STRENGTH IN STILLNESS

Photos DAVID REISS Styling ANNA HUGHES-CHAMBERLAIN

It all started when her godmother took her to the British Film Institute for a themed night showcasing the film Bugsy Malone. Nine-year-old Sadie Soverall dressed up in 1920s attire and dreamed of being Bugsy Malone. This early fascination with film sparked her passion for acting. As she grew up, her love for theater and film deepened, leading her to study drama and eventually land her breakout role as Beatrix in Fate: The Winx Saga. Since then, she has taken on diverse roles in projects like the thriller Little Bone Lodge, the stylish dark comedy Saltburn, and Benjamin Brewer’s horror Arcadian alongside Nicolas Cage. Beyond her career, Sadie discusses her activism, hopes for the future, and thoughts on the fast-paced, hyper-connected world that her generation has grown up in. Whether it’s tackling environmental sustainability, supporting mental health awareness, or fostering diversity and inclusion in the arts, Sadie uses her platform to advocate for causes that matter to her. As she continues to evolve as an artist and individual, Sadie Soverall stands out not only for her talent and dedication but also for her thoughtful engagement with the world around her.

David Gargiulo __ Tell me about your beginnings, your family, your studies, and your start in the business.

Sadie Soverall __ I've always loved acting. I found both theater and film to be real passions of mine when I was younger, as it was an escape for me. My godmother used to take me to the British Film Institute to watch films, and they had themed days where you dress up. My favorite one was Bugsy Malone. I loved that film. We all dressed up in 1920s attire, and I wanted to be Bugsy Malone so badly! That’s when I realized I wanted to be an actress. In school, I studied drama and loved it. We did Twelfth Night, and an agent came to see the play. From there, I was fortunate to get some jobs, and I’ve been working ever since. I'm also very interested in art and art history, and I love discussing books. But mainly, it all comes back to acting for me. Film is where my heart truly lies.

DG __ In a short time, you've been involved in quite a few projects. Your breakout role was as Beatrix in Fate: The Winx Saga. How was that experience and how do you feel it has shaped your career?

SS __ It was a pretty crazy experience, looking back on it. I was 17 at the time and in my last year of school I went into the auditions thinking, "This would be wild; there's no way I'm going to get this." But then, to my surprise, I got it. Balancing that role while also studying for my final year was challenging. Looking back, I'm really proud of how much I was able to manage in that time. It was surreal being so young and dipping my toe into that world. I’m grateful to all the wonderful friends I made while working on Fate. Also, shooting in Dublin was a lot of fun too.

DG __ What happened after Fate: The Winx Saga? I guess the calls started rolling in?

SS __ After that, I finished school, and COVID had hit around the same time. My last year of school was during the first year of COVID, so everything stopped. We did the second season of Fate, and after that, I decided to focus on training. During the lockdown, I did a lot of self-study, reading, and took some scene study classes. Now, I have some incredible teachers with whom I work on all my projects. That period of study helped ground me after Fate. Then, it was back to auditions, and I was fortunate to land some roles.

DG __ Right, of course COVID really changed the timeline. Speaking of your recent roles, in Little Bone Lodge and Saltburn, you've tackled different genres. How do you prepare for such diverse roles, and what attracts you to a project?

SS __ My preparation varies for each role. That's part of the joy of acting! I have my methods and prep work that I stick to, but each role requires something unique. One thing I've learned, especially with thrillers, is that you do all the preparation beforehand, but on the day, you let that preparation settle inside you and just see what happens in the moment. That's the exciting part, the spontaneity of it. When I was younger, I think I over-prepared because I didn’t trust that things would naturally unfold. But the more I've worked, especially after doing theater, the more I've realized that the 'nowness' of acting is the most exciting aspect. With thrillers, it’s about maintaining a heightened emotional state and allowing yourself to channel that each day in a sustainable way. It's not easy and requires a lot of energy, but it's incredibly rewarding.

DG __ So how do you do it?

SS __ There are different techniques. I don't believe that drawing from your personal life is always sustainable. Some people do it and love that technique, but for me, our imaginations are incredibly powerful. Relaxation is a big part of it, namely getting yourself to a neutral position. It's hard to explain because it's different for each role, but for Little Bone Lodge, it involved figuring out the backstory and doing sense memory exercises. I'd spend hours imagining different scenarios, feeling the emotions, smelling the scents, so that when I needed to access those feelings, they were right there on the surface.

DG __ What about Saltburn? It’s a completely different genre. How did you approach that shift?

SS __ For Saltburn, and any shift in genre, it's important to consider the genre's bigger picture. I find it most useful to focus on the text and what's right in front of me at the time. Emerald [Fennell] is such a genius; she really knows how to bring everyone into her world. The costumes, the sets, everything was so detailed. The story is set in 2007, so taking in a lot of media from that time helped me make the shift.

