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INTERVIEW
Rising star Izabel Mar's career has evolved from leading roles in summer camp science showcases to landing supporting roles on the silver screen. With her Hollywood breakthrough in Babygirl, directed by Halina Reijn and named as one of the top ten films of 2024 by the National Board of Review, Izabel has proven her remarkable range. In the film, Izabel Mar plays the role of the personality hire intern watching from the sidelines as a tense, seductive power-play unfolds between CEO and intern duo, Nicole Kidman and Harris Dickinson.
Growing up surrounded by creatives, Izabel Mar didn’t see acting as a career choice but as an inevitable path she was born to follow. Fuelled by the joy of the craft, the determination to dedicate her life to this path wasn’t without its struggles. Facing reductive Asian stereotypes in the industry, Izabel Mar worked to break through the barriers of stigma. Now, surrounded by mentors and colleagues who recognise her talent, she has carved her own space in Hollywood.
In this exclusive interview, Izabel Mar shares the story behind her rise in the industry, her experiences on-set with Nicole Kidman and Harris Dickinson, as well as her dedication to the marathon of movie sets. Babygirl is currently screening in cinemas.
Can you share a bit about your upbringing and how it influenced your passion for acting?
There is a traceable line of creative people in my family; my Nai Nai was a concert violinist. She grew up playing music with her sisters for important people in Seattle, like Chinese diplomats or Lunar New Year parties her family would throw. My father is a photographer and a cinematographer. His latest project is about the history of Seattle’s International District.
I have been very lucky to have oodles of support growing up, especially from the Chinese side of my family. It was a reminder to stay close to my roots and my history. It is especially important since I was growing up in a town where I was often the odd one out at an audition. I remember one year the local production of A Christmas Carol told us that they were going for a “blonde hair, blue eyed” look. It was devastating, but then I turned around and booked my first true professional role—The Scarlet Letter, directed by theatre genius Lear DeBessonet. My Nai Nai and Ah Yeh would take me to and from rehearsals.
What was your first significant acting experience, and how did it shape your career path?
My first ever stage performance was during a week-long science summer camp. We spent the time learning about the life cycle of a salmon and the week culminated in a small performance for the parents. We have photos from that show where I am truly rocking out, and the other kids look nonplussed about being there.
The first time I had a taste of film, I was six-years-old and it was a Zoo Tycoon 2 commercial. Microsoft wanted to use my father’s car for the commercial because it was a safari car—a 1996 Land Rover Defender. A beautiful car. He agreed under the stipulation that they put me in the commercial. So I guess I got my first job through nepotism? I killed it, frankly. It’s still on YouTube—I showed it to my boyfriend this morning! The top comment is, “Of course. The young little girl has the best zoo…”—Yes I do. Honestly, I should add it to my reel.
Did you always know you wanted to pursue acting professionally, or was there a turning point that made you commit to it?
I mean, like all kids I wanted to be famous. I’m not entirely sure when I decided to dedicate my life to it. I almost feel like there wasn’t a time before I knew, but that can’t be true. It feels like I always knew, or I don’t even know what my other option would be. I guess I like to think of myself as someone who follows their joy? As long as acting brings me joy, I’ll be here.
What challenges did you face when starting out in the industry, and how did you overcome them?
When I was fourteen or fifteen, I started working with the “best agent in Seattle.” She was the goal for a lot of actors in the PNW, so I was very very excited to work with her. Those hopes were quickly dashed when I figured out she only saw me as Asian. I remember emailing her being like, “x project is happening, I would like to be seen for this role” and her response was, “we don’t really see your type as right for that role.” I was like, my type? I left quickly after that, and ended up with a wonderful agent who I know to this day—Melissa Baldauf. She took a chance on me, saw through the “type,” to who I was and my talent. She really helped me overcome barriers I saw for myself. I played roles I never thought were “for me,” but she was adamant they were all for me.
Who have been your biggest influences or mentors in acting?
I have a wonderful group of mentors—Zabryna Guevara, an incredible actress from New York and my theatre mum. I don’t see her very often, but every time I do she reminds me how wonderful it is to have a creative family.
Joanna Cassidy, who is also an incredible actress, and someone I call when I’m feeling lost. She reminds me of the power I wield.
A teacher of mine, Jay Goldenberg. He’s got an incredible sense of humour, and he will not lie to you. Two exceedingly important qualities in a mentor. He’s retiring this year, so I’m taking his last public class. It’s very comforting and bolstering to return to my personal basics.
How did you get involved in Babygirl, and what drew you to the project?
I auditioned. I didn’t even think I got it. I had worked on another a24 film a few years ago; Kelly Reichardt’s Showing Up. I was like, how fun would it be to become the a24 supporting character in female-led films. I booked it the day after the strike ended. It felt very kismet.
I’ve almost exclusively worked with female directors in my career. The only deviation from that pattern was last year when I did a play by Celine Song, but directed by Alec Duffy. I couldn’t really tell you why that is the pattern, but I feel extremely lucky that it is. If the trend continues I wouldn’t be pressed.
Can you describe your character in Babygirl? What aspects of her resonated with you personally?
So I’m an intern, my name is Anna—I decided she’s the personality hire. She plans the parties, the group bonding activities, and the yearly Secret Santa.
As Sanford Meisner says, “Acting is behaving truthfully under extraordinary circumstances.” I mean, we had to be intimidated by Nicole Kidman’s character. That was not hard, believe it or not.
We’re goofing around at the bar with Harris, which was easy because he’s so silly. I left that set as a fan of his, I think he’s wonderful.
What was the most challenging scene or moment for you while filming? How did you approach it?
It’s such a cop-out answer but all of it was challenging. Movie sets are like marathons, and they should be treated as such. It’s about endurance, you’re in it for the long run. They’re also about perspective. I think it’s easy to get swept away in the magic of it all, or become self-conscious about your work—sets feel almost designed for that. We all have to remember we’re here to support the story. We are hired because someone likes our perspective and trusts we will pursue that.
If you could give advice to your younger self when you were just starting out, what would it be?
I’m genuinely happy with where I’ve ended up. I sort of think that’s rare in this industry. I definitely get frustrated at times, but I don’t know, I like who I am now and I wouldn’t be her if anything changed. But... in that vein, the advice I would give is:
“You know who you are. Stick with her and you’ll be alright.”
Izabel can be reached through her management company
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