would get to see it at all. Whenever I find myself drifting into that territory and becoming preoccupied with things outside of the filmmaking itself, I think back to Landline and remember that what’s most important is to be present and connected to the people around you. Also, it introduced me to one of my all-time favourite songs, Drivin' On 9 byThe Breeders. 

Your filmography moves between indie projects and larger studio films. Is that balance intentional?

I have been lucky enough to work on projects that I feel genuinely passionate about with people I admire and love to be around. When I read a script that I love and have an opportunity to potentially work with someone whose work I admire, I chase after those projects with a certain amount of passion and, at times, obsession. In that way, I think I have been very lucky to land roles that inspire me and that have allowed me to explore many genres. I would love to have a career that is not limited to one genre or scale. I just want to keep making movies with people I admire and to chase after scripts and characters that move me. 

What do you look for in a character at this stage of your career?

It has been a lifelong dream of mine to be in a movie musical. I grew up in the theatre, and there was a long stretch of time when I’d come home from school every day and immediately turn on Grease. It made it difficult to get much of my homework done, and my grades often reflected that during this period, but what was also reflected during this time was that I had a knack for picking up harmonies, and that I desperately wanted to be a Pink Lady, belting at the top of my lungs. I hope to play a role on screen akin to Roxy Hart, or Rizzo, or Missus Lovett one day. I’m hoping that day comes soon.

What keeps you fulfilled outside of acting?

I just got a dog, named Sybil, and she has been taking up most of my time as of late. We’ve been filling our days with long walks around the neighbourhood, rewatching episodes of Gilmore Girls, and meeting new puppy friends on our block. I also spend a lot of my time writing and recording music, as well as horseback riding and reading. I’ve found myself spending more and more time back home in Michigan over the past couple of years to spend time with family. Nothing beats a Michigan summer. I’m not biased; it’s the truth.

With so many exciting projects on the horizon, what does this moment represent for you?

I would say that this moment feels like a Spring of my career. So much is blossoming. This moment represents a lot of childhood dreams actualised, and I feel that this is a moment I will reflect on as one of the most exciting and fulfilling chapters of my life.

TEAM CREDITS

talent ABBY QUINN
photography CORTNEY MORENTIN
editorial director and interview JANA LETONJA