IN CONVERSATION WITH AMALIA WILLIAMSON
interview by JANA LETONJA
Amalia Williamson is emerging as one of Canada’s most compelling young talents, combining on-screen presence with a growing voice behind the camera. Known for her roles in Northern Rescue and Sullivan’s Crossing, she has built a reputation for emotionally grounded performances that resonate with audiences across genres, from drama to indie film. With projects like Level 16 and The Kid Detective, Amalia has demonstrated both range and instinct, positioning herself as a versatile performer with strong creative instincts. Now, she steps into a new spotlight with the upcoming crime drama You’re Killing Me, premiering on 18th May, where she stars opposite Brooke Shields, marking another defining moment in her evolving career.
You’re Killing Me is generating a lot of buzz. What first drew you to the project?
When I got the audition to play Andi, I approached my self-tape the way I always do. I read the breakdown a few times, read the sides at least 3 times before starting to “mark it up”, spent a good amount of time on her wardrobe, set up my camera, and filmed the tape with my husband.
What immediately stood out to me was the blend of two of my favorite genres, murder mystery and comedy. Andi is sharp and quick-witted, but there’s a vulnerability she tries to hide that makes her compelling. Our showrunner, Robin Bernheim, avoided the typical overplayed Gen Z stereotypes and instead created something genuinely funny, with rich characters and intriguing mysteries that kept me eager to read more. You’re Killing Me is a female-driven buddy comedy with a dark twist, it’s a dream project to be part of.
What can you share about your character and her journey in the series?
Andi’s relationship with Allie is the heart of the story. These two women are in completely different phases of life, who are unexpectedly forced to rely on each other. What starts as a reluctant partnership grows into something much deeper, as they navigate both the mysteries they’re solving and their own personal struggles. A major part of Andi’s journey is the unresolved trauma of her mother leaving when she was a child, which has shaped who she is. Over time, Allie begins to fill a maternal role while also helping Andi search for her real mother. I can’t give too much away here, but as they dig for answers, they quickly learn that solving one mystery often leads to an even bigger one.
What was your experience like working with Brooke Shields on set?
Working with Brooke was spectacular for me. She supported me in so many ways on this project. I found out that I was pregnant while we were shooting, and Brooke was the first person I told on set. Being pregnant with my first child, while working on one of the biggest shows of my career was so incredibly overwhelming and daunting. Having Brooke’s support was such a weight off my shoulders and I can’t thank her enough for the kindness she extended to me without knowing me for more than a couple of weeks. We spent a lot of time together, on set, lunches in her trailer, and thrifting around Halifax when we had a day off. Brooke took care of me not only as a new friend, but as an actor too. She encouraged me to make bold choices and advocate for both myself and my character. Even on the toughest, longest days, she would arrive on set with a smile and a joke, setting the tone for everyone around her. Brooke had a profound impact on me during such a pivotal time in my life, and I’m incredibly grateful to have had her by my side, not just as a mentor, but as a friend.
Did you feel any pressure stepping into a project with such a strong cast and anticipation?
It’s always intimidating looking at a breakdown and seeing that your co-star is one of the most famous people in the world. I’ve had experiences with other actors that had less star power and had far more difficulty working with others on set. You never really know what you’re going to get, but Brooke is a great person through and through. Tom Cavanagh is equally as awesome. He’s hilarious and brings an infectious energy to set that you can’t help but admire even when you’re on hour 14 and it’s 2 o’clock in the morning and -5 degrees in Nova Scotia. I was lucky to work with those two so closely on this. There’s always pressure to “get it right,” but I had to trust I was cast for a reason and that my instincts for Andi were right. The scripts were so strong, I just focused on coming to set prepared and ready to have fun. The banter between Allie and Andi was easily my favorite part of filming.
Crime dramas often require emotional intensity. How did you prepare for this role?
In this case, You’re Killing Me is quite heavy on the comedy, and the emotional intensity came a little later. For me, it’s all about trusting my instincts and not coming to set with a “plan” of where my performance will go. It also helps knowing that on my coverage, Brooke, and/or Tom are there to support me with whatever I may need to get the take. Having real and raw performances also gets a lot easier once you know your cast mates, and you trust that your body will have an emotional reaction when the script is well written and your character has a mental journey to go on during the scene.
What have projects like ‘Northern Rescue’ and ‘Sullivan’s Crossing’ taught you about long-form storytelling?
