She might only be 23, but Raffey Cassidy has already lived several cinematic lives. She was the uncanny ingénue in The Killing of a Sacred Deer, the pop apparition in Vox Lux, and a silent but pivotal figure in the epic Oscar winner, The Brutalist.
Not many actresses can say they've grown up on sets shaped by singular auteurs — from Yorgos Lanthimos to Brady Corbet — absorbing their worlds while steadily forming her own. In Cassidy’s case, that immersion began almost before she realised what it meant. Her entry into the world of film was almost accidental: she accompanied her brother to an audition as a child and walked away cast herself, discovering — in real time — that on set was where she felt most at home.
When she connects with RUSSH's editor-in-chief Jess Blanch, she’s in London, fresh from the BAFTAs dance floor, and preparing to head straight into back-to-back shoots. Thoughtful and disarmingly candid, Cassidy reflects on growing up in Manchester, trusting her gut when it comes to scripts, the books she can't put down, and her go-to karaoke song. Below, she talks creativity, collaboration and building a career by instinct.
Jess Blanch: It's nice to talk. You're in London at the moment, aren't you? Were you doing any of the BAFTA parties this year?
RC: I did go, I couldn't help myself. They're always really good fun, because it's always just people that you might have met a few times, but unless you're working together, you don't necessarily cross paths again. So it's really nice to go and see old friends.
JB: They're really inclusive. I feel like the industry comes together and really enjoys each other.
RC: Yes, exactly. Everyone has a dance. It's a good way to let let off steam a bit.
JB: You're from a creative family, and you got into acting just by turning up to an audition and being accidentally cast. Do you feel like you you had a calling right from the beginning?
RC: I have always previously said no to this question. I was lucky that I got to find my love for [acting] whilst I was in it, because I went to the audition with my brother, and I [got to] have a go at the job and discover if I liked it or not before deciding I wanted to do it, and then having to go through gruelling auditions. But thinking about it, when I was little, me and my friends would watch a film at a sleepover on the weekend, and then we'd spend the whole week re-enacting the story in the playground. So somehow, I'm probably feeling a bit that I did [have a calling].
JB: You also grew up in Manchester. Having been there for the first time a couple of years ago myself, it's an incredibly artistic place.
RC: It definitely is. It's funny, because I've never described my household as creative, but it totally was – it just wasn't creative in a typical sense. We are all in the creative industry now, all of my brothers and sisters. But I think because we were encouraged not to go down the creative path, but to do anything that we wanted to, no job was ever off limits.
I love Manchester. I find it such an inclusive place. I do think it's really inspiring. But [the thing I miss most] is the people. They're so open, and everyone looks after one another... Manchester is a really special place for feeling like everyone somewhat has an eye on you, which is really nice.
JB: I went in expecting Oasis and the iconic nightclubs, and and then what I discovered was something a lot more grassroots.
RC: I'm so jealous because my parents grew up in Manchester at the time when The Hacienda was a thing.
JB: We actually did a drive by. I know it doesn't exist today, but it was good to see where it happened.
RC: You used to have to wear a tie to get in, [and] I am so sad that that's not still a thing.
JB: Back then, they were more formal. When I was there, I was lucky to listen to the poet John Cooper Clark. He was there with his morning coat, and his tie and his scarf. It's a different look to what we think of [when we talk about] going out to nightclubs. But I mean, what an incredible scene. Were your parents part of that scene? Or was it something they just got to do as youth living in Manchester?
RC: That was just them as teenagers going out when they were younger, which I'm so jealous of. You know, they weren't in the industry at all, but that's what they all did. They'd go to The Hacienda, and then that must have got shut down. And then, God, I don't know. Did you guys go to Crazy Pedro's?
JB: I didn't go to Crazy Pedro's, no. Is that the place that opens at midnight?
RC: No, it's the place that's like in the basement, and it's really dark, it smells really bad. It's a bar, but they serve pizza.
JB: Do you get back [to Manchester]?
RC: Not as much as I want to now, because my parents have moved out to the countryside. It wasn't until [they moved] that I really realised what an accessible life I'd lived. The shops were five minutes away, my friends and I could walk to school... It makes you appreciate the normal things so much more. Like, if you forget something, it's so easy to just pop down to the shop and get it, whereas in the country side, you have to make do with what you've got.
JB: I know you're a voracious reader, and you've said you read everything in a mad rush, and often say if you're not into [a script], then you don't finish it. What are you looking for in the scripts you read?
RC: It's [either] a day or I hate it. I sound so pretentious. But I think that's a really big tell for me; it's just a feeling in my gut that I want to know what happens next. But also, there's scripts that Brady and Mona write which are incredible and I can't put down, but I will tell you now, Brady and Mona scripts definitely take me more than a day.
JB: I have no doubt. I mean, look at The Brutalist. That was a long film.
RC: What I'm looking for in a script is not really specific. I'll do anything: romance, comedy, horror. But I think that feeling of a good script paired with a cool director – whether it's their first thing or they've done a lot before – that's what I'm looking for. I'm not bothered about the size of the production. I'm looking for cool projects with cool directors.
JB: You've worked with directors that have very definite worlds, if you think of Yorgos or Brady or Tim, it's all very different, and they have very definite visual tones. Is that part of the fun, and the challenge of finding yourself in that vision?
RC: 100% yes. I think it's so much fun to adapt to what they're asking for in their world. I think you should try and adhere to their process. Every actor has their own process, but I think as flexible as you can be – that's when you get the best outcome. And also it's fun. It's almost like experimenting... I also think you should only say yes to projects if you wholly trust the director. You have to commit to their process.
