Acting : Ask Me Anything (AMA) – November 8th – The Realities of a Working Actor Today! by Penelope Ann Miller

Hi, Penelope Ann Miller! Welcome to the community. Congratulations on all your success! Thanks for having this Ask Me Anything! As an actor, is there anything you think writers should know about writing characters or scenes?

Hi Penelope Ann Miller - thanks so much for spending your time with us! As a creative dad to an aspiring actor, I often tell my daughter to press on despite any an all rejection and that those rejections don't define her. What other piece of advice would you give yourself or a young aspiring actor just starting out with the audition process? Thanks so much in advance!

Hello, Penelope Ann. Congratulations! on your latest accomplishment. What significant differences have you found between working on studio projects versus independent one? Do you favor one over the other and if so, why? // Plus, any specific advice to actors new to either one of those? // Thanks for making your experience and insights available to Stage 32 Creatives.

Penelope Ann Miller - thank you for taking the time to do an AMA. I just watched AFTER ALL and you were able to bring such a varied range of emotion in your performance. How do you as an actor prepare for so many different ranges of emotions each day?

So happy you’re here, Penelope! As a young actor in their 20s, I’d love to know — what’s the most important mindset or habit to develop early in your career?

or early in their careers!

Hi Penelope Ann Miller - I’m a huge fan of your work. Thank you so much for doing this AMA. What advice do you have for young actors who are trying to find representation?

Welcome! Thank you for sharing your experience and expertise with our community. I have craft-centric question for you: What are you looking for in a script or play when considering whether to join a project? Are there specific red flags or green flags you watch for when reading new material? This could be really helpful to know for writers or directors looking to attach talent to their project(s).

Thank you so much for spending time with the Stage 32 community! You were in the very first movie tor ever make me cry. Awakenings has always been a favorite of mine and has such a legendary cast and director. You mention theater, film, and television acting in your post. Has there ever been a role you've played there parallels between two or more of these media? If so, what tools did you pull out of your artist's toolbox to pull the performance off?

Hi Penelope Ann Miller, so happy you are here with us and congratulations for this amazing role. I have admired you always and it’s an honor. I am a first time director and I would love to have more insights from you: What makes for a great collaboration between an actor and director?

Thank you and cheering for you always!

Hey Penelope Ann Miller great you're hosting this AMA. What's one piece of advice you wish you'd received earlier in your career?

Mrs. Miller, I just wanted to say how much I admire your career and the incredible films you’ve been part of. Your work has truly been an inspiration and part of what led me to pursue directing and screenwriting.

You’ve had the chance to work with both well-known and up-and-coming directors. What kind of approach do you appreciate most from a director when you’re on set, and what advice would you give someone just starting out about working with actors?

I was also curious if you’ve ever worked directly with your daughter? I know she’s a talented young actress, and I imagine that could be a very unique experience. It would be such an honor to collaborate with you and your daughter someday on a project I’m developing about the struggles within the modeling world.

Thank you for everything you’ve shared through your work.

Hi Penelope!!! Such a pleasure having you here! For actors who are past the “beginner” phase — with credits, training, and a reel, what’s the smartest next step to move from working occasionally to working consistently? Is it reps, networking, creating your own work, or something actors overlook?

Penelope Ann Miller, thank you so much for making yourself available to the community in this way! You’ve worked with legendary directors like Brian De Palma, Penny Marshall, and Mike Nichols. How did those collaborations shape your process as an actor, and what advice would you give to actors about building trust and communication with a director on set?

Hi Penelope, thank you for sharing your experience with us.

As an actress and writer developing my own film projects, I often wonder — how do you protect the emotional truth of a character when external pressures (production, time, or direction) might push you to compromise it?

Thank you so much for giving your time so generously. I am curious, how have your life experiences shaped your acting style? And how has your style differed over time? Thank you for your answer. I'm only asking because my writing has changed as I have grown older. :) Congratulations on a stella career!

Hello, Penelope Ann Miller. Big fan. I've never forgotten your charming scene in BILOXI BLUES. Do you much collaboration with the screenwriter/playwright? Is there lesson for screenwriters/playwrights to learn when it comes to working with an actor/actress?

Good day, Penelope Ann Miller! We are honored that you are taking the time to answer questions and discuss the unique art form of film. As a new screenwriter, my question mirrors some of the other questions here. As an actor, what do you wish writers would do intheir writing that would help you in your role as an actor to bring the script to life? Is there anything you look for in a script that makes you excited and say, "Yes! I want to play this role!"?

Penelope Ann Miller thank you for so generously taking part in AMA and sharing your knowledge and experience. I feel honoured! I would like to know, "how do you personally manage the emotional wear and tear of embodying intense characters over time, and what helps you come back to yourself after difficult roles?

