Sara Oliva is an award-winning bilingual, first-generation actress, writer, and producer, born in Milwaukee and currently residing on the east coast where her focus is on TV and Film. Her short film “Lioness” which explores domestic violence, was recently featured at the FirstGlance Film Festival and has received critical acclaim. We had the pleasure of speaking to Sara about the film, her career, and more!
Sara, thank you for agreeing to catch up with Occhi Magazine. Congratulations on your career to date. What drew you to the industry?
Thank you for the opportunity! Honestly, I don’t remember a time where I wanted to be anything other than an actor. I graduated from Milwaukee High School of The Performing Arts, got my BFA in Acting in Wisconsin, then moved to Chicago to work as an actor. After a few years there I was getting restless- I knew there was so much more to learn, so I went to Brandeis University and got my MFA in Acting. Then I moved to New York, and now I’m based in the southeast. I would say it has been pretty recent since I made the transition to film. Before that, I was pretty committed to just doing theater. That was all I essentially did. As far as mentors go, I had many teachers, some truly remarkable, some not so much. I always tried to train with as many different teachers as I could, I am a big believer in not getting too comfortable with just one and staying with them. There was one teacher I had that really ignited me in the best way, she believed in me, encouraged me and I know it sounds generic, but my whole world shifted. As for the not-so-good teachers, well, that can be useful as well- you learn from great teachers, and you also learn from not-so-great ones. Although having great teachers is definitely much more preferable.
Who are your biggest industry influences, and why?
Oh, that’s difficult. I’m influenced by those on the verge of, in the thick of, or coming out of creating something – no matter how brilliant or crappy it is. I love artists who are provocative and sensitive and courageous in their work, and just go for it; actors that skate the edge of hilarity and tragedy. Toni Colette and Laurie Metcalf are so good at that. They do it with ease, sometimes simultaneously. I love the work of Maria Callas. She was mercurial, vulnerable, dynamic, and just devoured her roles. Same with Anna Magnani. Their artistry – they were explosive and tender and unapologetically authentic.
What’s thrilling now is seeing all these incredible artists, especially women, take up more space and produce, write, direct, and act. Michaela Coel is amazing. “I May Destroy You” was one of the most evocative shows I had ever seen. I still think about it. She wrote it, starred in it, directed it, and produced it. That’s something I really wish I had developed or was encouraged more when I was a young student. Create your own work. Don’t wait for someone to cast you. Cast yourself. Teach yourself, learn from others, listen to those around you, but listen to your own voice above all. Be your own muse. Make colossal mistakes. I am a firm believer in finding a way or making your own. That’s my lifeblood now. I know the question was who are my industry influences, but… my daughter, my husband, and my mother, a lot of my work somehow leads back to them.
You received your MFA in Acting from Brandeis University, where you studied Suzuki Martial-Arts Actor Training. Can you explain more about the course and its emphasis on martial arts?
Ahhh, I think I made a mistake in referring to it as a “martial art”, it really is a method of actor training, first and foremost, and yet much more than that. But it definitely felt like a martial art! It was developed by Tadashi Suzuki. I think at some point I was tired of saying “Suzuki”, and having to explain that “no, it’s not the same method as learning the violin”. That’s what most people associate it with. It’s a highly intense form of physical training. It draws from ancient Greek and Japanese theater. Very heightened, graceful, centered, powerful, and strong.
A lot of the focus is on breath and the lower half of the body- being very rooted to the earth. It really fuses together the power of the body while heightening the emotions throbbing underneath. I remember having to hold positions for a very long time, but it was crucial not to let that intense pain show on your face, to really focus on the breath, and in doing so, that really unleashes freedom in the voice, emotions, and body. It is very powerful to experience and watch. I doubt I am explaining it well. There are videos of the method online. I will say that by doing it every day for three years when in school – my body was in the best shape it had ever been in, and probably will ever be in. That was a definite bonus.
You’ve received critical acclaim for your performance in “The People Downstairs”. You have also been named Critics Pick of the Year by The Orlando Sentinel for your work in ‘A View From The Bridge, and Top Girls. Congratulations on your success. Is there a particular experience or accolade that has changed your appreciation of the industry or approach to your work?
Thank you so much, I appreciate it! I have to say, ‘Beatrice’ from “A View From The Bridge” and originating ‘Mabel’ from “The People Downstairs” were once in lifetime experiences. Especially Mabel, because it was a world premiere, and I got to spend so much time with her. The show closed two hours before opening night because of the pandemic, so I lived with her for over another year before we were able to actually open. Natalie Symons wrote the most painful, hilarious, awkward, gutsy role, and then she just let me dig in and unleash it. I did “A View From The Bridge” at a difficult time in my life; I almost didn’t do the show. Beatrice became someone I could cocoon myself in and I subconsciously created what I needed at the time, I folded myself up in her strength. As an actor, accolades are lovely and dangerous at the same time.
