Becca Anderson

What was it about this script that made you just know? I mean, it was a beautiful story. It had a wonderful character to play. And I just related on many levels. You know, there's many parallels between us, but I also felt like that was a great jumping off point that I could take this opportunity and really transform into this woman. I was craving to do something like this.

What was it about this script that made you just know? I mean, it was a beautiful story. It had a wonderful character to play. And I just related on many levels. You know, there's many parallels between us, but I also felt like that was a great jumping off point that I could take this opportunity and really transform into this woman. I was craving to do something like this.

I really needed to sink my teeth into something. And it came at the right time. And I realized if I had any other life, I couldn't have played Shelley as I did. And it all made sense. I had somewhere to put all my life experience in one way or another. It's in there. Yeah. And we're going to talk about those parallels.

I really needed to sink my teeth into something. And it came at the right time. And I realized if I had any other life, I couldn't have played Shelley as I did. And it all made sense. I had somewhere to put all my life experience in one way or another. It's in there. Yeah. And we're going to talk about those parallels.

I really needed to sink my teeth into something. And it came at the right time. And I realized if I had any other life, I couldn't have played Shelley as I did. And it all made sense. I had somewhere to put all my life experience in one way or another. It's in there. Yeah. And we're going to talk about those parallels.

I mean, I've met with the Jubilee dancers, and they took so much pride in their art form. I love the nostalgia that Shelley always comes back to, that it's about France, you know, it's Lido culture. It's this, you know, it's important. You know, they were treated like movie stars. They are the icon of Las Vegas, even though they don't really exist anymore.

I mean, I've met with the Jubilee dancers, and they took so much pride in their art form. I love the nostalgia that Shelley always comes back to, that it's about France, you know, it's Lido culture. It's this, you know, it's important. You know, they were treated like movie stars. They are the icon of Las Vegas, even though they don't really exist anymore.

I mean, I've met with the Jubilee dancers, and they took so much pride in their art form. I love the nostalgia that Shelley always comes back to, that it's about France, you know, it's Lido culture. It's this, you know, it's important. You know, they were treated like movie stars. They are the icon of Las Vegas, even though they don't really exist anymore.

It was sad to know that there were 85 women on stage and 45 crew members and about 15 people in the audience at the very end, that it was just something that died out and lost to a new culture of, you know, like the dirty circus, she likes to say, that it took more to entertain. And so these art forms die out and it's about the people that have given their lives to these

It was sad to know that there were 85 women on stage and 45 crew members and about 15 people in the audience at the very end, that it was just something that died out and lost to a new culture of, you know, like the dirty circus, she likes to say, that it took more to entertain. And so these art forms die out and it's about the people that have given their lives to these

It was sad to know that there were 85 women on stage and 45 crew members and about 15 people in the audience at the very end, that it was just something that died out and lost to a new culture of, you know, like the dirty circus, she likes to say, that it took more to entertain. And so these art forms die out and it's about the people that have given their lives to these

art forms that are suffering and coming to a crossroads and having to reinvent themselves. And that really resonated with me. I think it's a story about second chances and about the mother-daughter story and trying to find a way to parent as a single mother in an entertainment industry, of course, is another part that I could really relate to and was really interested in.

art forms that are suffering and coming to a crossroads and having to reinvent themselves. And that really resonated with me. I think it's a story about second chances and about the mother-daughter story and trying to find a way to parent as a single mother in an entertainment industry, of course, is another part that I could really relate to and was really interested in.

art forms that are suffering and coming to a crossroads and having to reinvent themselves. And that really resonated with me. I think it's a story about second chances and about the mother-daughter story and trying to find a way to parent as a single mother in an entertainment industry, of course, is another part that I could really relate to and was really interested in.

dealing with in a film, in hindsight, there's so much to this film that I felt was cathartic in some ways.

dealing with in a film, in hindsight, there's so much to this film that I felt was cathartic in some ways.

dealing with in a film, in hindsight, there's so much to this film that I felt was cathartic in some ways.

Well, there was a lot of joy, a lot of pride. And, you know, there's the showgirl walk. You know, the showgirls are not burlesque dancers. They're very far from it. And they told me stories of how they weren't allowed to mingle in the casinos after their performances, that they were to go home and that they were very well protected by people that looked after them.

Well, there was a lot of joy, a lot of pride. And, you know, there's the showgirl walk. You know, the showgirls are not burlesque dancers. They're very far from it. And they told me stories of how they weren't allowed to mingle in the casinos after their performances, that they were to go home and that they were very well protected by people that looked after them.

Well, there was a lot of joy, a lot of pride. And, you know, there's the showgirl walk. You know, the showgirls are not burlesque dancers. They're very far from it. And they told me stories of how they weren't allowed to mingle in the casinos after their performances, that they were to go home and that they were very well protected by people that looked after them.