Hi Penelope Ann Miller ! What a gift this AMA this - thank you for being so generous :)

I have two craft-ish questions:

1) you've mentioned navigating the shifts among screen, & stage - but what do you find never changes for you as an actor in your process, no matter the performance environment?

2) realizing your prolific body of work may render this question difficult, what is THE one role you are still searching for?

Thanks so much again for sharing with us.

Leonardo Ramirez- I appreciate this question since I do have a daughter who is an aspiring actor, and obviously, in this business, we deal with rejection more than we get offered roles. It's very hard at this young age to do more self-tapes than in-person auditions, and it's hard to build these relationships with casting directors. She looks at actors who are working all the time and may have been doing in-person auditions before COVID. But I tell her, "to compare is to despair", we all have our own journey and our own time, we have to trust that and have faith. If she has belief in her ability, in her talent, she just needs to continue to persevere and not let rejection be a signal or a sign that she isn't worthy or good enough.

Everything is a learning curve, and it's an opportunity for growth. I've even seen my daughter continue to grow as an actor. She will also be a lot more resilient as a result of the rejection and not having success that comes so quickly. I think it's just all part of the process. She just has to continue to work on her craft and to study and believe in herself. I would say this for all actors, not just our daughters, of course. Hang in there and know that this is part of the process. Thank you for your question. I hope that is a helpful answer for you!

Thank you, Pamela Jaye Smith, for your question. I think that the difference between a studio versus an independent is money. That's the main difference: a studio project usually has a lot more money; therefore, you have more time, there are more perks, and it's a little more luxurious. Independents are just more challenging because you have less time, it's harder for production to get everything they want because they don't have the money for the things that make a movie superior quality. But that also makes it challenging sometimes in a good way, because it creates a bond between the team. I don't view independent or studio film any differently, as far as how passionate I am, how hard I work, and the research I do. I look at it all the same. I feel that that's the best way to look at any project, even if one has more challenges to it.

I think we all have to just dig in, and if it's a great role and a great story, it's always worth doing, even if you don't get paid a lot. As far as the newcomers are concerned, it's a process, and there's a lot of rejection, but don't let that define you. Hang in there and continue to believe in yourself and work hard, know that what's meant to be yours will be yours. Try to grow and not let it set you back, but move forward, and look forward. I just like the work in general, so I'm happy to take on whatever the budget is, especially if it's a good role in a good story. If you're working with a great director and great actors, it can be fun no matter what the challenges are. I hope that helps!

It really is Penelope Ann Miller and it means so much that you took the time. I've had to deal with it myself so I can share with her from experience but I've not heard the phrase "to compare is to despair". I will carry that. Btw, her middle name is Faith.

HI Penelope Ann Miller thank you for taking the time to do this AMA. What a privilege. To piggyback on another question, have you had a role that was emotionally draining, and how did you "dump" so you could keep playing the role day after day?

Thank you, Amanda Toney, for your question. I really appreciate that you watched After All and enjoyed it, and that you appreciated my performance. That means a great deal to me, and I’m sure to our director, the other actors, and the entire creative team behind it. I’m very proud of this film.

Yes, it was definitely a challenging role for me in many ways. As you can see in the film, my character goes through quite a lot. When I prepare for emotional roles, it’s always a little different and it really depends on the character. For this one, I channeled a lot of relatives I’ve had. I have a lot of family in Texas, and Verna reminded me of many of them. I hope I was able to capture the essence of who those people are and were. Some have passed, and some are still with us. That connection really helped me ground the character emotionally. For me, the emotional part always comes down to being in the moment and truly believing in it. My acting teacher used to say, “Actors want to cry, but people don’t,” and I always found that idea fascinating. If you try to force an emotion, it often feels unnatural, and sometimes the opposite happens when you resist it. Most people in real life fight against showing emotion unless they’re doing it to be manipulative, which is a whole different story. I’ve found that when I hold it back, it often feels more real and more powerful.

Ultimately, it’s about being fully present, not self-conscious, and letting things happen naturally. My teacher also used to say that we love watching children and animals because they’re so uninhibited and unselfconscious. As we grow older, we become more aware of how we act and what we say, and we start to judge ourselves. So I try not to judge my characters. I just try to be them, let that truth come through, and support it with research and preparation. Like I said, how I prepare really depends on the role and the character, but for me it always comes back to understanding the essence of the person. I hope that answers your question. Thank you again so much for your support and for watching the film. I really appreciate it, and I hope you’ll help spread the word.

