IN CONVERSATION WITH RUBY CRUZ

interview by JANA LETONJA

Ruby Cruz is fast becoming one of the most exciting voices of her generation, fearless, funny, and unafraid to dive into complicated characters. After stealing scenes in HBO Max’s’ The Sex Lives of College Girls’, making history as Disney’s first openly LGBTQ+ princess in ‘Willow’, and earning a cult following from the hit comedy ‘Bottoms’, Ruby now takes center stage in the buzzworthy indie ‘The Threesome’. ‘The Threesome’ is now available on digital, and the film follows the messy, heartfelt aftermath of one unforgettable night between three very different people. As Jenny, Cruz delivers a magnetic, layered performance opposite Zoey Deutch and Jonah Hauer-King, cementing her status as a star to watch.

‘The Threesome’ blends romance, comedy, and drama. What was your first reaction to reading Jenny on the page?

She was unexpected. Why would you want to experience the permanence of having a child with a complete stranger? I’ve always been fascinated with pregnancy, it’s miraculous and terrifying, and Jenny’s story particularly was so singular. I became obsessed with figuring out her beliefs and reasoning. I read as many books about procreation and movies about being a mother as I could. I have never seen as many birth videos as I did in January 2024. A book that had a huge impact on me during this time was ‘Motherhood’ by Sheila Heti. It explores why someone would or wouldn't want to become a mother. When you have this machinery inside of you that is built to create life, it isn't always a given that you will feel the desire to use it. Then, when you don't want to use it, the world will stare you down and demand an answer to the question "What are you going to do instead?" The book revels in one big hypothetical, an extremely relatable place to be.

Jenny is alluring but also deeply human. How did you find the balance between mystery and vulnerability? 

The mystery might be created from her own insecurities. Jenny's guarded and self-aware. In social situations, she can go quiet, get smiley. She's honest but doesn't explain herself. She's wildly kind and understanding of others, but it's hard for her to stand up for herself. What's alluring is maybe that she can't always keep that mask up, she breaks it by telling a quiet joke to herself or laughing too hard. You see her light cracking through, and you want to see more.   

The film explores accountability and adulthood in a really fresh way. What conversations do you hope it sparks?

The way this film explores accountability and adulthood is pretty cool. Olivia, Connor, and Jenny are not classic archetypal leads. Olivia runs from her feelings. Connor lives in a fantasy. Jenny feels directionless. Accountability isn't always taken. Big decisions are being made by still-developing minds standing on wobbly legs.

It also depicts the modern reality of many pregnant people today in Alabama, Arkansas, Idaho, Indiana, Kentucky, Louisiana, Mississippi, Oklahoma, South Dakota, Tennessee, Texas, and West Virginia, who have to drive across state lines to get access to abortion care, and who don't live with immediate access to full autonomy over their bodies. What I like about this film is that it simply showcases two women in the midst of making choices about how to handle their own unexpected pregnancy, whatever that choice may be. 

You’ve played everything from a Disney princess in ‘Willow’ to a queer teen in ‘Bottoms’. What excites you the most about switching between genres?

What's exciting is the search for humanity in all these worlds. We all experience the same kaleidoscope of emotion, in one way or another. It feels good to explore the whole treasure trove. I want to be someone who is daring and fearless and will say whatever's on my mind. I also want to crawl into a ball and have none of the answers. It's the beauty of escaping into this art. It's a huge release for me to allow myself to exist outside of myself. 

In ‘Bottoms’, you were part of one of last year’s most celebrated queer comedies. How do you see the landscape for LGBTQ+ representation changing?

I'm really grateful to have been a part of the world Emma Seligman and Rachel Sennott created. They have unbelievable talent. ‘Bottoms’ was effective because it gave the people what they wanted. For an audience of funny online gay people, it gave them unapologetic sexy stupidity. This person on the train the other day was saying Hazel edits are still all over their feed, two years later. That's so funny and insane. 

Truly, representation starts at the core. Like ‘Bottoms’, with Emma and Rachel. When representation becomes a quota for studios to fill by making one character queer, it's not good for anybody. It's got to be about championing queer artists and hiring diverse storytellers. 

‘The Sex Lives of College Girls’ and now ‘The Threesome’ both tackle relationships with humor and honesty. Do you find yourself drawn to stories about modern love?

Love is the only truth. It's the most important thing. And it can feel brand new each time you fall into it. Or out of it. Or think you're in it, but you are actually miles from it. Or you find it miles from where you thought you might find it, and suddenly, unexpectedly, all the other love you've felt doesn't compare. I love Jenny's love story. She'd never been in love before. She has built a pretty doomed expectation for herself in that regard, which is challenged by the fast and fertile attention of Connor and Olivia. Attention always feels good, but the search for approval from everyone around her leaves her empty. Trying to fulfill her parents' dreams leaves her empty. It's self-love, baby. Oh, and baby love. Madonna and child. It's learning that love is everywhere, but to access it, your own cup must runneth over. 

You also have ‘For All Mankind’ coming up for Apple TV+. How different is that role from Jenny? 

Not even remotely similar. 

You’ve worked with brands like Miu Miu and Rodarte. How does fashion intersect you’re your identity as an artist?

It’s performance art. Your body changes with clothes, your spirit changes, too. It's fascinating how my appearance influences how I feel, and my feelings influence my appearance. Clothes hold memories and trigger emotions, they can make me feel killer and sometimes so lost. I love discovering things about a character through their wardrobe. Emily Batson, the costume designer of ‘The Threesome’, is so thoughtful and brilliant. She and I worked very closely in putting together Jenny's closet, while Jenny's body is going through so much transformation. My best friend, Lucy, lent me the scarf that her mom wore when she was pregnant with her. I'd always borrowed the scarf out of her room without even knowing the history of it. It meant a lot for her to lend it to Jenny. 

If you could choose your next role without limitation, what kind of character or story would you want to explore?

I would like to try some experimental horror. I just watched a film called ‘Skinned Deep’ by Gabriel Bartalos. It stars Warwick Davis. It's a $600,000 horror movie from 2004. I kept thinking about how badly I wanted to play Tina. It was ridiculous and profound. It's inspiring to me, I feel like I struck some weird gold. 

When you are not filming, how do you typically spend your days off? 

I recently wanted to switch up my typical so I moved to a new place. Everything’s very unknown, I don’t have a routine but I’m still rocking. I mostly wander and ponder. Look at plants and study peoples faces, keep spirits up and contemplate the changes.

TEAM CREDITS:

photography AJ KYSER
hair GINGER LEIGH RYAN
makeup SHAINA EHRLICH