Exclusive Interview: Anna Campbell on Reclaiming “Having It All” and Making Her Directorial Debut with ‘Nora’

When Anna Campbell moved back to the suburbs during the pandemic to focus on her children, she hadn’t expected it to become a creative turning point. But like her onscreen counterpart in Nora, the shift stirred a deeper reckoning—a fear of losing sight of her dreams, and with them, a sense of self. That fear became fuel. The result is Nora, a bold and emotionally layered debut that introduces Anna as a confident voice in independent cinema—one who embraces vulnerability, inventive storytelling, and a reimagined vision of what it means to “have it all.”

Set against a backdrop of domestic quiet and internal unrest, Nora follows a woman walking the line between caretaking and rediscovery. Blending grounded realism with vivid, music video-inspired sequences, Anna offers a portrait of a character caught between expectation and longing.

Pop Culturalist caught up with Anna to talk about finding creative freedom in unlikely places, directing herself through moments of deep emotional truth, and how telling her own story became an act of reclamation.

PC: This film opens up such an interesting conversation about what it really means to “have it all”—especially when you strip away societal expectations. For you personally, how much of that journey mirrors Nora’s, and in what ways have you redefined that for yourself?
Anna: Exactly! I’ve come across so many articles mourning the death of “having it all,” and I’d love to shift that conversation. The problem with the concept was that it was always defined by someone else. The only way to reclaim it is by defining our own wants and desires.

Nora’s journey definitely mirrors my experience—suddenly realizing that in trying to “be a good mom,” I had lost sight of myself. I also moved back to suburbia during the pandemic to focus on my children, but ironically, it was that very move—and the fear of losing sight of my own dreams—that ultimately led to the film that brought those dreams back to life.

Transitioning from acting exclusively to directing, from helping others tell meaningful stories to choosing which stories to tell, has been a huge part of claiming my own version of “having it all.”

PC: There’s a delicate line to walk when weaving musical numbers into a narrative—especially when they reflect a character’s imagination. They need to feel immersive and enhance the story without pulling focus. How did you approach finding that balance?
Anna: I grew up with musical theater, but at some point, a character bursting into song stopped working for me as a narrative form. As a teenager, I’d go to friends’ houses and watch MTV—we didn’t have cable at home. We’d get lost in the sound and imagery of these incredibly produced music videos, and I wanted to tap into that same immersive experience from my childhood.

Initially, I planned to include the full version of each song—complete music videos that told mini-stories—but that overwhelmed the through line of Nora’s journey. What ended up working were the clips: emotional recognitions of a moment, filled with the kind of fantasy that floods my own head when I run through impossible scenarios. I’ve learned this is a more traditionally female way of processing—to fantasize (and agonize) over every possibility as a form of protection.

Using the language of music videos let me push the emotional boundaries of the story in what I suspect is a distinctly feminine voice—leaving reality for a moment to explore something better or worse, as a way of making sense of what we’re feeling. (And yes, we’ll be releasing the full videos on YouTube!)

PC: There’s so much vulnerability and nuance in your performance—and you not only wrote the role, but also directed the film. How did you navigate tapping into those emotions while feeding off your scene partners, all while staying attuned to the bigger picture behind the camera?
Anna: Well, that is extremely flattering—thank you! I know there have been studies that say multitasking isn’t the most efficient way to get anything done, but try telling that to a mother. I’ve developed a weird ability to compartmentalize my performance (and the self-judgment that can come with it) from the actual needs of the story, thanks to years of coaching other actors—and coaching myself through auditions.

When I was in front of the camera, I relied heavily on my crew’s input. I’d usually watch the last take, and if I felt like I needed one more, we’d do a final pass and move on—trusting that no one else could know those emotional beats as well as I did, having written the script myself. And honestly? It’s also just dumb luck that it worked out. Let’s be real!

PC: It feels like the entire ensemble is constantly elevating one another throughout the film. With your background as an actor, how did that experience shape your approach to directing and the way you worked with your cast behind the camera?
Anna: I had the amazing opportunity to hire some of my best friends to work with me. Honestly, I think that’s the secret: hire the people you love and trust the most—people whose work you respect and who you know will show up not just for you, but for their scene partners as well. Kate Miner, Jay Walker, Max Lesser, and Melissa Miller (my college roommate!) are lifelong friends I hope to work with again and again.

I’ve been coaching actors as a day job between acting gigs for years—I love actors (and people!), getting to know them, collaborating with them, and learning how to coax the best work out of them. And now I’ve added Nick Fink, Lesley Ann Warren, and some incredibly talented local actors to my troupe of people I truly can’t imagine living without.

PC: This marks your feature debut as both writer and director—what was the most surprising part of the experience? And what’s the biggest lesson you’ll carry with you into your next project?
Anna: I didn’t have time not to trust on this project. There wasn’t space to worry or sit in the self-doubt that plagued the early years of my career (and, honestly, a good chunk of my life as a woman). The entire experience became unexpectedly healing—it taught me a huge lesson in self-love and how essential that is in the creative process.

By telling my own story—rather than waiting for permission to tell someone else’s (the actor’s curse)—I finally located my own voice. And I think even as an actor, I’ll carry that with me and trust my instincts more. But directing has truly become my passion, with acting now feeling like my first love. I can’t wait for the next project, which I’m hoping to shoot within the year.

PC: This is such an ambitious first feature, and you pull it off beautifully. Was there a particular scene or moment that proved especially challenging—and one that felt the most rewarding to bring to life?
Anna: Oh gosh, you’re making me tear up—thank you for the compliment. I genuinely can’t believe how well it all came together, and I credit my amazing crew for bringing not only their full hearts but also their brilliant creative eyes to the project.

The hardest shots to get were the hospital scenes. We shot principal photography in 2021 (and the music videos in 2022), and there were no hospital sets in Portland at the time. Because of the pandemic, the medical buildings that had previously allowed film crews were now active healthcare facilities and understandably couldn’t shut down for a shoot. So, we improvised—converting the school cafeteria into a hospital hallway using props and signage, and transforming an old nurse’s office into the patient room. It was our most stressful day on set, but I’m so proud of how it turned out. Talk about making it work!

There are a few scenes I’m especially proud of. The music videos were just an incredible romp—something I never imagined myself doing until I was suddenly throwing pigs-in-a-blanket at four of my best friends dressed as 1950s housewives. But it’s the smaller, more truthful moments that seem to resonate most—the scene where Nora examines her aging body, or where she grapples with the realization of an unexpected pregnancy. These are experiences many women share, yet I hadn’t seen them reflected on screen before. They were deeply vulnerable to film, but I’m so grateful to include them in the story.

To keep up with Anna, follow her on Instagram. Nora makes its virtual global premiere on May 24th on VEEPS.

Photo Credit: David Muller