Amanda Toney- I also wanted to add to this question that, as an example, when I played Nancy Reagan, I did a lot of research on Nancy herself. I read many books, talked to people who knew her, and watched a lot of videos and interviews so I could understand her mannerisms and hopefully sound like her. The wardrobe, wigs, and all of those details helped me get into the character.

As for playing Verna, I spoke with people who had family members who were stroke victims. I researched what that experience looks like, as well as dementia and abusive relationships. It really came down to understanding who these people are. If the role is biographical or based on a real person, I always try to do as much research as possible.

For instance, when I played Mary Todd Lincoln, I read a great deal about her life and what she went through. She suffered from melancholy and depression, and she lost three sons. She experienced a tremendous amount of pain during that period of time and faced so many challenges.So, like I said, every role is different. I do as much work as I can to prepare, and once I’m on set, I focus on being in the moment and capturing the essence of the character. Wardrobe, hair, and makeup always help bring that to life.

To Sydney S, thank you so much. I appreciate your question, and I hope I can be of help to you as a young aspiring actress. My daughter is also an aspiring actress, and it is definitely challenging no matter what. I think these days it can be even harder because so much is done through self-tapes instead of in person. You really want to develop relationships with casting directors, but the most important thing is to keep doing the work. Keep studying, reading, taking acting classes, and most of all, believing in yourself.

As for developing a habit that is important to carry with you, when I look back at the beginning of my career, I realize how essential gratitude is. I am incredibly grateful for all the work I’ve had and the way my career has gone, but I think truly being grateful and appreciative of everyone around you is so important. Whether it’s the production assistant bringing you coffee in the morning, the person driving you to set, or the crew members working behind the scenes, it means so much to acknowledge people and learn their names. I did this when I was younger, but I’ve come to understand even more how deeply it matters and how much it means to others to be seen and appreciated.

Another habit I believe in strongly is treating every job the same, no matter the size of the project. Whether it’s a small independent film, a television show, or a big production with a large budget, the work itself is the same. Always do your best and strive to be your best, no matter how big or small the role may be. Enjoy the moment, be present, and appreciate the experience and the people around you.

I believe that kind of appreciation and positivity helps with collaboration and creates a wonderful spirit on set. When you are happy and share joy and gratitude, people feel it, and it’s contagious. I think that is truly important in anything you do. I hope this helps you, Sydney. Thank you so much.

Hi Geoffroy Faugerolas! Thank you for your question. When I am reading a script or considering a potential job opportunity, what is most important to me is the character. I ask myself if I can connect with it, if I can relate to it, and if there is something I can bring to it. I look for roles that are multidimensional and that challenge me. I also want to know if it feels authentic, if the dialogue feels real, and if it is a role where I can bring parts of myself to it, even if I am not playing someone like me.

I like to be challenged, and even as I get older, I find myself drawn to more complex roles. Playing Nancy Reagan was very challenging, and so was playing Verna in After All, who was a stroke victim going through dementia, aging, family discord, and abuse. It was a lot to take on, but it was meaningful because the role had real depth. So I always look for depth in a character and in the story.

I also ask myself if I like the story and if it is something I would want to watch. I am drawn to relationship-driven films because I love stories about people and human connection. I do not usually do a lot of action or special effects films these days, not that I wouldn’t, but I tend to choose projects that resonate with me personally. At this point in my career, I also think about whether I will truly enjoy playing the character and whether it inspires me.

I want to feel passionate about what I am doing, because work is still work, and no matter how long you have been doing it, it requires effort and commitment. I always want to give my best, to challenge myself, to keep growing, and to surprise people. I enjoy taking on roles that others might not expect me to play. For me, it always comes back to good writing and a meaningful story. I am drawn to personal and character-driven stories. After All was based on a true story, as were my roles as Nancy Reagan and Mary Todd Lincoln. I have done quite a few of those, and I enjoy them because they reflect real life and truth. Of course, I am open to fictional stories as well if they are written with honesty and depth. I hope that helps, and I wish you all the best in your future endeavors. Thank you.

Thank you all so much for creating such a rich conversation. And mostly thank you, Penelope.

Hi, Brandy Camille, Yes, there have actually been two roles that I’ve played both on stage and on film, which is an interesting question. The first was Daisy Hannigan in Biloxi Blues. That was a big break for me as an actor, being in the Broadway production of the Neil Simon play with Matthew Broderick. We won the Tony Award that year. Later, I did the film version of Biloxi Blues, which had a completely different cast except for two other actors from the play, including Matthew, myself, and another actor, Matt Mulhern. The other play I did was Our Town, in which I played Emily. Later, I reprised that role for Great Performances on television. That version featured the same cast and was filmed on the same stage where we had originally performed it.

