Erin Kellyman on Starring in Scarlett Johansson’s Directorial Debut ‘Eleanor the Great’: ‘This Job Has Changed the Way I See Myself as an Actor’

Upon reaching New York City for the filming of Scarlett Johansson’s maiden directorial project, “Eleanor the Great,” Erin Kellyman found herself unable to hold back her tears.

You understand that sensation of feeling as though you’ve returned home, even if you’ve never been there before?” the 26-year-old queries EbMaster over Zoom from her Birmingham, England living room. “It was a very strange and wonderful experience, like it felt both comfortably familiar and excitingly fresh.

In “Solo: A Star Wars Story” and “The Falcon and the Winter Soldier,” the actor who plays both roles takes on a different character named Nina, a 19-year-old New York native who forms an unconventional friendship with Eleanor, portrayed by June Squibb. Eleanor, who is 90 years old, has recently lost her best friend, while Nina grieves the loss of her mother. The movie, filmed in New York City over eight weeks, will debut in the Un Certain Regard section of the Cannes Film Festival on Tuesday.

For Kellyman, portraying “Eleanor the Great” under Johansson’s direction is a significant milestone in her acting career. She shares, “This role has reshaped my perspective on who I am as an actor and what work means to me.” She expresses gratitude for the supportive atmosphere Johansson created, allowing her to fully immerse herself in Nina’s character.

In the following text, Kellyman shares insights on collaborating with June Squibb, Johansson in her directorial capacity, and hints at the intriguing aspect of his character in “28 Years Later”.

How did you get involved in the film and what were your initial discussions with Johansson like?

Initially, I thought I’d have to wait several months before receiving any news about the audition, but surprisingly, things moved incredibly quickly. Before I knew it, I found myself in New York City. Just before I left, Scarlett and I had another Zoom meeting. I assumed she would be providing feedback on my character portrayal, but instead, she was asking me a series of questions about my own thoughts and interpretations. I was taken aback, thinking it was already a very collaborative project, which I valued greatly because I had already developed my own ideas for the role. In previous experiences, I’ve usually relied on someone to guide me in a specific direction. However, this time, our initial conversations were incredibly open and I appreciated having the opportunity to contribute my thoughts.

What was the vibe like on set and what were Johansson’s strengths as a director?

In one of the sets I’ve ever been on, the atmosphere was exceptionally tranquil and courteous. While other sets haven’t been impolite by any means, this one stood out due to the extraordinary effort everyone put in to ensure everyone’s tasks were accomplished smoothly. Scarlett Johansson, in particular, was remarkable for her constant presence in every department, always showing full dedication and excitement. She never seemed half-engaged with anyone. As an experienced actor, her communication skills with me and June proved incredibly beneficial, as she had already mastered the art of acting over a long career.

What was it like working with Squibb?

I truly value June for her unwavering dedication, even when the camera isn’t rolling, she always gives her best, which is crucial in a scene partner. The hours were long, and it was demanding, but she never faltered in her commitment, giving everything she had. It’s this kind of effort that you hope for from a collaborator. Moreover, she showed genuine interest in forming a friendship outside of our professional relationship. At 95, with countless friends already, she didn’t need to make new connections. Yet, she seemed genuinely invested and we ended up forming a lasting friendship.

The subject of the film is heavy, dealing a lot with grief. How did you prepare yourself when it came to tapping into those emotions?

Truthfully, Scarlett and the entire team on set helped establish a space that allowed me to completely immerse myself in Nina’s thoughts. I rarely felt disconnected from her character, even though I’ve played roles before where external distractions would pull me away. This role felt like the first time I was able to fully dedicate myself to Nina, and I believe it was largely due to the atmosphere on set. Additionally, I come from a large family, which often brings about loss, so I could draw upon those experiences. However, for the most part, it was simply about feeling like I was Nina and responding to my surroundings instinctively. I think it’s simpler to perform when everyone else around you is exceptional – it becomes more about reacting than acting.

How did you relate to Nina and how do you two differ?

What made me quite anxious was knowing that she was born and bred in New York, a place I’ve never visited before. With only a few days, perhaps a week or so, before our filming began, I engaged with as many strangers on the street as possible and explored local establishments to cram 19 years of experience into my limited time. I even created a playlist for her character, Nina, and aimed to immerse myself in her world, not to the extreme of Method acting, but to absorb the New York vibe. I was still very much myself, Erin, but wanted to experience New York through her eyes.

Regarding her personal growth and self-assurance, it might seem surprising to those who knew me back then that she’s chosen this career path. As a child, I was incredibly shy, often keeping my head down when walking on the street. My shyness was quite remarkable. However, through work experiences and constant encounters with new people, I believe I’ve gradually discovered my voice. So, her journey of discovering her voice resonates with me deeply.

What’s a lesson you’ll walk away with from making this film?

It seems to me that the key is self-trust. Scarlett would frequently inquire, “Are you satisfied with that?” and wouldn’t proceed unless she received my response. In most instances, I’d reply, “I’m not sure, are you? If you’re content then I am.” However, by the end of the shoot, I found myself responding affirmatively to her question. I think I initially felt uneasy expressing satisfaction, but upon reflection, I realized that I wasn’t berating myself for my performance at home. This led me to acknowledge that I must have been pleased with it. Towards the end, I began to accept this and trust my actions more.

I do want to ask you about “28 Years Later” — what can you tease about the film or your role in it?

I’m securely confined. Some parts of it I saw during additional recording, and let me tell you, I’ve never been more astounded in an ADR session than I was then. I was simply amazed, thinking, “I can’t believe this is a real thing people are going to watch.” It was absolutely mind-blowing. And to make things even more surprising, I did the additional recording with a group of others, and when we saw something unusual, we all paused it. The silence that followed was deafening. We just looked at each other, bewildered, like “What on earth is this?” – in a positive way, of course.

What are you looking for in your next roles?

I’m all ears for any upcoming project that comes my way! The contrast between “Eleanor the Great” and “28 Years Later” was fascinating, and I relished the intricacies in both. It was particularly enjoyable to portray a character who wore jeans and was around my age. Nina was unique because it allowed me to embody a young woman experiencing life and forming new relationships. So, I’m drawn to roles that feel authentic and grounded. I aim to evoke emotions in the audience.

2025-05-20 17:18