True Grit: Sarah Cleveland on Her Latest Role and Rising Career

With a career defined by emotionally resonant performances and a passion for powerful storytelling, Canadian actress Sarah Cleveland continues to captivate audiences and critics alike. Most recently, Sarah stars in Lifetime’s gripping new film, The Girl Who Survived: The Alina Thompson Story, part of the acclaimed Ripped From the Headlines series. Inspired by true events, the film recounts the harrowing journey of a teenage girl who narrowly escapes a notorious serial killer in 1980s Los Angeles. We sat down with Sarah to talk about her latest role, her creative journey, and what inspires her both on and off screen.

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Thank you for taking the time to speak with Occhi. Let’s talk about your route into the industry — bullying, confidence-building through modeling, then an unexpected Disney break—What invisible work happened between those moments that turned self-doubt into momentum?

I always say life is a roller coaster with lots of highs and some pretty wild drops, too. For me, the biggest thing has been staying positive. When I hit a low point, I remind myself it always turns back around, and I want to be ready when it does. So even during the quiet times, I kept busy by training, taking classes, volunteering, anything that would help me grow. I’m not great at sitting still and letting life pass me by… unless it’s a slow morning with a coffee in hand 😊

You’ve moved between Lifetime thrillers, SYFY’s SurrealEstate, indie features, and national brand campaigns. What creative muscle do you rely on to stay truthful when the tone, pace, and production culture shift so dramatically from project to project?

Every project is unique, even if it’s another Lifetime film. The character is never the same, so I build a new backstory each time. What doesn’t change is that I always bring parts of myself into the role. The biggest parts of me are being a mom and a friend, and those experiences are what I draw on most to stay grounded and truthful, no matter what the project is.

Who are the mentors, official or accidental, who altered your approach to character building? Can you share a specific note or exercise that still lives in your process on day one of the set?

I don’t think there was one single person who completely changed my approach, but I’ve been lucky to learn from so many people along the way. Ilona Smyth and Conrad Coates really helped me when it came to breaking down scripts and finding my way into a character. And one tip I’ll never forget came from Kim Shaw, who taught me to write down just the first letter of each word, along with punctuation, to test myself on lines. It sounds simple, but it works every time, and I still use it today!

You often play women negotiating danger, desire, and agency. What’s your internal test for whether a script gives a female character genuine authorship versus placing her at the mercy of the plot?

Honestly, it’s really important to me that the female character has her own story, even if it’s a small one. She needs a purpose in the plot, and the audience should be able to see what drives her, whether it’s good or bad. My job is then to show those layers, even just little glimpses, so people can connect with her choices and understand the “why” behind them. I also believe no role is too small, as long as there’s a reason for her being there. If you could take her out of the script and nothing changes, then she doesn’t have purpose, and that’s when I know the writing hasn’t given her true agency.

Winning Best Lead Actress at the 2021 International Christian Film Festival for A Father’s Fight spotlighted your ability to ground high stakes with emotional clarity. What did that role unlock in your toolkit that you’ve since carried into thrillers like My Husband’s Worst Mistake?

That award really unlocked a new level of belief in myself. A Father’s Fight was such a special film for me, and the complete comfort I felt on set made it so much easier to open up and tap into my emotions. What’s interesting is that the same thing happened on the set of My Husband’s Worst Mistake. I felt that same kindness and level of comfort, and I’m so grateful to my director, Roxanne Boisvert, and my co-star, Matt Wells, for providing that space. It’s funny, but in scenes where I planned not to cry, I had become so tuned into the character that my body just reacted to the scene on its own.

As a performer who also writes, produces, and directs, where do those roles harmonize—and where do they argue? Describe a moment when your director-brain contradicted your actor instincts and how you resolved it.