Going back to Biloxi Blues, the main difference was that we had a different director, Mike Nichols directed the film, and Gene Saks directed the play. I played the character in much the same way, though I didn’t consciously try to mimic what I had done in the play. I had performed the show for about a year and three months, so the character was deeply embedded in me. When it came time to do the movie, it was very natural to slip back into that person and capture what had felt authentic and real to me on stage. Working with Matthew again was wonderful because we already had great chemistry, we remembered our scenes well, and the writing hadn’t changed much.

Of course, the medium itself is different. In film, you can cut and retake scenes, and there are many technical aspects involved in filming. Theater, on the other hand, is all about that immediate connection with the audience. You feel their energy and response in real time, which gives you an incredible rush. Having lived with that character for so long on stage made the transition to film feel seamless for me. With Our Town, it was similar. I didn’t perform it for as long, but reprising it for television was such a wonderful opportunity. It allowed me to memorialize that performance and have something tangible to look back on. In theater, you rarely get to see yourself perform, so being able to capture that was very special.

In the end, I approach each role the same way, whether it’s for theater, film, or television. The theater experience is unique because you tell the story from beginning to end in one continuous flow, and each night feels a little different. The audience brings its own energy, and every performance develops its own rhythm. It’s hard work but incredibly rewarding to feel those live reactions, the laughter and emotion, right there in the moment. Filming is exciting in a different way because it’s such a collaborative process. There are so many elements that come together, including the camera work, the lighting, and the editing. As an actor, you focus on staying present, trusting your instincts, and reacting truthfully in each take. I hope that answers your question and that I understood it correctly. Each medium has its own beauty, and I’ve learned a great deal from doing all of them. I approach each one with the same dedication and respect. Thank you so much for your support of my work.

Thank you, Pat Alexander! That’s a good question. My career took off pretty quickly at a young age. I started acting professionally at 20, and I truly believed in my ability, which I think is very important. Believing in yourself and manifesting what you want by thinking positively can make a big difference. That being said, things did move very quickly for me, and looking back, I wish I had appreciated the moments more as I was experiencing them. I think the most important thing is to never take anything for granted. At the time, I had this feeling of course I should be doing this movie, of course I should be working with Al Pacino, Marlon Brando, and Robert De Niro. I still think those are the right feelings to have, because when you believe in yourself, you should feel worthy of working with the best and most talented people.

I was grateful and excited for those roles and opportunities, but I wish I had appreciated them even more. It’s hard to see that when you’re young and haven’t lived through as much, but now, having seen the ups and downs of my career, I realize how lucky, fortunate, and blessed I was at such a young age.Another piece of advice I would give is not only to appreciate what you have in the moment, but also to acknowledge and be thankful for everyone you work with. That’s something I did naturally when I was younger because that’s how I was raised, but I now understand how truly important it is. I’ve seen people who don’t take the time to notice the crew or thank them, who just come in, do their work, and leave. But the crew are the ones supporting you, helping you look good and feel good. Everyone on a set is working just as hard, and no one is higher or lower than anyone else. Everyone’s role matters. I think the most valuable tools you can have are gratitude, appreciation, and a love for the process itself. Enjoy the process, not just the outcome.Thank you for your question!

Hello Sandra Isabel Correia! I think what makes for a good collaboration is being really open to hearing an actor’s ideas about the role they’re playing. I really value collaboration with a director, and when a director has a clear vision, that helps me a great deal as an actor. When they’ve already thought through how a scene will unfold and how it will be filmed, it gives me a strong foundation to work from. However, it’s also important that there’s flexibility, that not everything is set in stone. Ideally, we work together as a team, and I can bring ideas or perspectives that the director might not have thought of before, whether that’s about the writing, the action, or the setup. In this particular project, and really in any collaboration, what I love most is the open communication and teamwork. We had time to rehearse for After All, which really helped us build relationships, not only with our director, Kerstin Karlhuber, but also among the actors. Having that time allowed us to explore what felt natural and instinctive. I think trusting an actor’s instincts is very important. Sometimes we feel something in the moment that the director may not have anticipated, and having the space to explore that can bring something special to the scene.

Creating an environment where actors feel free and supported allows them to do their best work and stay relaxed creatively. That kind of environment is especially valuable in independent films, where challenges are common. Our director, Kerstin, was incredibly collaborative and genuinely cared about the actors. She appreciated our process, the characters we were playing, and she truly wanted to work with us. She built a bond with everyone on set, and her temperament really set the tone. When a director creates a positive atmosphere filled with appreciation and gratitude, it motivates everyone to give their best. When people feel seen and valued, they care even more about the project. Every aspect of filmmaking matters, from the PAs to the DPs, the drivers, and the caterers. Everyone contributes and supports the process. Taking the time to acknowledge them, to say hello, and to thank them makes a huge difference. I’ve always enjoyed working with directors who foster collaboration and who want to develop the character, the scenes, and the dialogue together. Making the work as authentic and real as possible, while trusting me in my process, makes for the best kind of creative partnership. That trust and support means so much. I hope that helps answer your question, and I wish you all the best.

