Pop-Culturalist.com

Known for her ability to seamlessly navigate multiple artistic realms, Alice Lee steps into a pivotal moment in her career with Samson. Not only does she shine as the film’s lead, but she also earns her first co-producing credit, solidifying her role as a multifaceted force in the industry. This latest achievement underscores her commitment to pushing boundaries and bringing bold stories to life.

Samson, one of the best films of the year, defies genres and expectations with its bold storytelling. The film follows Emma (Alice Lee) and Dale (Ryan Dance), a broken-up couple forced to confront their complicated past when they’re kidnapped by masked men, Drew (Will Brittain) and Joe (Emilio Garcia-Sanchez). Told through a fractured timeline and multiple perspectives, Samson masterfully blends Shakespearean tragedy, gritty crime elements, and dark comedy, culminating in an unforgettable musical number.

Pop Culturalist was lucky enough to catch up with Alice to discuss her groundbreaking work on Samson, her collaboration with director and co-writer Ruth Du, and how the project reflects a commitment to representation and authentic storytelling. Alice shared insights into the creative risks she took as both lead and co-producer, and paving the way for future Asian creatives.

PC: You’ve got a new project out now. Not only are you starring in it, but you also co-produced it. What was it about the Samson script and this character that resonated so deeply with you that made you want to take on both roles?
Alice: First, I loved that it featured a strong female lead. I don’t often get to play roles like that. I’m so grateful that Ruth [Du] took a chance on me. I auditioned for it before COVID, and I remember being in the room with Ruth. We were working through the scenes, and they were so rich. I’ve been wanting to take on characters with more depth and complexity, so it was amazing. Then COVID happened, and we all waited for each other. I was working on other projects, but Ruth said, “No, I’m going to wait for you to come back.”

I also loved that this project was a perfect blend of comedy, drama, and music. We’ve all experienced toxic relationships in our lives—I certainly have. So I loved the idea of playing someone who starts off weaker and meeker but becomes a total baddie by the end. She stands up for herself. I really wanted to play this badass female character.

PC: I can’t imagine anybody else playing this role. This is also the first time you’ve co-produced a project. Did the work you did behind the scenes impact the way you approached your work as an actor on screen, or vice versa?
Alice: For the most part, I didn’t feel much of a difference, but I did notice that I felt the producer role more in terms of seeing the bigger picture—making sure everyone was taken care of and learning along the way. This being my first co-producing role, I learned so much, and I definitely want to continue doing it for future projects.

It was fascinating to see how everything works behind the scenes—what it takes to make a movie, what it takes to be a leader, and all of that. It was cool to experience the flip side of things because, as an actor, I don’t usually get to see that side.

PC: There’s such an empathetic quality that you bring to all of your roles. As audience members, we immediately connect with Emma and how she feels suffocated in this relationship, which is so universal. As a storyteller and an artist, how did you create that space for yourself to step into this character and discover where she sits within you? That tension comes through so powerfully on screen.
Alice: That’s so sweet, and it means a lot. With any character, but especially this one, I just connected with the script as soon as I read it. We often find pieces of ourselves in the characters we play. Like I was saying, I’ve had these relationships—I’ve been that person. For me, it was about bringing that awareness to Emma and trusting my instincts and intuition: What would she be like? How would she react? How would it feel to be in her shoes? I had to follow my gut.

Ruth was there to guide me through it. I love working with directors like her—she’s like a friend and makes the process so easy. It was a mix of trusting my initial feelings, drawing from my own experiences, and adding a bit of Emma’s unique flavor to bring her to life.

PC: What’s so interesting about the dynamic between Dale and Emma is the journey you both take audiences on—starting with a relationship rooted in love, which evolves into something entirely different. Can you talk about collaborating with Ryan [Dance] to build this dynamic? How did the non-linear timelines help you bring out the different shades of this relationship and its complexities?
Alice: What I love about the movie is how you’re not quite sure what the relationship is like in the beginning or how it ends up so messed up. Ryan is amazing. We did some rehearsals with Ruth to really nail that dynamic. By the time it gets so intense at the end, I feel like we really earned it because of how different things were in the beginning. By the end, Emma is finally standing up for herself.

What’s so compelling about the non-linear timeline is how it gradually reveals the surprises in our characters—you get to see a seemingly normal dynamic break down, and it feels very slice-of-life. But you don’t immediately see the inner workings of what happened in their relationship to lead to that point. Ryan was such a generous scene partner, and Ruth gave us the freedom to really go for it and play around. It made the process so much more collaborative and fulfilling.

PC: It’s a testament to what you brought to this character because you’re rooting for Emma. You know there must have been something she saw in Dale earlier on that makes their dynamic work. Without giving too much away, there’s such a standout moment toward the end of the film when Emma takes her power back, leading to a really impactful musical number. What was your reaction when you read that in the script? Did you feel the weight of that scene?
Alice: When I first read it in the script, I was like, “Oh, my God.” I didn’t know what it would be like, but obviously, I sing, and I love music. I was like, “I’m here for this.” The song was so cool. Ruth knew the songwriter from back in the day, and it was like a music video. Ruth said, “It’s a music video inside of a movie.” It’s the turning point when that shift happens for Emma. To do that through a song is so cool and different. It’s unique because this isn’t a musical. When we see numbers like that in movies, it’s usually because it’s a musical. But I love that Ruth just popped in a song and said, “This is how we’re going to symbolically show this moment.”