Be appreciative, but don’t sit in it for too long. Ultimately, no one should have that much power nor should you give your power away. But that’s speaking as a stage actor; it’s pretty subjective how someone responds to your interpretation of a role that hundreds and hundreds have performed before you. The greatest accolade is when someone approaches you after and shares how hard they laughed, or become emotional because they were moved. I’ve also had the opposite! God knows I’m not for everyone, and no one should be. With “Lioness”, I wish I could explain the depth of how much every festival acceptance has meant to us. It means another audience, another opportunity to share the story again. I am so proud of the impact. I wasn’t sure how deep it would cut. I definitely wasn’t prepared for the openness, of people sharing their own personal experiences, overcome with emotion. It means the world. Accolades don’t change how I approach the work itself. That would be kind of terrible, and I would keep creating regardless. But I am deeply thankful, it is a boost in confidence. It can also get you in your head though, so best to be thankful and appreciative, then let it all go – the good and bad – and stay open and bold.
What is your strongest asset as an artist?
My guts, vulnerability, impulsivity, sheer nerve. But mostly, my will. I have had to fight tooth and nail for most things in my career. I am relentless and pretty feral. I’m used to embarrassing myself and putting myself out there, so I have little shame. I don’t hold back because I’m scared of sucking – its inevitable and when I bomb, I better bomb with gusto. I am comfortable being ugly and gritty, laying in the darkness, or rolling around in utter foolishness. I am not about smoothing out my scars or making myself palatable. And even though there is defiance that beats hard within, I am still a weepy romantic and colossal optimist.
Please tell us more about your short film“Lioness” and its origins.
I had experienced my own assault from a stranger and had no idea what to do, where to channel this… strangeness and constant uneasiness. I reached out to a shelter in the area, to try to channel it into something positive, and that’s where I met Michelle, an outreach advocate, and one of the most extraordinary people I have ever met. I began volunteering and getting involved. One holiday I was at the safehouse playing with the children so the mothers could prepare a big meal when one of the mothers walked past me with an injury covering her entire upper arm. I just watched her walk into the kitchen, and start making food for the kids. The moment lasted about ten seconds. While driving home, the story began to unravel, but without words. Just images. I’ve said this before, that the spine of the film is the trauma and violence, but the heart of the film is the intimate and immense bond between parent and child. This film honors the unmeasurable depth of sacrifice that mothers will go through to protect their children’s innocence, as well as their strength, fragility, and above all, their unyielding love. It’s a testament to all mothers, sisters, grandmothers, friends, aunts, cousins, nieces, daughters who roam through their personal jungles, battered but brave. They are all lionesses.
Can you tell us more about the production of the film?
This small, mighty team was just incredible – most of them I met for the first time on set. Molly E. Smith was not only our director but also the cinematographer and editor. She’s a force – so tremendously talented. Lily Jane, who played my daughter, is just astonishing. Everyone involved- Callie Wills (Sound), Jacqueline Coleman (Makeup Artist), Austin Becker (Composer) Bria Gaskin (Grip/1st AC) Michael Sabbagh (Gaffer) Ally Cloversettle (Casting Director) Eli Dreyfus (BTS Photographer) – wonderful talents who were so great to work with. We filmed it in a motel room during the pandemic. It turned out that that location was a hotbed of illegal activities. I didn’t know that until after we started filming. In the span of less than 48 hours, there were three overdoses, and only one survived. The police sirens, the dogs, the ambulances, the storm that you hear – that was right outside our door. You hear exactly what we were hearing. We weren’t aware of the deaths in the room above us until after we were almost finished. It was just incredibly tragic. If you drove by where we were, besides the police cars and ambulances, you would never suspect; it looked like an ordinary motel. The horror was happening inside the rooms. We just stayed in our bubble, but eventually, everything outside slowly began embedding itself into our world, I mean, how could it not?
What other projects are you currently working on?
I am writing my next short, and am determined to finish a play I have been writing on and off for the past ten years. This is the year I finish it, I can feel it. (I say that every year.) I’m also working on a limited series, and I’m trying to attend as many festivals as I can, soaking everything in, reveling in travel, and learning as much as I can. So if you see me at a festival barreling towards you, don’t be scared; I’ve probably just seen your film and have tons of questions.
Where can our readers find out more about you and your projects? Note: please provide website and social media links
Actor website: www.saraoliva.com
Lioness website: www.filmlioness.com
insta: @sara_antoinette
Photographer (Main) Scott Dentinger
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