There’s a long legacy of supermodels trying to crack into the silver screen. A lot of models have done it, some very successfully, some have done it once and then moved on. Do you feel any sort of pressure for this to work?

I think I was really ready to just lock in and have fun, but for me, what I was most excited about was being able to be ugly. I see this a lot in models and actresses, where it becomes difficult when you’re so aware of the camera, and you grow up being so aware of the camera to then unlearn that awareness. It was so exciting to be able to go into a space where I was able to get into the character without there being the perception of others there. Obviously there’s a camera, but it’s not a fashion show where you hear like, yeah, work! [laughs] It was a real experience that I worked on within myself.

I was reading The Artist’s Way, which, not to be all corny, I think I realized that the feeling of gratification and the feeling of completing something is only as good as that feeling. I think that perception, especially now with social media and [giving] a numeric value to art, it’s really important to be able to feel like you did the best you could and that’s enough. I think for me, that was really where it kind of progressed. I was able to lock down away from the facet of just being pretty. I didn’t get the touch-ups before set, I didn’t get the lighting right. I wasn’t asking to see the playback, which, as a model—I know you’ve been on many sets where you see the girls and with every single shot we’re looking at the screen, there’s a mirror behind the photographer— it’s very not that. I do the day, and I don’t know if I did a good job. I felt like I did a good job, and that’s enough for me. I’m excited to see it in seven months when it comes out. But that really took a lot of the pressure away. I was just enjoying the experience and doing my best. I think that that’s the beauty of it and that’s the beautiful difference between fashion and film.