Emerging Aussie actor Nicole Pastor is a talent on the rise. She’s worked alongside directors like Alex Proyas and Heath Davis and actors like Jane Seymour and Jacqueline Mackenzie. In 2023, audiences can see Nicole’s work in celebrated indie directors Matthew Holmes searing thriller The Cost and Heath Davis’ highly anticipated Christmess.
In this interview, Nicole talks about where her interest in acting started, what she learned from working with directors like Matthew, Heath, and Craig Boreham, and the work that goes into being her own publicist, manager, writer, and now producer.
The Cost is in a limited run in Australian cinemas now before releasing on physical media on October 18. Christmess will receive a national release in Australia on November 30.
Where did your interest in acting begin?
NP: I grew up on stage. I danced for around 12 years. It wasn’t until my early 20s, where I fell into acting. It began quite randomly, starting with some extra work. I really enjoyed being on set and I like observing and people watching. Watching actors and the crew do their thing. I knew almost immediately that I wanted to become an actor and do this as a full-time profession. I started studying at various acting and film schools and to this day continue to have private coaching – I want to always be developing my skills as one can never stop learning.
Acting gives me a platform to express. Being a highly anxious and overthinking person I find it [acting] very therapeutic and it gives me a creative outlet to put all my energy, thoughts, feelings – and make something honest, authentic and real. I also feel like I’m a very boring person so I feel I can live vicariously through playing interesting characters.
That process is not just acting. It’s also being out there and making connections, working hard to make sure that you get your work out there via self-representation. When did you realise that that was part of what you needed to do for the work?
NP: I’ve never been handed anything in life, I’ve always had to work really hard for something I want, and I wouldn’t change that. It’s made me persistent, resilient and I’ve learnt a lot about myself and have grown a strong backbone (something you need particularly in this industry). I’ve always had a strong work ethic which I learnt from my family at very young age. No one else is going to do the work for you or hand you that job. You have to go out and make it happen.
Over the years, I have had the privilege to work alongside and build relationships with many different people – from other actors and directors, to producers, writers and other creatives, and I strongly believe that it is so important to value and really nurture those relationships – something which I pride myself on. Sadly, most people in the industry (and in life) want something from you, so it’s important for me to surround myself with authentic, genuine, talented and like-minded creatives that inspire, support and want to see you succeed and be the best you can be. Unfortunately, it can be rare to find those people, but when you do find them, you want to keep those friendships and relationships close, and then it’s just a bonus if you get to work with them.
It’s finding that balance. You’re doing the creative work, but also working for yourself is like running a small business. For some Australian creatives, that promotion side is something that they don’t realise is as important as the creative side.
NP: It’s been a challenging one to navigate. Fortunately, I’m a quick learner, and someone who likes to take control and be able to depend on myself to get things done. You really have to throw yourself in there and learn as much as you can with the business side of things.
Predominantly, over the last three years or so, I’ve been fortunate to work with some prominent directors, producers and actors, as well as being invited to attend A-list events, which has allowed me to make more connections and build my social media presence. I am, however, really choosy with what events I attend. I’m not an influencer and I don’t want to be known for ‘what I wore to such and such event’. I’d rather to be known for the kind of person I am as well as my roles and talent as an actor. I’ve had to become my own publicist, my own manager, writer and now producer.
Last year I founded my own production company, Moonflower Pictures to create and develop films in line with my vision to collaborate with inspiring filmmakers and other creatives with a focus on female driven films and strong female characters. There’s only so much you can do as an actor. Being a producer gives you the ability to make change, and to be a part of important conversations about who is being hired, pay etc. and other creative decisions. There are already a handful of really cool projects in various stages of development, including a neon-noir thriller alongside screenwriter Gregory Moss (The Cost) and an upcoming horror I am leading & producing called The Farmhouse by award-winning director Luke Creely (They Can’t Hear You).
There is that emotional connection to the work as well. Much of acting is portraying and sitting with complicated emotions. With that in mind, how do you manage to balance the emotions that you’re presenting on screen and the ones you feel off screen? Do you have a self-care plan in place to look after yourself? I can imagine that the impact of what Stephanie, your character in The Cost, goes through must carry some emotional weight.
NP: Working with Matthew Holmes on The Cost was pretty heavy. I’m very in touch with my emotions which helps me to access the right emotions needed for a role quite easily. One of the last scenes we filmed, I just began to cry. I think I was just mentally and physically exhausted. We had some hugs at the end and just chatted, and everyone checked in to see how I was travelling and if I needed anything. That night I went back to my hotel room and had the longest shower and massive cry!
But sometimes I’ll go for a walk, listen to music, watch a film, or call a friend. Some roles will stay with you a bit longer but I’m pretty good at shaking things off and then I’m like ‘okay okay what’s next!’
With that in mind, how do you decide what roles you will take on?
NP: It starts with the script, the character, and the creative team involved. I had met Michael Budd for coffee a couple of times before we did Ruby’s Choice. I didn’t get to read the full script straightaway, only a couple of pages. It was a really quick turnaround for the self-test. I got an email from one of the producers to say I had an audition for this and these are the people that are in the film. It’s a no brainer when you have the opportunity to work alongside the amazing Jane Seymour and Jacqueline Mackenzie. It was a dream to be part of such a great production with a meaningful story to share.
