You are regarded as choosing projects that support political and social activism. Tell us about your upcoming role with the series, “Street Smart,” which will explore the opioid crisis and how it affects all Socio-Economic levels. Why did you decide to take on this project?
I was delighted to be cast in a principal role for Street Smart as a new series in development. I was introduced to the production by wonderful Co-Actor Mauricio Bustamante who I met at the Lee Strasberg Theater Institute where he teaches. We shot the pilot with some of the cast from the Sopranos and Scorsese’s Goodfellas. This casting reflects the gritty style and genre of the show. I play Laurie Adis the ex-wife of Retired NYPD Detective Joey McGloin (played by Creator Anthony Welch). I read the pilot—I read my last scene first because you want to know what you’re fighting for when it’s all said and done before you say yes to a character. I could see the conflict for my character and that it was going to explode as the series continues. I read the pilot through and grasped the importance of the show’s message.
How important is Street Smart concerning the opioid crisis?
The U.S. Department of Health and Human Services declared the opioid epidemic a national emergency in 2017. This series is about the real impact on families. It’s the real story. It’s harrowing and it’s very important. Its entertainment because you are invested in the characters and the stakes are high and it’s a fictional drama show, but the audience gets to reflect onwards that these characters could be anyone you know. It’s happening all over America.
Let’s delve into your character, Laurie Adis. What will the audience learn from her?
I don’t want to give too much away, as we only have made the pilot and characters have so much development in a TV series. But from the start she’s angry. Her ex-husband is paying her bills, maintaining her upkeep, but she does not have independence. Her life, safety, and wellbeing are impacted drastically by his decisions and job. There is a good reason they split up, but she is still caught in dangerous situations. She’s played the housewife and has tried to be the understanding wife, but now it is only a matter of time before she takes matters into her own hands.
What is it like working with Actor, Writer, and Producer, Anthony Welch?
He plays my ex-husband. We fought every minute we were on set until the Director shouted cut and then we had a great laugh role-playing between takes and over lunch. A sense of humor is a great trait to have on a movie set.
You have many independent films worldwide-experimental, political, artistic, and commercial. Why did you enjoy them?
I have enjoyed all the films I have made because I deliberately pick them on the strength of the female character I get to play. I have learned all my skills working on independent film sets but the journey is hazardous—some go into budget constraints in post-production and struggle to distribute, others have screened as political art films, for example at The Whitney Museum of American Art, or went to VOD, or win awards at the festival circuit. Whatever the outcome I know I picked challenging female roles that are very different each time. For me, the Actor I always benefit from the experience. I loved playing Lady Macbeth and have explored war correspondents suffering post-traumatic stress, drug addicts, attorney’s, politicians. Four Keys is a film I made last year that won many awards. It tackles immigration issues in US. I play an awful character so far removed from myself against an immigrant family. It was tough to play. I had tears between takes because I was playing her with zero compassion. My best experience is on location for Alice Fades Away by Ryan Bliss, which has its theatrical release this year in US. It stars William Sadler (Green Mile) Blanche Baker (The Handmaids Tale), and Paxton Singleton (The Haunting of Hill House). My set home was the same mansion as Jack Nicolson’s home in The Witches of Eastwick at Castle Hill in Massachusetts—it had 59 bedrooms and thousands of acres down to the sea. I loved every moment of making that film.
Tell us about your film, “Pelleas” and working with Alice Eve (Star Trek)?
It was an art political film about a love triangle made in the aftermath of the Trump election by Artist and Director Josephine Meckseper and also starring Benn Northover (Harry Potter). It was adapted from the opera Pelleas and Melisande but the gender roles had been swapped. It was a great work experience for me because it was the first A-list name I worked with alongside as a lead co-principal role. I was nervous, but the work I do with my theater ensemble and coaching with Paul Calderon (Pulp Fiction/award-winning director and actor) prepared me. Once in character and immersed in the scene, only the work matters. That is a very familiar feeling so as soon as we started to work I knew I had the right acting experience. It screened last year at the Whitney Museum last year. I met Jonas Mekas, the godfather of independent film just before he died. He was so supportive of me and my work. It still awaits its world festival release. It was a valuable experience and an important message at the time as an activist.
You are best known as an upcoming writer for strong, complex, female leads, under the guidance of 3 Arts Entertainment. Your debut play is award-nominated and aired as an HBO sponsored broadcast. Your new work is being compared from Harold Pinter to Phoebe Waller-Bridge and was selected to workshop with the American Dramatist Guild Institute. What do you want the world to know?
My themes I write best (so far) center around power gender dynamics. I wrote a short play “Beach Break” and it was nominated for awards so I extended it to a full play. It is about sexual assault in holiday resorts and the non-credible victim. I am working on a new play called “Cat and Mouse” about a group of friends pressuring the protagonist to press charges on a man for sexual assault. My debut film “Boardwalk” is a mystery thriller around the date rape drug. These are important timely issues. I am delighted to have 3 Arts guiding me to shape these into TV series as well as the series I am working on about a female journalist in the 1930s. I think it is important to write complex characters over strong characters. I actually think I write male characters better. I have to double-check my female actions—as a female, we spend so much time, especially when young, being quiet while powerful men speak. I don’t forget many striking dialogues so I have a lot of material for male characters in these environments. I have to make sure my females are not being too submissive. I like to play with all these power dynamics. A good writer can balance the sides like an equation. This means ideally the power dynamics twist and turns around a very distinct grey area. This is an unexplored area, especially in current polar times. When my play is read in its workshops, it is often as if the male and female audience have seen different plays. They are relating with their sex character and the conflict and debate carries on. That’s important—not to be preaching but to open up a dialogue and an opportunity of understanding between sides. I received a lovely message today from talented Actress Whitney Andrews, who has been reading lots of parts in my plays, thanking me for writing with bravery and integrity. I am a new writer so that means a hell of a lot to me. You try to present the truth in a model. A good writer cannot judge or have a bias—probably why I find myself in all sorts of messes in real life—but have lots to write about.
You are the Co-Writer of “Boardwalk” which is nominated for best film and best suspense thriller with NY Web Fest 2019. Tell us about this film. What inspired you?
I was selected for the Women’s Weekend Film Challenge to be their screenwriter. The film has flaws due to the time constraints (scenes of the script had to be cut) but stands testimony to the amazing all-female cast and crew and director Becca Roth and co-writer Rachel Kenaston. Mikel Butler played the lead. I was inspired as when I asked her what sort of role she wanted to play, she said, “No token, funny, black role” so we wrote a dramatic lead for her to drive the story and she did a great job. Its pieces together “what happened last night” after having her drink spiked.
Why are you a Formidable Woman?
Thank you for approaching me and having me as a Formidable Woman! It is a very supportive platform. When I saw the mission of the magazine, we share those core values — striving for integrity and equality in our work and activism. My activism is hosting or speaking on female in power panels, acting as jury president where I can provide a female lens to selections, and on the advisory board for The Chelsea Film Festival, as well as participant speaker at UN with create 2030. Sometimes, holding doors open, unconditionally, for other less established, talented women, is the most formidable thing you can do.
Share your upcoming projects.
I just played a small role in Nick Moran and Danny Boyle’s Creation Stories about rock n roll life of music mogul Alan Mcgee written by Irvine Welsh. I am working on the play that was selected to workshop at The Dramatist Guild and writing a TV series. In January we start rehearsing another play I workshopped under the guidance of Academy Writer and Director Bobby Moresco and Amanda Moresco at the Actors Gym in New York. I’m excited about everything this new decade.
Please share your social media links.
Instagram @joannapickering
Twitter @joannapickering
www.joannapickering.com
