Jessicah Neufeld is known for her intense emotional availability, personalization, and empathy. From conversational to classical roles, Jessicah brings intensity and a strong sense of integrity and truth to her work, focusing on the emotional cogency of the story, script, and character. Her strengths lie in script analysis, characterization, and emotional availability. By acting with truthful empathy, I strive to enable the audience to deeply connect with the struggles, joys, pains, friendships, and experiences of a character. This connection prompts introspection, empathy, and a sense of communion, fostering healing, connection, and honesty.
indieactivity: What acting technique do you use?
Jessicah Neufeld (JN): I really don’t subscribe to one acting technique or school of thought. I’ve studied with many teachers and many styles. My approach is really whatever works for the material and weather on a given day. Essentially, if I can connect to the character, I can usually play around and fuel my imagination. I’m not saying I’m gonna be good – but I can start building from there.
How’d you connect to the project? Audition? If you didn’t, would you still have gotten the part?
Jessicah Neufeld (JN): My agent received an email from the CD and forwarded it on to me. It was Summer and stupid hot; the tapes were due at 10 am on Friday, let’s say. I taped one audition the night before, but it was a hot mess: I was red-faced, sweating, the lighting was all funky, just garbage. So I tried again in the morning and sent that tape at 9:57 am. Now, I don’t like to procrastinate, but I do it with relative frequency… Fortunately, it didn’t matter this time!
How’d you prepare for the role; cast, physicality, terrain, climate, and project demands?
Jessicah Neufeld (JN): I read the script several times before “breaking it down”. This project was pretty straightforward, didn’t require a lot of pathology or deep inner work or anything. I like to find a secret for all of my characters, usually something that’s inconsequential to the project but holds meaning for me– it can sometimes help when my imagination gets stagnant or if I’m having a bad day.
The Official Trailer for Murder and Cocktails
For Lana, I dug deep into what her possible psychology could be only to realize this film didn’t need that kind of work from me, the actor, nor her, the character. But that deep dive gave me her secret. Jason (Nick) and I “rehearsed” before coming to set several times but spent most of that time getting to know each other which was very necessary. It’s one thing if the actors AND characters don’t know each other; but when two characters have been together for like, 20 years, and the actors have met twice… I’m not saying it’s impossible, but that’s a steep uphill battle.
How do you create the character from a script into a person?
Jessicah Neufeld (JN): Depending on the project (the script, film/theatre, time constraints, director, other actors, set, etc.) my approach will change. Generally though, I like to say the lines and go through the story as myself; 8 times out of 10 that works to have a fundamental understanding of who this character is. For the other 2 times, I’ll make some really out-of-pocket choices either with my voice or physicality to see if I can find my way in. From there, I try to go the path of least resistance: if the part allows me to play “myself” in the given circumstances, I do.
And by “myself” I mean my private self or the self that thinks mean thoughts and overeats in solitude; not necessarily my public persona who “has it together” and flosses twice a day. If the character is more than a degree or two different from myself, I look for their “secret” (as mentioned above) and build outward from there. Lately, I’ve really found a lot of assistance in physical changes. Maybe no one else would notice; I do. Lana, for example, has a very different walk from Jessicah. The way she moves and gesticulates are specific choices I made for her. Much of her character, for me, came from how she presents herself to the world.
Describe your responsibility? Did it fire you up or otherwise? What scenes were difficult to shoot?
Jessicah Neufeld (JN): Honestly, I initially felt nervous about taking on the role of a lead in this production because it was a new experience for me. I didn’t have prior connections with the cast, crew, or production team, and it was someone else’s passion project that we were working to bring to life. Additionally, being on location meant I couldn’t go home every night for support from my family. However, as the days progressed, I started to realize that this level of responsibility and challenge aligns well with where I am in my career.
Over the past 5-6 years, I’ve dedicated myself to extensive study at the Beverly Hills Playhouse and under Michael Yavnieli at MY Acting Studios. I’ve also taken on various roles in the industry, from producing my own films and live theatre in LA and NorCal to working as a PA, assistant to the AD, and contributing to the wardrobe and art department on significant productions. I felt like my experience and passion met well for me with Lana.
What did you take away from the film production?
Jessicah Neufeld (JN): Trust, trust, TRUST your instincts. I’ve done several projects this year and that is my key takeaway from all of them. If something doesn’t feel right, advocate to make it feel right– let other people tell you “no” before deciding the answer is “no”.
What is next for you?
Jessicah Neufeld (JN): Next! Next, I have a play opening in February, The Women Of Lockerbie, based on the 1988 Pan Am flight that exploded over Lockerbie, Scotland. I play the American who lost her son in the violence and travels to Lockerbie to try to find his body. I’m also a geriatric student studying to get my master’s in psychology and become a LMFT.
What advice do you give actors regarding what you learned on the project?
Jessicah Neufeld (JN): Do not underestimate the importance of learning and practicing your craft. Simply attending casting director workshops and audition classes may not suffice; immersing yourself in a scene class with committed and actively working actors is crucial. While I find the saying “You’re the average of the people you surround yourself with” somewhat cliché, it holds merit. And that “average of the people you surround yourself with” thing? Trite but useful.
Because, obviously, if you hang out with struggling actors, you’ll automatically get an Oscar, or at least a participation trophy for the effort. As far as advice goes…. being an actor is awesome, but also, be a person! Fall in love, get your heart broken, go to therapy, don’t just drink juice cleanses and do yoga, and pick up a hobby that doesn’t involve pretending you’re someone else. Because, you know, method acting your way through life is a surefire recipe for success and mental stability.
I’m not an expert on anything, but I’m gonna tell you what to do anyway. And please, don’t let acting be your entire identity—unless you want people to start avoiding you at parties.
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