With regards to director Matt Holmes (The Legend of Ben Hall), we had kept in touch via email and social media – I’d send him some of my work and he’d give me his feedback. He was so encouraging and such a great support. He reached out to me with The Cost and said, “It’s a really intense role, but I think you’ll love it. I can’t pay you for it. Would you do it?” I said, “I’m packing my bags now! I’ll fly down.” It wasn’t that easy with COVID – I changed my flight like three times to get to Melbourne. I read that script and it was just riveting. I’m naturally drawn to stories that are quite dark and intense, where you can immerse yourself in it and bring yourself into something like that. It pushes and challenges you as an artist.
What was the drive to work with Heath Davis on Christmess and what’s it like working with Steve Le Marquand?
NP: I had been a fan of Heath’s work for years. I love his writing, his sense of humour and vision, and was excited to work alongside the cast who were already attached to Christmess. He always seems to align himself with some of Australia’s best talent and that saw me work alongside the legend Steve Le Marquand as his estranged daughter, Noelle. Steve is literally the best. He’s very nurturing, encouraging and he made it so easy to work opposite. Every time I did a scene, he’d go “That’s great Nic. Keep it up.” Steve is just a really genuine and very humble guy who became like my second dad. I would work with either of them in a heartbeat!
I am also excited to mention that Christmess will have its world premiere at the Austin Film Festival this month and cinema release across Australia and New Zealand from November 30th.
One of your early films was Teenage Kicks working with Craig Boreham. What was it like working with him?
NP: Gosh, I feel like that was so long ago. I love Craig. I really respect his work. He was teaching half of my course when I was at NIDA, which is how we met. I was fortunate enough to audition for a small role on Teenage Kicks – a coming of age story. I had really just started out, so in those first couple of years to be on a production like Craig’s was a really cool opportunity. Looking back now I don’t think I realised at the time that it was an awesome project to be a part of. Unfortunately, I got an email from one of the producers saying that my scene didn’t make the final cut. They were like, “Your performance was amazing. It’s just the scene didn’t make the final cut.” That’s when I learnt that’s how the industry works sometimes! These things happen and that’s okay. It was still a cool opportunity.
When you were at NIDA, was the possibility of having your scenes cut from a film ever discussed or explained? I imagine it’s a difficult thing to receive an email like that.
NP: You start overthinking, “Was I that bad? What happened?” Thankfully I’m mature enough to understand a bit more and know “Okay, it wasn’t about this. And that’s okay.” Things happen for a reason. Back then, I don’t remember having a lot of information with regards to that being a thing that that could happen. I think once you start working, you get to learn that these things can kind of happen.
The reason I ask is that these things can erupt when you’re working that just feel like they almost come out of nowhere, but they are an industry standard in a way. Saying ‘your scene is cut,’ or maybe you don’t get a call back; these are really difficult things that people have to go through because acting is such a personal thing when you put yourself out there. I’m curious how people have that fortitude to go ‘no worries, I’ll take this loss and continue on going.’ If that was me, I’d be a mess.
NP: We are constantly told ‘No’ or ‘You’re too big’, ’You’re too skinny’ or ‘You’re not pretty enough’ or ‘you’re too short’, ’too tall’, the list goes on. Then you have the pressure you can put on yourself as well, internally and (from) social media. It’s all heavy. You definitely need a strong back bone and to remember to not take anything personally. Easier said than done though. It’s taken a few years of being in this industry to understand this but also just growing as a person and developing a strong sense of self so that nothing can rattle you. To know you are enough. Sure, it’s okay and so normal to be disappointed, but then you have to turn your attention onto what is working and it’s about what you choose to do next.
I don’t take things as personally anymore. My self-worth and self-love is a lot stronger than it was quite a few years ago. I think that comes from working on yourself, and kind of not allowing all of that outside noise to affect you because you are good enough. Where you are now is where you’re meant to be in life and everyone’s journey is going to look different. I’ve started to mute and unfollow people or posts on social media because I don’t want to see certain things. You don’t want to be killing yourself with that and comparing. Social media is such bullshit anyway. When I log onto my account, I would rather see and follow the things and people that align with who I am and where I am in my life right now. I do what I can to make my own health and wellbeing stronger.
Do you have a vision of what work that you want to do going forward? What is next for Miss Pastor?
NP: Humans are fascinating. I want to play real life humans that are messy. Characters that are vulnerable, strong, and flawed. Scripts that are meaningful and have strong storylines and character arcs. Roles that have depth where I can develop my skills and grow. Whilst I love the thriller/horror genre, I’d also love to work on great dramas and even throw in an action or a fun romcom! At the end of the day, I just want to continue to work and be surround by likeminded and talented individuals. Being challenged, pushing boundaries, and making unforgettable art.
I have quite a bit of interstate and international travel coming up so have currently based myself out in South West Sydney (near family so they can look after my furry babies when I’m not here haha!). Within this community I recently partnered with KX Pilates Edmondson Park / Gregory Hills, to not only look after my mind and wellbeing but to get me in shape for my next projects, one that will see me lead an epic feature in the US next year (I cannot wait to share more very very soon!). I’m back in Melbourne in January leading/producing The Farmhouse, directed by Luke Creely. I play Kylie, a young woman who is dealing with a past trauma who becomes harassed by a mysterious spiritual entity. The film blends psychological horror with elements of extreme gore and splatter. We have the best team. It’s going to be a lot of fun!