DG __ I can see how the detailed sets and costumes really help put you into that world. Let’s talk about Arcadian. How has it impacted you personally and professionally? Did it challenge you in any unexpected ways?

SS __ Definitely! I got the role a week before we were set to start filming, and I usually like having more prep time. So it really pushed me out of my comfort zone. It was also an American accent, and I’m grateful to Ben [Brewer], our director, for trusting me. I wanted to make sure my character would fit into this world with the boys. There were a lot of elements to consider so I was quite nervous. But it ended up being such a rewarding experience because a lot of magic happened in the moment. I learned to trust myself, knowing that I’d done the work and that it would come through on the day. It also taught me to work more efficiently and compress my process to hit tighter timelines. It was a lot of fun, especially working with incredibly talented VFX [Visual Effects] artists.

DG __ You’ve worked in film, TV, and theater. How do these experiences compare, and do you prefer one medium over the others?

SS __ Let’s start with theater; you have a lot of rehearsal time, and then everything happens live on the night of the play, so it's very immediate. With TV, it takes a lot more time to shoot, and there isn’t as much time to rehearse, so it’s immediate in a different way. Film is a bit of a mix; you often get rehearsal time but have a shorter shoot period. My preparation process for any role, whether TV, theater, or film, is generally the same, but the depth and amount of time you need to explore can vary. I don’t really have a favorite; I enjoy doing all of them. However, theater can feel particularly satisfying as an actor because you get a long rehearsal period and can follow the character's arc all the way through. In film, you might have to jump straight into an intense scene, like crying or running from monsters. So it’s technically different.

DG __ It sounds like it is harder for movies, no? Because if you’re dropping right into a scene, you can't build up the momentum like you can in theater.

SS __ They’re challenging in different ways. In theater, I had to work on my voice and physicality because you're constantly on. You need a strong voice to be heard from the back rows and at the Donmar [Warehouse Theater], we weren’t mic’d. Also, with theater, you can't screw it up because it’s live. On the other hand, on a movie set, when they say, “start in the middle of crying,” you have to just jump in. That’s why prep is crucial for film; you need to be able to drop into those moments quickly.

DG __ Let’s talk about the impact of the fast pace and constant connectivity of today's world on mental health. How do you feel it's affecting us?

SS __ That’s a great question. I’m a Gen Z so I grew up with a phone. My mom was really good about limiting social media and phones. But, during lockdown, I found myself spending a lot of time on TikTok, scrolling for hours. While there’s definitely information and some positive engagement to be had, it’s also addictive. It was distracting me from my work and what I love, so I’ve set time limits for my use now and am working on reducing it. To some extent, it’s unavoidable, and while there are benefits to technology, like connecting with people globally and access to opportunities, it’s crucial to make technology use healthier. It’s engineered to be addictive and it’s taken over so many aspects of our lives.

DG __ That’s something I often think about. I always say that our best engineers, who used to work on space missions, are now working on making us addicted to social media. How can people win? It’s a tough challenge. I think it’s great that you’re setting restrictions for yourself.

SS __ It’s also unnatural to be constantly visible to so many people or to have that constant stream of information. It’s important to take breaks and have times when you’re completely off the grid. I find that having those breaks helps me stay grounded.

DG __ How do you think this affects younger people, especially with the constant comparisons on social media? Do you have any recommendations for people your age dealing with that?

SS __ I feel that seeing everyone’s best moments can be hard. It’s not like you see the lows that lead to the highs. My recommendation would be moderation. I barely use Instagram now because it wasn’t healthy for me to see so much information all the time. Taking time away helps and perspective is really important. I sometimes zoom out and think about how we’re all on a planet in the vast universe, which helps put things in perspective. Conversely, zooming in on what I’m grateful for, things like family, having a home, and basic necessities; it helps me appreciate what I have. Volunteering and donating to charity can also provide perspective and shift focus away from comparisons. It’s not about minimizing your feelings but rather about gaining a broader view of the world and your place in it.

DG __ So, you mean both looking at the big picture and appreciating the smaller, personal aspects of life?

SS __ Exactly. Zooming out to see the bigger picture, like the vastness of the universe, and zooming in to appreciate personal blessings and small everyday things. It helps me keep things in perspective and not get bogged down by comparisons.

DG __ As a Gen Z-er, how do you view the direction we're heading? Do you think it’s positive? What are your thoughts on the future?

SS __ There’s definitely a lot to be concerned about when looking at the future. Many issues make it quite daunting right now, such as the lack of compassion humanity shows itself and the environmental crises we're facing. I often feel a sense of helplessness about making a significant impact, aside from small personal actions like donating or speaking out. However, what gives me hope is the community of passionate individuals I meet who share these concerns and are committed to making a difference. It’s important for my generation and others to stay engaged and motivated to address these challenges and to support those in positions of power who can drive meaningful change.