Hello, Luciano Mello! Thank you so much for your kind words about following my career and for saying that I’ve been an inspiration to you. That means a great deal to me, and I really appreciate your question. I think it’s very important for a director to have a strong relationship with their actors and, honestly, with the entire crew. Having a clear vision and understanding an actor’s process is essential. Knowing that we, as actors, go through a lot emotionally and creatively helps build mutual respect. Collaboration is key because a director comes in with their vision, but an actor comes in with their role, and that role is speaking to them in a personal way. When both sides can share ideas and feel inspired by one another, the work becomes much more authentic.

I always value rehearsal time whenever it’s possible. Rehearsals help create bonds with the other actors, allow everyone to hear the director’s thoughts, and give us the chance to explore the material before arriving on set. That way, we’re not stepping in blindly, unsure of the tone or direction of a scene. Having that preparation time also helps because you can discuss ideas and collaborate without the pressure of an entire crew waiting to shoot. Even just having conversations about the character and hearing what the actor has to say about the role can make the performance more genuine. Those exchanges really help bring truth to the work.

I also think it’s vital to create a space where actors can trust their instincts, feel safe, and be supported. Allowing actors the time they need to reach the right emotional place, and giving them an extra take when possible, makes a big difference. Of course, sometimes there isn’t much time for multiple takes, but when a director respects and trusts their actors, and the actors return that respect, the collaboration becomes something really special.

As for working with my daughter, I have done so a little, but only in smaller roles so far. I would love the opportunity to do something more substantial with her—something layered and meaningful where we could really explore our characters together. She’s very talented and has a bright future ahead of her. She has also done some modeling, so it’s interesting that you’re developing a story about the struggles within that world. I wish you all the best with your career and your future projects, and hopefully, we’ll have the chance to collaborate someday. Thank you so much.

Hi Laquan Copeland, I really appreciate you enjoying my work, and I’m glad to hear that you’re making progress in this industry, as challenging as it can be. My advice to you would to create your own work if you can. Develop a project, find young filmmakers who are doing short films, and get involved. My daughter, who is an aspiring actress, is working on a short film right now. It’s always good to keep working, because work leads to more work and helps you grow.

Wherever you can find opportunities, whether big or small, take them. Never take anything for granted, and always keep studying, learning, and researching. Taking acting classes and watching great classic films can also be incredibly helpful. Networking is useful too, although in my experience it hasn’t necessarily been what directly got me jobs. However, getting to know casting directors and building relationships is very valuable. Whenever you have the chance to meet in person, do it. Go, introduce yourself, and let them get to know you. If they like you, they’ll root for you.

Continue to believe in yourself and trust that what is meant for you will come your way. It’s also important to stay in touch with your representatives. Sometimes we forget to check in, but it’s your career, and they work for you. It may not always feel that way, but maintaining good communication is key. Build a strong relationship with your reps, because if they like you and believe in you, they’ll work hard for you. Don’t be afraid to follow up, ask about feedback, or check on projects you’ve auditioned for. Getting feedback is incredibly helpful when you can get it.I wish you continued success in your career and all your future projects. I hope this answer helps you, and thank you again for your question.

Ashley Renee Smith, thank you so much for supporting and believing in my work. I always love hearing that there are young, aspiring filmmakers out there, and I hope you get a chance to see the movie After All. Kerstin, our director, did such a beautiful job and had an amazing vision. For being a low-budget film, the quality is really superb because she chose an incredible team to collaborate with, from the cinematographer to the music to the cast. When a director surrounds themselves with truly talented people, it creates an inspiring and creative environment, and I think that’s so important.

I’ve been blessed to work with some amazing directors, all of whom are very different and have their own unique processes. Brian De Palma, for example, is incredibly visual. He doesn’t necessarily spend a lot of time talking to actors or developing roles in depth, but he has a very strong sense of how he wants to shoot a scene. He’s extremely prepared, with detailed shot lists and a clear vision of what he wants to achieve. He hires actors he trusts for the roles and then lets them do their work, which I’ve always appreciated.

Mike Nichols, on the other hand, was more of an actor’s director. Having come from theater and being a performer himself, he really understood the actor’s perspective. I have to admit, working with him was a little intimidating because I had admired his work for so long, but the same was true when working with Brian De Palma. In both cases, I reminded myself that they hired me because they believed in me as an actor. That mindset helped me focus on doing my best and remembering that we were all working together toward the same goal.

