Pop-Culturalist.com

Audiences are talking about J.J. Nolan’s performance in the romantic dramedy, Pretty Problems.

The must-see film follows a couple on the rocks who are pulled along by absurdly wealthy strangers for a wine country getaway that turns into the most unhinged weekend of their lives.

Pop Culturalist was lucky enough to speak with J.J. about Pretty Problems.

PC: How did you discover your passion for storytelling and the arts?
J.J.: My love for storytelling came at the ripe age of eight. We had a “publishing company” at my elementary school (go Prestonwood Panthers), and we got to write our own original stories, illustrate them, and print them at the printing press before renting them out in our school library. I’ll be honest, my books got rented a lot.

During my first identity crisis, I wrote a very cathartic book called A Moose Named Rhonda. It was about a moose who changed her name every day until she ultimately decided to keep it because something bad always happened when she tried to change herself. It was a great program, and I thought I would be an author. Or an illustrator. But my passion for singing started developing around the same time, which eventually led to musical theater, then plays, and finally Hollywood.

PC: Who or what has had the biggest influence on your career?
J.J.: It would be impossible to pick one person or event because there have been so many, but there’s a zero percent chance I would be here without my high school theater teacher, Lynn Zednick Shaw. She allowed me to see performing, not just as an outlet, but as a gift that I could seriously pursue.

She cast me as the lead in several of our productions, but it wasn’t until she cast me as the lead in Noises Off that I thought, “Holy sh*t, could I actually do this for a living, or am I insane? Or both?” I had always been obsessed with Lucille Ball and Carol Burnett, and during that production, I finally recognized my thirst for laughs and started to see my own range as an actor.

Certainly, no one handed me a career after high school, but if it weren’t for Lynn Zednick, I would not have chosen this path. I never would have known. She saw something in me and kept nudging me until I saw it myself. RIP Zed.

PC: In addition to the incredible work you’ve done on screen, you’ve also produced several projects. How has your experience behind the camera made you a stronger actress and vice versa?
J.J.: Getting on the other side of the camera was not only eye-opening, it was incredibly empowering. It’s definitely not for everyone, but I was really curious to get a peek behind the curtain and see how things get made, and it deepened my respect for every department on set.

Producing has given me more insight as a storyteller because I’ve made a thousand more mistakes that I’ve learned from. I’m always thinking about logistics and contingencies—how to make things work within the confines of the budget, when to call in favors, etc. As a performer, producing has taught me how to take initiative while staying in my lane. For example, I was concerned about not having a wardrobe budget on Pretty Problems. I knew there was no way I could properly portray Cat using my own closet. After flagging it to the producers, I started brainstorming solutions, which led me to call Melissa to see if she would be willing to work with us. Fortunately, she said yes and styled the absolute heck out of this movie.

It’s hard to turn off the producer hat sometimes, but I do love solving problems. Being the producer has also made me realize how much I love not being the producer. [laughs] It’s a hard job. So, so many hats. Constant fires to put out. Everyone needs something. It never ends. I think coming into producing as an actor was advantageous because I had a keen eye for performance, casting, and wardrobe, and I was used to communicating with actors. Not to mention, I have a pretty large network of solid actors for casting projects.

PC: You’ve had a lot of success throughout your career. When you look back, is there a moment that stands out?
J.J.: Well, filming this movie was hands down the most fun I’ve ever had in my career. Not only was it an escape from the humdrum of COVID shutdowns, but I also got to wake up every day in this insanely gorgeous home—the likes of which I had only ever seen in Architectural Digest. It was like summer camp in wine country with a very curated selection of awesome people who just wanted to make something fun. And that’s what we did. I will never forget how much fun I had shooting the rave scene. I felt like my heart was going to explode from joy. To top it all off, I got to do it all in couture clothing. I was constantly pinching myself.

PC: Tell us about Pretty Problems, your character, and what drew you to this project.
J.J.: Pretty Problems is a dark comedy that puts privilege and listlessness under the microscope. It explores what happens when you take a couple in a rut and transplant them into a weekend of debauchery with some very abnormally wealthy people who could potentially help them upgrade their lives.

My character, Cat Flax, is a toxic billionaire who is morbidly bored and has a pattern of latching onto people under the guise of benevolence. Everyone has a price tag for Cat, and she can afford it. She loves that power as much as she resents it. We call her The Mad Catter because she draws a lot of parallels to The Mad Hatter and she wears a lot of wild hats. She’s a lovable monster with a lot of vices.

I was brought into the project by way of Kestrin [Pantera] and Michael [Tennant], both of whom I had known separately for several years. Kestrin texted me one day and asked if I would be interested in auditioning for a movie she was directing and told me I knew the writer, Michael Tennant. I was like say no more. They brought me in to audition for Carrie, and long story short, after they offered me the role, they asked me if I would want to switch roles with Charlotte and play Cat—to which I said, say no more. So for me, it was kind of this perfect storm of loving the director, the writer, and the script and then being given the opportunity to play a role no one else was going to cast me in.

PC: The film does a beautiful job balancing comedy and drama. For you as a creative, is one easier than the other?
J.J.: Dark comedy is my favorite genre, and I love how well this film blends absurdity into the drama. Drama is what got me into acting, but comedy is what made me want to pursue it. I came for the drama and stayed for the comedy. I don’t think of either as being easier or more difficult because it totally depends on the project and what the role is asking for. I like to be challenged. I get excited when something scares me, and I’ve been terrified in both arenas. One thing comedy has on drama though is laughter—making people laugh is the most rewarding thing to me. But at the end of the day, I just want to make people feel something.

PC: The film has made its way around the festival circuit, and it’s been incredibly well received. What do you think is resonating most with audiences? What do you hope they take away?
J.J.: Indeed, it has been extremely well received! I think it might have to do with the fact that there’s no agenda in this movie. It doesn’t take itself too seriously—it’s just a fun group of incredibly flawed characters who, love or hate them, you can probably see an aspect of yourself or someone you love in. It’s beautifully shot and pops visually because the costumes against the backdrop of this beautiful property are chef’s kiss. It takes the idea of the grass being greener and turns it on its head by playing out a version of a fantasy that hopefully leaves you feeling a little more content with your life.

To keep up with J.J., follow her on Instagram. Watch Pretty Problems wherever you stream movies.

Photo Credit: Storm Santos