DG __ I think one of the bigger challenges is that the younger generation often isn't as engaged in voting, despite having the most at stake since they’ll live with the consequences of today’s decisions for longer. And on that note, where do you think we can make an impact?

SS __ Addressing environmental issues can be challenging. Our daily lives, especially in urban settings, are not designed for sustainability. For instance, plastic usage is prevalent in many aspects of our lives, like grocery shopping. It can be more difficult and sometimes more expensive to live sustainably, which isn’t always accessible to everyone. That said, if you have the means, choosing products with less packaging, recycling, and being mindful of consumption can make a difference. Social media often promotes overconsumption, so it’s important to be aware of that. Additionally, you can make an impact by advocating for change, donating to causes, and voting for leaders who prioritize environmental issues. For those interested in getting involved, I recommend checking out organizations such as the World Land Trust, WWF, and the Clean Air Task Force.

DG __ Let’s talk about art and artistry next. What challenges do you think emerging artists face today, and how can the industry and society help address these challenges?

SS __ Another great question. I think one major challenge is ensuring diversity, not just in what we see on screen or in galleries, but also behind the scenes. It’s important to have diversity in all aspects of art production. Another issue is accessibility; many talented individuals can’t afford drama schools or the costs associated with pursuing their art. Additionally, social media can make artists feel isolated, as it often presents a highlight reel of others’ successes, which can be discouraging. Building supportive collectives or communities of artists can help counteract this. By connecting with other artists, whether in acting, painting, or any other field, we can offer mutual support and share experiences.

DG __ I love your answer. I like the idea of collectives. Are you involved in any groups or communities like that?

SS __ I am! I have a wonderful acting studio where I connect with actors from various backgrounds. It’s a supportive environment that helps me feel less alone. However, I would love to expand that network. Connecting with artists from different disciplines, like painters, sculptors, and dancers, can be incredibly enriching and provide a broader perspective. It also helps create a sense of camaraderie in an industry where competition can sometimes overshadow collaboration. There are some great organizations here in London like Scene and Heard and Actors’ Benevolent Fund.

DG __ That’s a great perspective. So, considering your experiences as an emerging actress, how has that shaped your view on supporting new talent in the industry?

SS __ When you’re starting out, the industry can feel inherently competitive, and that’s something you experience deeply. It’s important to recognize that these feelings aren’t a reflection of you personally but are part of the industry’s nature. What’s helped me is understanding that opportunities come in their own time and that celebrating others' successes can eventually lead to your own opportunities. The actors who have been most inspiring to me are those who, despite their own success, remain generous and supportive of others. I aim to embody that spirit by offering guidance and support to younger actors. Sharing advice and experiences with those who are just starting out is important, and I always make an effort to be available for those who need help or mentorship. One person who exemplifies this kind of generosity is Posy Sterling. She’s an incredible actress who runs the Screen School in the UK, helping younger talents learn and grow in the industry. She’s a perfect example of the kind of role model I aspire to be.

DG __ Role models can be incredibly motivating. Did you have any particular role models at the start of your career?

SS__ Yes, one of my biggest inspirations is Margot Robbie. Her work in the industry is remarkable. I had the privilege of working on Saltburn, a LuckyChap production, where I saw firsthand how supportive and caring the producers were, largely thanks to Margot's influence. She’s not only a phenomenal actress but also a producer who creates opportunities for others. Her energy and commitment to supporting others in the industry make her a significant role model for me.

DG __ Did you have the opportunity or luck to have a mentor at the beginning of your career?

SS __ I’ve been lucky to have some wonderful people in my life. My mom, even though she’s not in the industry, has been a great support. Additionally, director Sandra Goldbacher, who I consider an honorary godmother, has been a mentor of sorts. I often have coffee with her and discuss the industry. My acting coach, Lawrence, has also been a significant influence. His studio feels like home, and he’s someone I turn to for advice and support.

DG __ That’s great to hear. No matter how far you go in your career, keeping those mentorship relationships is important. They can provide valuable support and guidance. I still have mentors today, and they are essential for my growth. How do you choose the projects you work on? What factors are most important to you when deciding on a new role?

SS __ A strong script and a talented team are crucial for me. I’m drawn to roles that offer the chance to transfor​​m myself and explore different facets of acting.

DG __ And what’s next for you?

SS __ I have some exciting projects in the works, but I’m unable to share specifics at the moment. Hopefully, I’ll be able to reveal more details soon.

Photography David Reiss, Styling Anna Hughes-Chamberlain at Stella Creative, Makeup Joey Choy, Hair Narad Kutowaroo at Carol Hayes ManagementTalent, Photography Assistant Gabor Herzegfalvi, Interview & Production David Gargiulo, Talent Sadie Soverall at Personal PR