One of the best pieces of advice I ever received from a director came early in my career, during my first big project, the theater production of Biloxi Blues. I was part of the original cast, and before our first performance at the Ahmanson Theatre in Los Angeles, before heading to Broadway, our director, Gene Saks, said something to me that I will never forget. I was twenty years old, nervous, and about to go on stage, and he told me, “Trust your instincts. They’re always right.” That advice was so freeing and empowering. It made me feel that he truly believed in me, and that belief helped me trust myself. It allowed me to be fully present in the moment without fear of judgment or expectation.

To me, a great director is someone who is collaborative and communicative, who listens to the actor’s ideas and is open to discussing the dialogue, the character, or any creative thoughts that come up. That kind of communication builds camaraderie, trust, and a sense of safety. When an actor feels supported, they can give their most honest performance. I’ve also had the privilege of working with wonderful directors like Norman Jewison and Penny Marshall. Penny, having been an actress herself, really understood what actors go through. She was funny and warm, and though she had a strong accent that could sometimes be hard to understand, she always created a comfortable and creative atmosphere. Of course, I’ve been incredibly fortunate to work with amazing actors as well, De Niro, Pacino, Brando, and so many others who inspired me throughout my career. I feel deeply grateful for every one of those experiences. I wish you the best of luck in your career and your future projects. I hope this answers your question, and thank you again.

Hi Maurice Vaughan, I’m wishing you all the best in your writing career. I think the best advice I could give to a writer, and I say this humbly, since I’m not a writer myself, is to focus on creating characters who are multidimensional and layered, not one note. When a writer draws from personal experiences and truly understands the characters they are writing about, the dialogue becomes more authentic and real. If you are writing about someone you don’t know personally, doing thorough research can make all the difference. Reading about similar people or learning how a particular type of character might speak or behave can help you bring truth and depth to your story.

I think stories that are character-driven and relationship-driven always stand out. Those that capture real emotion, natural dialogue, and even a touch of humor are the ones that resonate most deeply with me as an actor. Hopefully, those thoughts are helpful. As I said, I’m not a writer, and everyone has their own process, but I have enormous respect for writers. You are the ones who make it all possible. Without great writing, we wouldn’t have great films, television shows, or theater. Writers truly are the beginning of it all, and I wish you every success in your journey.

Hi Javiera Estefania Jelic, I really appreciate your question because it can be incredibly challenging when you’re working with limited resources on a low-budget film. There are times when you have to wrap at a certain hour and still haven’t gotten all the shots you want or need. Even in those moments, it’s important to create an environment that allows everyone, the crew, the actors, and the creative team, to do their best work. Having a clear vision from the start helps a great deal. Preparing a shot list and knowing how you envision each scene playing out can make a big difference. At the same time, it’s equally important to listen to what your cinematographer has to say and to be open to the actors’ instincts about what they want to do physically and emotionally in a scene.

Being well prepared becomes even more essential when you’re under pressure or facing scheduling challenges. Preparation not only keeps things moving efficiently but also helps the actors feel grounded and confident. It prevents the process from feeling uncertain or disorganized, which can make everyone uneasy. When the team senses that there’s structure and purpose, it creates trust and allows them to feel safe creatively. It’s also important to recognize when an actor may need another take. Sometimes you have to make small sacrifices elsewhere in order to capture the best performance possible. Allowing your creative team to feel supported, heard, and involved fosters a sense of collaboration and unity on set. As I mentioned, doing as much preparation as possible ahead of time gives you the flexibility to adapt and still get what you need once you’re filming. I hope this makes sense and that it helps. I truly wish you all the best as you continue developing your craft and creating as a filmmaker. I’m excited for you, and I hope something I’ve shared here is helpful to you in some way.

Thanks for the incredible answer, Penelope Ann Miller! Your whole AMA is incredible! Thanks again for having it! I hope you continue having success! I'm looking forward to seeing After All and the other movies and shows you've acted in!

Hi Lauren Hackney, thank you so much for your question. I think it’s a very interesting one. I feel that I’ve grown a lot as an actor through my life experiences. Hopefully, as with fine wine, you only get better with time! I’ve gone through quite a lot in my life, and the experiences I’ve had throughout my career have truly shaped me as an actor. I’ve learned so much from all the people I’ve worked with, directors, filmmakers, writers, actors, and cinematographers. Each collaboration has taught me something new. I’ve also learned from my personal experiences, which now deeply inform the characters I play. For example, playing an older character like Verna in After All feels very connected to where I am in my own life. Having family members who are aging or going through challenges has helped me understand and relate to her more deeply. I try to draw from real people and real moments that resonate with me and channel them into my performances, always trying to capture the essence of who the character is.