I find that my different roles usually work well together. As a writer and director, I truly understand the story and the character’s journey, which definitely helps my performance as an actor. And as a producer, I’m always thinking about the bigger picture: the logistics, the budget, and the schedule, which helps me make more practical decisions. The only real contradiction I’ve found is between the writer and producer parts of me. When I’m writing, I want to create an amazing world with a huge cast. But when it’s time to actually make the project, my producer brain has to step in and make changes that fit the budget. For example, I’m currently in pre-production for Love In All The Small Places, and while I’d love to write every talented person I’ve seen into the script, my producer voice is pretty much yelling ‘Nope!’

Your work champions meaningful, heartfelt storytelling across Lifetime, Netflix, Amazon, Shudder, and PureFlix. What kinds of stories or themes are you chasing next that you haven’t yet had the space—or courage—to tell?

I have a script that’s very personal to me and has been in the works for a long time. While I’m not ready to share all the details yet, I am looking forward to finding the perfect actors to bring it to life with care and authenticity. This will be a project I’m directing, rather than acting in, that will allow me to fully focus on telling the story.

You’ve cited life experience as fuel: motherhood, rescuing kittens, community roles, and baking between shoots. Which of these non-industry rhythms most reliably deepens your empathy—and therefore your performances?

All of the above, honestly. Last week I spoke to a class about my journey, and the one thing I’ve stayed true to is kindness. I explained to the high school students that kindness truly goes a long way, and in a way, it’s a bit selfish. I love making others happy because it makes me happy. If I can help someone smile with cookies, by telling a joke, or by simply laughing at myself, I want to do it. However, the number one thing I bring into every role is being a mom. My love for my girls is endless. I’ve watched them through every stage of their lives and been by their side through every win and every downfall. Being a Mom is who I am to my core, and that deep, unconditional love is what I bring into all my performances.

 As Festival Director for the Eye2Eye International Film Festival, you scout emerging Canadian voices. What patterns are you noticing in the strongest submissions, and how is that curating eye reshaping your own creative bar?

The strongest submissions come from filmmakers who are willing to take risks and keep striving to be better with every project. It’s easy for a filmmaker to try for a bit and then walk away, but the emerging filmmakers who start with an iPhone, then go to film school or shadow others, and continue to create are the ones who are truly excelling. Their constant effort is a wonderful reminder that I’ll always be learning and striving for more, and that will continue to push my own creative bar higher.

 What drew you to The Girl Who Survived at the script level—was it a single scene, a moral question, or the way it reframed survival beyond the sensational headline?

First of all, I have a deep appreciation for true stories. But what truly drew me to this project was that Ashley Jones was an Executive Producer (and starring in it), a woman whose work I admired while growing up, and the script was incredibly well-written. I’m grateful for any opportunity to be on set, but these two were huge bonuses that made the project stand out.

Can you walk us through your preparation for this role—research, dialect, trauma-informed practices—and how you protected your own mental health while honoring the real-world stakes of the story?

Since this was a true story, the online information about the real people and events provided a backstory for my role. While that was a new kind of preparation for me, the most powerful tool I had was putting myself in Jane’s shoes. As a mother of three girls, imagining the horror of one of them going missing and then being found deceased was the only preparation I needed to bring Jane’s story to the screen.

 This film sits within Lifetime’s Ripped From the Headlines series. What can audiences expect in terms of tone and texture—suspense, emotional realism, catharsis—and what conversation do you hope continues after the credits roll?

This film is full of both suspense and deep emotional realism. It’s so important to remember that just because these events happened in the 1980s doesn’t mean they aren’t happening today. In fact, it seems it is even easier now for predators to lure someone through social media, dating apps, or online marketplaces. After the credits roll, I really hope this film gets people talking. It’s a conversation we need to be having in every household about being aware of your surroundings, having a buddy system, and trusting your parents, friends, or family when they express concern. These stories aren’t just sensational headlines; they are there to teach us to be more cautious and look out for each other.

Where can readers find out more about you?

Instagram @sarahcleveland

Facebook @actorsarahcleveland

Website www.sarah-cleveland.com

IMDb www.imdb.me/sarahcleveland

Photographs by Tim Leyes

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