Amanda Seyfried Cares More About the Oscar Nomination Than the Win

Amanda Seyfried is amazing in The Testament of Ann Lee. She plays the founder of the Shakers, a religious sect who channelled the power of God through dance, celibacy, and amazing furniture making. As the title character, Seyfried is magnetic, fragile, earnest but with a sinister edge, and an incredible singer. It’s a role that requires a lot of her: Singing, dancing, proselytizing, and a Mancunian accent. I’d give her a Best Actress Oscar nomination if it was up to me, but the film hasn’t caught on with voters. It’s a historical musical about faith, so maybe it’s no surprise that it’s fallen by the wayside in a stacked year. Still, I have my fingers crossed.

Seyfried was profiled in The New Yorker by Rachel Syme, and it’s a great piece. She’s candid, funny, perceptive, and passionate about her politics. When asked about the possibility of an Oscar nomination for The Testament of Ann Lee, she’s pretty honest about the entire rigmarole and what it means to her. When asked if winning an Oscar at some point in her career is important, she says ‘no’, and her explanation for why is an excellent summary of what the race actually means to performers like her.

Do you remember who won in the past ten years? It’s not the win that’s important. It’s the nomination. It does thrust you forward. That’s a fact. Now, do I need one in a week or two or whenever? No, of course, I don’t. Would it be great? Of course it would, for every reason. But it isn’t necessary. Longevity in an actor’s career is designed. Longevity is about deliberate choices to make art among the big commercial things that are fun and pay. But, for me, all of it is art. Yes, “The Housemaid” is a thriller that didn’t cost a lot to make, and made a lot of money, and is a box-office hit. And yet every single choice I made in that movie was as artful as the choices I made in “Ann Lee.” I finally was able to marry the two in my heart and in my head, and I realized that is what I want for the rest of my career. I’m going to jump between genres as much as I can, and jump between indies and studios. So I’ve gotten this far without an Oscar. Why would I need one now?

Usually, when an actor claims they don’t care about the Oscars, I roll my eyes because I simply don’t believe them. But Seyfried’s explanation is really savvy here because she understands how the process works and the impact it has on jobbing actors like herself. Yes, winning is great, but just getting the nod is what pushes you to the next level. It gives you more opportunities to pave out your future, and to prove yourself both critically and commercially.

Seyfried got a Best Supporting Actress nomination for David Fincher’s Mank, and it gave her that boost to be the lead in stuff like The Dropout. But ultimately, you’re only as good as your next movie. She’s able to make a box office hit then do an indie she’s passionate about, then do a workshop for a musical (she was attached to Neko Case’s take on Thelma and Louise but has since stepped away from the project.) Isn’t that the dream?

She added, ‘We all have ebbs and flows in our careers, and how we’re perceived can change from day to day, but I’m consistent in my choices and I’m consistent in my values and my needs.’ The success of The Housemaid means she’s sitting tall right now, but, as she admits, ‘That’s not always the case. Sometimes you’re in “Mamma Mia!” Sometimes, you do something like “Ted 2,” or “A Million Ways to Die in the West,” which were both supposed to do big box-office, and underperformed.’

I love it when actors are this transparent about the business side of their work, and I love it when they talk about the Oscars and awards stuff with the pragmatism we know is at the heart of the race. Seyfried is so smart about all of this, and honest in detailing what someone like her needs to do to have a long career. A hell of a lot of actresses don’t get to have careers like hers because Hollywood is typically done with them by the age of 35. Sheer dumb luck and combatting misogyny is part of the job, but so is thinking strategically about your projects. So is being in the right rooms with the right people, and being recognised as worthy of investment. An Oscar nomination certainly doesn’t hurt on that front, but Seyfried’s done the work. “I feel I’m already proven. I’m getting people to trust me to do hard things,” she said.

Still, I’d love her to get more recognition for The Testament of Ann Lee. She really deserves it.