I feel that I challenge myself more now as an actor and that I actually work harder. It’s not that I didn’t care when I was younger, I did. I went to acting school and was always striving to be my best. But now, I think I’m more willing to surprise myself, to take on roles I might not have imagined I could do. Playing Nancy Reagan, for example, was extremely challenging because she was such an iconic and well-known figure. It required a great deal of research and focus, but it was also incredibly rewarding. Similarly, playing Verna, who is such a multifaceted woman dealing with aging, illness, and emotional pain, was deeply meaningful. Whether I’m playing younger, older, or portraying someone struggling with dementia or physical challenges, I always try to dig deep and find honesty in the role. I think I work a bit harder now because I always want to grow and improve. I never want to be pigeonholed or play stereotypical characters. I’m drawn to roles that are complex, layered, and rich with humanity. I also find that as I’ve gotten older, I’m more interested in character-driven roles rather than the typical leading parts. Those are often the most interesting and fulfilling to me. I hope that helps answer your question, and thank you so much for your kind words. I truly appreciate you admiring my work, it means a great deal to me.

Hi Francisco Castro, thank you for being such a big fan of my work. I truly appreciate all the support, it means a great deal to me. I hope you get the chance to see my recent film After All. This role meant a lot to me, and I’m very proud of everyone’s work on it and of the final outcome. If you haven’t seen it yet, I really hope you do. Thank you also for mentioning some of my earlier work. Biloxi Blues is incredibly memorable to me because my real breakout role was playing Daisy in the theater version, and then later I had the chance to reprise the role in the film adaptation. I believe very strongly in collaboration. When a screenwriter or director is willing to work with you, to hear your ideas and input, it makes the creative process so much more rewarding. Of course, I have many more ideas now than I did when I was younger, but even early on I was always interested in contributing and exploring. Over the years, I’ve learned so much from all the different directors and writers I’ve worked with, and that experience has given me confidence in my creative instincts.

I love when collaboration happens naturally, when a role or story inspires me to see ways to make a moment or a line more authentic or true to life. When a writer is open to having those conversations, it means so much. For example, when I played Nancy Reagan, I did extensive research and worked closely with our screenwriter, Howie. He was incredibly collaborative and open-minded. There were certain lines of dialogue that didn’t quite feel authentic, and because I had read both Nancy’s biography and autobiography, I was able to share her actual words and manner of speaking. Howie was very receptive, and together we made the script feel more genuine and believable. That kind of collaboration meant a great deal to me, and I think it made a big difference in the film, especially in portraying Nancy and Ronnie’s relationship.

In other biographical roles I’ve played, research has always been an important part of my process. It’s wonderful when a writer or director is willing to listen and consider adjustments that enhance a scene. Over time, I’ve become more confident in recognizing what feels real and what doesn’t. Still, I have deep respect for writers and the integrity of their work. I learned very early in my career, while working with Neil Simon, that you never change a single word, not even an “and” or a “but.” His writing was so specific and precise, and that taught me to respect the writer’s voice completely. That said, when a director or writer is open, communicative, and collaborative, it creates a safe space for ideas to be shared. Feeling that mutual respect allows everyone to do their best work. It’s that openness and trust that help make a project, whether it’s a film, play, or television show, the best it can be. Preparation and communication are key, especially when time is limited. Thank you again, Francisco, for appreciating my work and for your kind words. It truly means a lot to me.

Hello, Rachel Mensch, thank you for being here, and I appreciate your question. I love writers and I am always in awe of them. I find it so impressive because writing takes such discipline and time. Creating so many different characters and making them feel real and authentic is incredibly challenging. No one speaks or thinks in just one way, so giving each character their own voice and making them multidimensional is so important. I have a deep appreciation for the process that writers go through and for all the research you do to make your work believable and to create stories that people care about. As far as what a writer can do to help an actor, I think the most important thing is to create roles that are multidimensional, that have layers and depth. Sometimes it is not what is being said that matters most, but what is left unsaid, what lies beneath the dialogue. Writing stories and characters that truly resonate with people is what draws me in as an actor. I am especially drawn to movies that are relationship-driven, character-driven, and true to life. I also love stories based on real people and true events, because they often carry such emotional truth.

Every writer is different, of course, and everyone has their own style and interests, but I think collaboration between a writer and an actor is so important once a role has been cast. When I am researching a character, I love being able to share ideas or discoveries that might make the performance more accurate or authentic. It means a lot when a writer is open to hearing what naturally comes out of my mouth or what feels true to the character I’m playing. I love challenging myself with roles that have emotional depth, but I also love when a role allows me to explore humor. I enjoy both comedy and drama, and I especially love when the two intersect. With Verna in After All, for example, I thought she was a very complex and interesting character. She had an emotional journey, but she also had moments of humor, sometimes without even trying to be funny. She reminded me of some of my relatives in Texas, both those who are still with us and those who have passed on.