And the weight of the song—it’s deep and heavy. Without giving anything away, she sings it during a time when something crazy happens. I could feel the song when I sang it. It’s one of those songs you feel because of the way it has to be sung. It was so cool.

PC: It feels like a great theatre production, building to a moment you didn’t realize you needed. It’s a scene I feel like everyone will be talking about after they see this film. As you mentioned, you also have a musical background. How much do you leverage that medium to prepare for different scenes in a project, especially in a film like this that plays in so many different tonal spaces?
Alice: When it comes to music, I’m always down. If I can use all my talents—especially because the show I did before this was NBC’s Zoey’s Extraordinary Playlist—I’m all in. On that show, I got to sing, act, and dance, and if I have the opportunity to do that, I’m so excited.

All these different forms are ways to express art and tell a story. When you’re able to do it well and integrate all those mediums, it makes the story that much more powerful, especially when you’re working with someone who knows how to bring it all together. It’s incredible to see how the music, acting, cinematography, and everything else comes together. It truly takes a village.

PC: It’s a really delicate line that all of you had to toe—it’s so unexpected, but it really works in that moment and doesn’t take you out of the immersion of the film. You’ve steadily been releasing music throughout the years. If you had to select a song of yours that best describes Emma’s journey in the film, which would it be and why?
Alice: Oh, my God. What a question. For Emma’s journey? I don’t have a lot of Emma songs, but the one that comes to mind is my most recent song, “Stupid Boys.” It makes sense because she’s dealing with a stupid boy, which we’ve all had to do at some point. Let’s be real—there are good men out there, but a lot of them still have some healing to do.

PC: There’s this beautiful sentiment that Ruby shares in her director’s statement about wanting to make a film about race without making a film about race. It’s so refreshing to see diverse characters without having to call attention to their race or ethnicity. The last time we talked, we discussed the progress this industry has made and the many exciting Asian voices coming up, including David [Harry Yoon] and Ruth. When you’re collaborating with peers who have shared lived experiences, how does that comfort level allow you to take more risks in your performance?
Alice: It’s amazing. A lot of sets are great, but when you’re with people who look like you, it’s just a different environment. There’s something unspoken—you know they understand your experience, both personally and in the workplace. It’s inspiring to see that we’re all out here trying to make this happen.

What I also love about this movie is how it explores the relationship between an Asian woman and a White man without explicitly talking about it. I’ve dated White men—it’s complex, with a lot of layers. I love how it’s such a subtle throughline in the film. We don’t openly address it, but it’s a real thing, and there’s tension there.

It’s always incredible to see and work with Asian creatives. Everyone is doing their own thing and creating more opportunities for our stories to be told. There’s still so much more room and space for that. I’m excited this movie is part of that progress.

PC: You’re incredibly humble, but I’ll happily sing your praises. Have you had time to reflect on the contributions you’ve made to our community and the fact that there are young girls who will now see themselves leading a film because of the work you’ve done, particularly with this project?
Alice: This is such a nice reminder. I think we’re all harder on ourselves. There’s so much I want to achieve—it’s always more, more, and more. I’ve really been working on staying present, reminding myself that right here, I have everything I need and that this is enough. I need to remember that, and I do. I feel very grateful for the opportunities I’ve been given. I’ve done a lot of things that I almost can’t believe. [laughs]

I guess there will be younger Asian girls who see this, and that’s a big part of why I do what I do. It’s about the art and my love for it, but also about inspiring other Asian kids to feel seen and to know they can do it too. That’s so moving to me—to be of service to the greater community. It makes my career feel like it’s not just about me, me, me. It makes it better.

That said, I always want to be doing more. [laughs] I need to stop, but it’s good. I think you can hold both feelings: I’m so grateful, I’ve done so much—good job, Alice—but there’s still so much more I can do. I can’t wait to do all of that. Like the Asian creatives before us who paved the way, I hope we can keep building and creating even more opportunities for Asian people.

PC: What I love so much about independent filmmaking is the freedom it offers to take bigger creative risks. It produces art that defies expectations. Similar to this film, you go in expecting one thing but get something completely different—in the best possible way. How does working in this environment feed your creative soul? As someone who’s worked on projects of all sizes, what is it about independent filmmaking that excites you as a creative?
Alice: I love independent films. We love an indie. Like you said, you can take more risks. It’s not as much about whether it’s going to sell or all the logistical questions that come with bigger projects. It’s really about the creative process—taking risks, telling stories in ways that haven’t been told before.

For me, working on indies allows me to stretch more of my creative muscles and take on richer characters. I also did another indie called All That We Love. That project was so deep and so different from what I normally do. There’s something beautiful about independent filmmaking, and we need to be supporting it way more. It’s not cookie-cutter. Not that all projects are, but with indies, there’s no strict formula to follow. There’s an intimacy to it that’s really special.

PC: When are we getting a full album from you? We’ve been enjoying all these singles!
Alice: I know—thank you! I’m actually working on it right now, so I’m hoping to release it next year. We’ve been writing a bunch of songs and trying to find the right ones. I’ll probably release a couple more singles that will be part of the album.

To keep up with Alice, follow her on Instagram. Watch Samson wherever you stream movies.