JB: You've been acting since quite a young age, and you've really grown over those years. But do you look back to certain projects that really feel like they've helped you define who you are?
RC: Definitely. I evolve through each project I do and learn something new. Playing different characters allows you the freedom of [...] basically giving yourself different personalities and seeing what feels good... I just learn, generally, something new about life . Like, I meet new people and I have different experiences, and different problems, and different wins.
JB: You've worked with actors like Nicole Kidman and Natalie Portman who you must have learned a lot from. Do you get that sense, particularly as an emerging actor, that there's a mentorship happening on those sets?
RC: I think, bigger than any advice they've ever given me, it's kind of just me being surrounded by them and learning from the best and hoping that I will absorb a percentage of what they are, acting-wise.
One of the biggest things I've learned is that it doesn't matter who you are, what your role is on set, or how serious the scene is, you have to be kind to everyone at all times and be gracious. You're all trying to get the same product and you're all there because you love it. I have done a lot of films that are very small budget, and I think that's meant that only the best people are there that want to be there. Everyone's striving for the same thing. No one's getting a huge pay check. We all just are there for the director, or doing it because we love it and want to create something amazing...
JB: I always like the smaller budget films anyway. You can feel that passion in them. Do you sing as well? Because Vox Lux was a musical, and that was your voice in The Killing of the Sacred Deer.
RC: Yes, but it was terrible. Sadly, I do have to take the credit for that one. I don't know that it's good enough that I want to take the credit. I think initially Yorgos wanted someone who could sing, and he asked me to sing, and I'm pretty sure I sang an Adele song. It's crazy because, if you can't sing, you should probably pick like, 'Happy Birthday' or something. But instead, I chose to sing Adele. And he came back, and he was like, 'You can sing something more normal. You don't have to do a ballad.' I think he was like, "Maybe it's sweet that she can't sing. We'll go with it.' I never want to sing. I just always seem to end up [doing it.] If they want me to sing, I'll do it.
JB: I love your choice of Adele. Is that your your go to karaoke song?
RC: No, my go to karaoke song is Jay Z '99 problems.'
JB: That's a great choice. You've done a lot in the fashion space. Red carpets, you've been in the Loewe campaign. You were there at the debut show – How do you find your work in fashion? Does it add to your creative experience as an actor?
RC: Definitely, I love fashion so much. And I suppose it's the one opportunity where I get to role play, but for myself. On set, I'm wearing different clothes and playing different characters. But [with fashion] I can play a different character as myself, if that makes sense.
[The debut Loewe] collection was amazing. It was like a performance with the music and the colours – it was very immersive. I have felt really lucky over this past year to have worked with Loewe just because I love their clothes and I love their whole vibe, but also, every single person involved on their team is so sweet — and this was before I met Jack and Lazaro, they're amazing. They had so much patience and time for everyone, and I undeniably love their clothes now even more, because I know that they're such kind people. It's so crazy to say that being a nice person goes a long way, but it really does help. When you know that someone's a nice person, you feel like so much passion has gone into their clothes, and you want to be supportive.
JB: I wonder if it's because they've come from an independent brand where they probably were not as well resourced, that they have a really good perspective.
RC: Perhaps, yes. That's what it felt like, like they weren't taking any moment for granted.
JB: I also feel like we've finally lost tolerance for the 'creative monsters', particularly in fashion and film anyhow.
RC: Totally. But [also], people can be assholes and still work and we can be quite... we protect them thinking it's not worth putting yourself out on a limb to call them out, but I suppose at some point it has to stop.
JB: You have a lot of new projects on the horizon. What can you share?
RC: I am off to shoot on Sunday, a project called Diamond Shitter. It's a film by Antonia Campbell Hughes, and I'm really looking forward to it. It's going to be a very, very fun shoot. I'm so excited. It was an incredible script. Like, probably the best script I've read since The Brutalist. And then I went and watched Antonia's first film, and it was so good. It was so good and visceral. Then I met with her, and we really clicked. So everything kind of just aligned there. There's so much to take on, but in a really exciting, challenging way. So I couldn't miss this opportunity.
JB: Where are you shooting?
RC: We're shooting in Geneva. And then I'm shooting this film by Sam Matt, who is a really cool new director, and and it's... I couldn't even begin to describe it. It's almost like an alien story of friendship.
JB: What is inspiring you most generally at the moment?
RC: I've just reread Murakami's Norwegian Wood. I don't know if you've ever read that before?
JB: I have ages ago, but you've reminded me it's worth rereading.
RC: I love the book so much. It's so depressingly romantic. I'd read it a long time ago and reread it [...] I would love to do, a romance of that sort.
JB: I love his view of romance. The language in his books, I mean, it just rips your heart out, doesn't it?
RC: Like that feeling in your gut where you just can't put it down, because you kind of want to fill the hole that he's left. I think he's such an incredible writer.
JB: Agree. I'm a huge underliner — and with that book in particular, it just underlines everywhere.
RC: Oh my god! Me too.
PHOTOGRAPHER Anna Victoria Best
FASHION Teanne Vickers
TALENT Raffey Cassidy
HAIR Paula Mccash
MAKEUP Iga Wasylczuk
PHOTOGRAPHER’S ASSISTANT Frankie Lodge
STYLIST’S ASSISTANT Maia Burt
PRODUCTION Candy Field, Seline Matei and Rafeal Ramirez