What resonates with me most are stories that have heart, truth, and emotion. I love roles that challenge me, that surprise me, and that allow me to show a side of myself that people might not expect. Playing Nancy Reagan and Verna in After All were two of the most challenging and rewarding roles of my career so far. I am always looking for work with more complexity, more depth, and more opportunities to grow. I wish you all the best with your writing career. That is such an exciting journey, and I hope something I’ve shared has been helpful to you in some way. Thank you so much.

Hello, Sebastian Tudores. Thank you for your question, and I really appreciate everyone’s support of my work and for following my career over the years. Theater and film are such different mediums. In film, you have more time to experiment and explore, whereas on stage, once you are performing, that’s it- you just have to go for it! Each has its own rhythm and energy, and both are rewarding in different ways. In terms of my approach to performance and character work, what never changes is the preparation. I always do my research and put in the work to create the character. Sometimes I do more research, especially when portraying a real person, because I want to make sure I represent them as accurately and authentically as possible. When it’s a fictional character, I have more freedom to discover who they are on my own. But my approach remains consistent across both mediums. I think my process has evolved over time. I work even harder now than I did when I was younger because I continue to challenge myself with the roles I take on.

Early in my career, a director once told me to trust my instincts, and that advice has stayed with me ever since. I think it’s incredibly important to remind myself that if I’ve done the work, I can let go and trust that things will come naturally. When I am fully in the moment and believe in what I’m doing, the performance takes care of itself. That applies to both theater and film. On stage, I commit to the moment and let the performance unfold live. In film, I focus on staying fresh through multiple takes, capturing the emotion each time without forcing it. So while the experiences are very different, my approach to the work is the same.

As for a role I’ve always dreamed of playing, I absolutely love period dramas. I’ve done some, but I would love to do more, particularly something set around the late 1800s or early 1900s. I adore costume dramas and would be thrilled to play a role in an English period piece. I love doing accents and immersing myself in that world. Those are the kinds of films and shows I personally enjoy watching, like Upstairs Downstairs, Downton Abbey, The Crown, or Bridgerton. I hope that answers your question, and I truly hope I get the chance to take on a role like that someday. It would be a dream come true to be part of a series or film in that world.

Hi Alexandra Stevens and Suzanne Bronson, this is a question a lot of people seem to be interested in. I think many assume that actors take their characters home with them and that it can be hard to separate from the role, especially when the work is emotionally challenging. For me, I really try to leave it at work. Even between scenes, I like to joke around, chat, and just feel like part of the crew. When I come home, I want to be with my family and present in my real life. I’m not the kind of actor who takes everything home. I really do my best to leave the character and the emotions on set. That being said, when a role is emotionally demanding, it can still be draining and exhausting. My family and friends understand that there are times when I might not seem like my usual self, simply because I’m mentally and emotionally tired from the work. What really gets to me more than anything is the schedule, the long hours, lack of sleep, night shoots, and early mornings. That can take a toll! But I make a conscious effort to let go and not let the role affect my personal life. It really depends on the project, of course, but for me, it’s usually the physical exhaustion and lack of rest that linger more than the emotional aspects of the role.

Thank you all so much for being part of this and for asking such thoughtful questions. I’m truly honored, and I really appreciate it. I hope I haven't forgotten anyone and that my answers are helpful to some of you!

Thank you so much, Mrs. Miller, for your thoughtful and generous response. Your words mean a lot to me and will stay with me in my future work.

Thank you so much for taking the time to reply to my questions, Penelope Ann Miller. Working with a small theater group taught me more about collaboration than my experiences in film and TV. My partner and I will be watching AFTER ALL.

You helped a lot, Penelope Ann Miller. Thank you. I am cheering for you also. I'll try to see After All here in Portugal. All the best!

Super grateful Penelope Ann Miller for the time and care and hard-earned insight you've shared with all of us. And I share your appreciation of period dramas - one of my first memories of watching TV (even as a child growing up in communist Romania) was being glued to episodes of Poldark! the 1975 version... :)

Cool, Sebastian. I've just begun watching the newer Poldark and am liking it a lot.

Thank you very much Penelope Ann Miller for your answers which are so thoughtful and so generous in spirit. Truly appreciated.

Congrats on your achievements Penelope Ann Miller. I wanted to know if I become an actor, how do I get into the industry of it.

oh, that's great Pamela Jaye Smith - will have to check it out!