Photography by Tom Mitchell

Dianna Agron

Actor

WHAT IS YOUR CALLING CARD?

I’ve been told that my laugh is distinctive and can be recognized in a crowd, which can make me nervous when attending live theater in support of a friend, especially if I’m seated close to the stage. There’s a high chance they’ll be able to locate me.

WHAT DO YOU WANT TO SEE MORE OF IN YOUR INDUSTRY? LESS OF?

Our industry is risk-averse. I would like to see more people with the confidence to give new storytellers a shot and contribute more than the bare minimum to get it done. Having sufficient resources is important. There have been beautiful results born from those who are willing to take chances. I appreciated what Cord Jefferson had to say when accepting his Oscar for American Fiction, a film that was his directorial debut. People are looking for their opportunity, and we can give it to them.

““Our industry is risk-averse. I would like to see more people with the confidence to give new storytellers a shot and contribute more than the bare minimum to get it done. Having sufficient resources is important.””

HOW WOULD YOU DESCRIBE YOURSELF?

I’m quick to laugh. I’m curious. I enjoy discussing unusual life experiences with a person I’ve just met. It’s absorbing to jump right to it, before the normal getting-to-know-you chit-chat. You can’t force it, and it doesn’t happen frequently, but when it does, I lean in.

WHEN WAS THE LAST TIME YOU SURPRISED YOURSELF IN YOUR WORK?

I didn’t realize I would enjoy performing stunts as much as I have. During my last film, I had to leap out of a car, run to the edge, and lean over a 60-foot cliff. It was thrilling to be strapped into a harness and give your trust to these talented industry professionals, some of whom have more experience than you do years on this earth. All that said, in my regular life, I tend to play it safe and prefer to keep my feet on the ground.

You’ve almost hit your limit.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

GET ACCESS

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

You’ve almost hit your limit.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.
Already a Subscriber? Sign in Here
You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

We Have So Much More to Tell You!

This is a Critics' Table subscriber exclusive.

Join the Critics’ Table to keep reading and support independent art criticism.

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c

Already a Subscriber? Sign in Here

Pop-Up-1_c

Already a Subscriber? Sign in Here

We have so much more to tell you.

You’ve reached your limit.

Sign up for a digital subscription, starting at less than $2 a week.

Already a Subscriber? Sign in Here

Want a seat at the table? To continue reading this article, sign up today.

Support independent criticism for $10/month (or just $110/year).

Already a subscriber? Log in.