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“Even when I was younger, I knew I was never going to be a missionary [and] that I was probably going to leave the church at some point because I was so distracted with acting that I could never fully be attentive or present when I was in church. I believed in the ‘what not to do,’ but I didn't know what to do. That gave me a lot of anxiety. And I think, if anything, that feeling was way more overwhelming than the positive for me growing up. I was always afraid I was going to go to hell… I remember thinking when I was 8, There's no way I'm going to Heaven. I've already fucked it all up. It's too late now. I remember when I was still in the church, I wanted so badly to be normal, and that was the only thing I could think of, I felt so different from everybody else that it was almost like this character that I was pretending to play. And that left me with a lot of guilt, too. So I think doing theater and finding other people that were big personalities and strange and had different tastes was a nice release.”

SOPHIE THATCHER on Her Role in 'Heretic' and 'Yellowjackets' Season 3 for Marie Claire (November 2024)

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“I don’t know if this is setting the bar too high or if I’m allowed to say this, but people should be expecting answers,” she says. “It’s coming back to where the pilot was, which I think is perfect timing for that. It’s just becoming more and more unhinged, and Natalie goes through more than anything. And I said this last season, but I’ll keep saying it: Now you see what has made Natalie so messed up. There’s a bit more of that connection between me and Juliette now, even though now she’s gone. It was a fun season, but it was really fucking draining.”
SOPHIE THATCHER ON NATALIE AND YELLOWJACKETS SEASON 3 Rolling Stones
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“It works with the movie because Hugh Grant goes on a spiel about religion and Christianity, [and how] they’re all iterations of each other. And the same goes with music. He goes on this tangent about Radiohead. ‘Creep’ comes from the Hollies’ ‘The Air That I Breathe.’ They were sued. And then Lana Del Rey’s ‘Get Free’ copies ‘Creep.’ So it’s this ongoing discussion where there are only so many chord progressions. And within this cover, it was essentially ‘Fade into You’ but ‘Knockin’ on Heaven’s Door.’ It was clever, and it works well at the end of the movie to put a little ribbon on it.”
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