We talk to Sydney Sainté who plays the seasoned vigilante, Ladykiller, as she reminisces on an eventful evening in the restroom of a punk bar. Sydney gives us a peek into her personal life as she walks us through her work on Bex Bradshaw’s 6-minute short, thriller 360 Seconds.
An NYC-Bred, but LA-Based Actor and Writer, Sydney Sainté studied the piano, several types of dance, and musical theatre since childhood. She had been involved in Drama from Elementary through High-School. Sydney has also earned a Bachelor of Fine Arts (BFA) with a focus in Drama from NYU Tisch School of the Arts.
“Right out of Tisch, I was lucky enough to earn a part in Atlantic Theater Company’s production of Roy Williams’ Loneliness of the Long Distance Runner, making my Off-Broadway debut! Then in the Fall of 2015, I moved to LA to pursue film, TV, and hopefully to write a bit more,” she says.
Sydney Sainté as Ladykiller in 360 Seconds written and directed by Bex Bradshaw
indieactivity: what acting technique do you use?
Sydney Sainté (SS): I was trained in the technique of Practical Aesthetics. It is a technique created by David Mamet and William H. Macy, inspired by a few different schools of thought, including Meisner and Stanislavsky. I am not very by-the-book, but the technique is what I call on when I feel stuck. But I also believe an actor’s instincts and listening skills are most valuable as well.
indieactivity: How did you get connected to the project? What was the audition process like?
Sydney Sainté (SS): Through a mutual friend! In early fall, he suggested me as an actor for a virtual reading of one of Bex’s films. I read a few bit parts and we had blast. Little did I know that was basically my audition! Bex reached out to me and told me she had this idea for a short with me in mind, which was so flattering. She sent me materials, a preliminary script, and inspirations, we a chat and that was that. We dove right in!
Let’s take this project you did. How did you prepare for such a role: the cast, the physicality the terrain, the climate, weather and the demands of the project?
Sydney Sainté (SS): This particular project was rad because it was already so aligned with my own personal taste and aesthetic, very arthouse, a gorgeous balance between grit and guts and glam. Bex is such a great collaborator so a lot of the choices made we came up with together, as an actor that’s a dream.
How do you create the character from a script into a person?
SS: Well to be honest it almost feels like cheating when a script is based on you – because the connection is already there. What’s left for you to do is play around within the structure that’s created, which is the best part. Sometimes if you overthink parts that are close to you, it ruins it; it becomes like you watching yourself trying to play yourself while being yourself. So it was important (and quite fun) to create a sort of separation between me and Ladykiller. She’s me but slightly left of me!
What part of the story challenged you when you read it? What drove you to get on the project?
SS: For me, the most fascinating and layered part was the moment in between costume/persona changes: when the wig and the makeup are off and she is just her. I think playing around with the idea that she is having trouble shedding the personalities once the killings are done, that she is losing her real sense of self. I didn’t want her to feel like a caricature and I also wanted to audience to feel endeared to her.
Explain one creative choice you took on the set of this production?
SS: We had talked about why she chooses the ice pick. And I had the thought that maybe the ice pick was at the sight of the first murder, and she took a liking to it. Like it represented a turning point in her career as an assassin, she’s found her trademark weapon. That moment in the end when she takes ice pick out of the garbage and with her was a new way to convey what both Bex and I wanted to show – this person is having a little too much fun killing
You’re not new to indie films. What do you enjoy about the work that keeps you working?
SS: I’ve acted in them, written them, produced them – indie films feel like the most fertile, innovative space when it comes to original storytelling. It really is a playground, no idea or concept is too far out, and though money is always an issue there is a camaraderie and a bond when you’re “guerrilla-filmmaking”. It’s always an unforgettable experience.
How was being directed on this film?
SS: It was an absolute pleasure. Bex really did a fabulous job of giving me sound guidance and specific direction but also letting me follow my
impulses and just explore the incredible world she and the production team so masterfully created.
How did you collaborate with your cast members from scene to scene?
SS: I was just me so that one second when Kieran is banging on the door was a welcomed interaction. You can get sick of acting with yourself!
As the main cast of the film, describe the feeling of responsibility that you shouldered. Where you scared? Or did it fire you up? What scenes were difficult to shoot?
SS: The responsibility is fuel. No matter if you’re the main cast, supporting, or background you have a duty to the project. An obligation to show up and help tell whatever story is being told. Acting is a lot of waiting, so it is always a joy to get a chance to really do it! Yes scared, yes fired up but it really was a breeze of the shoot. Difficulty (besides being on set in the time of COVID) only came in working in such a tiny space, I think! I felt it for the crew though, they were so professional and lovely to work with even so.
What did you take away from the film production?
SS: That you really can make whatever you want. And that you never know who you’re going meet and what they’re going to mean to your
career.
What do you like most about the director and his/her collaboration with his/her team?
SS: I like how edgy and gung-ho Bex is. She’s determined and has impeccable instincts. She and Stephanie were super open and kind on set and I think set quite a laidback but focused tone for the cast and crew. The crews were absolute geniuses and such down-for-anything type of folks. Even though we had just met it really worked like a well-oiled machine, even though all the COVID precautions and light hiccups (as there always are).
What is next for you?
SS: : More of everything, I hope! Lots of irons in the fire.
What advice do you give actors regarding what you learned on the project?
SS: That project you’ve been mulling over? Make it. Show someone the idea, air it out, get feedback, don’t be afraid to collaborate. Also, consume everything. Taste is a massive part of cultivating your artistic identity. Lastly, Instagram can be a huge networking room if you let it be.
Tell us what you think of the interview with Sydney Sainté. What do you think of it? What ideas did you get? Do you have any suggestions? Or did it help you? Let’s have your comments below and/or on Facebook or Instagram! Or join me on Twitter.
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