I was so new and so green when I booked Northern Rescue that I was just genuinely so happy to be there, and it was hard to even fathom what was happening behind the scenes. But as I have worked more on shows like Sullivan’s Crossing, I think it’s helpful to have an idea of where the show and your characters are going to go by the end of the season. It’s also important to be able to roll with the punches. A lot can change very last minute. Huge re-writes of big scenes, additional scenes added the night before, etc. There are a lot of people making a lot of different creative decisions when it comes to network television, and being able to pivot and adapt as an actor is a great tool to have. I’m not saying it happens all the time, but when it does, sometimes the best scenes are ones that you’ve prepped the least. Being a little nervous always helps me drive the scene, and less prep can mean more organic performances.
Do you feel more drawn to character-driven stories or high-concept projects?
I would say both. I love exploring what makes a character tick, where they came from, who and what they are attracted to, what are they afraid of. But I also haven’t had a chance to do any real high concept projects yet. Some of my favorite movies, like Moulin Rouge!, are high concept. I would love to work with Baz Luhrmann one day among many other directors.
You’re also developing your voice as a creator. What kind of stories are you interested in telling?
I am a romantic at heart, and I have always been drawn to fairy tales. I love magic, whether it be the everyday kind inspired by real-life, or mystical beings with wings. And if I can sprinkle in a little bit of comedy into my stories, then I’m happy. I just recently wrote, directed, and co-produced a short film called The Truth Fairy, with two of my nearest and dearest friends who are also actors, Morgan Kohan and Joelle Farrow. The dramedy is about a bride on the night before her wedding who is visited by “The Truth Fairy”, a mystical being who will answer any of the soon to be bride’s lingering questions about her fiancé. The story was inspired by the night before my own wedding, with a magical twist, so it’s very true to the tales I like to tell.
How does your perspective change when you’re thinking as a creator versus an actor?
I don’t feel like my perspective changes at all, other than the fact that I am wearing more hats in terms of production. In my eyes, the stories Austen Alexander and I are creating are just a gateway to an eventual feature film or series. It is interesting to have instant feedback on your work, and it’s a great way for Austen and I to discover what resonates with audiences. Right now, we are producing essentially short films that are completely self-funded with hours of writing, editing, and prep for characters that we have created, so it does require a lot of love and dedication. I am happy to do it now because I love writing, acting, and directing. This series allows me to practice my craft with little risk and high reward. Being able to have full creative control is liberating, and rewarding when audiences respond so well to something that you wrote.
Your Finance Babe content series has gained major traction online. How did that come about?
Austen and I grew up in the same town, went to the same elementary school, and ran in some of the same circles. I was skeptical at first to do any comedy with him, but once I started booking comedic roles in shows like Letterkenny, Bria Mack Gets a Life, Children Ruin Everything, I gained the confidence to expand my comedic range and to work with Austen. I pitched him a few different roles and script ideas, and we decided on Finance Babe. It’s been easy with Austen. We think very similarly in terms of storytelling, we have the same humor and we like to rip it up every now and then downtown Toronto. We are a great team and I’m lucky to have found a partner to work with on so many more collaborations in the future.
Do you see digital content as an extension of your acting career or something entirely different?
To me, it’s something entirely different. It is a great way to get eyes on what Austen and I have been able to accomplish on our own, but I don’t really consider myself a content creator.
As your profile grows, how do you stay grounded and connected to your craft?
I always want to grow. I think there is a lesson to be learned in every project I do, whether that’s a huge network TV show, or a sketch that Austen and I wrote and filmed in a couple of days. I have huge dreams and aspirations that I’m always manifesting. I never stop working the creative muscle. I still work with my acting coach, Douglas Nyback, I write as much as I possibly can, and I have a really healthy work life balance. I think that to be a great actor you must do things that have nothing to do with acting. Life experiences are important. Relationships are important. I’m always observing and collecting little moments and inspiration from my life that will eventually be useful in my craft.
What kind of roles challenge you the most right now?
I haven’t done a whole lot of action, but I would really like to. I’d also love to be a scream queen. More horror would be fun. The toughest auditions to do are the ones for a horror movie I swear. It feels so phony to act completely terrified of something that isn’t there while you let out a blood curdling scream in your brightly lit audition room. It’s so different from doing it on a set with props, lighting, and hair and makeup. As I answer this question, I am less than a week away from becoming a mom, so that is undoubtedly going to be the most challenging role I have taken on thus far, but I have a village of support in my life to help me succeed in this next chapter.
TEAM CREDITS:
photography CARLYLE ROUTH
styling CENK PAPILA
makeup SABRINA RINALDI
hair RYAN MCGOVERN
