Bonnie Rose has been a steady presence in film and television for over three decades, but recent roles have brought a new wave of attention to the seasoned performer. With standout turns in acclaimed short films like Living with Grandma—which earned her two Best Actress awards—and appearances alongside industry heavyweights in projects like Tow and My Kind of People, “everything’s coming up roses” for her.
In this conversation, Rose reflects on the early days of her career, including her breakout role with legendary director Sidney Lumet, her brief foray into stand-up comedy, and the experiences that shaped her as a performer. She also discusses working with the Coen brothers, collaborating with up-and-coming directors, and why comedy remains close to her heart.
First, I want to congratulate you on your recent accolades.
Thank you—very grateful. I mean, it’s been a few decades, so it’s really nice to have this kind of resurgence in my career.
I do want to talk about those recent projects, but first, I’d like to go back to the beginning of your career, if you’re okay with that.
Sure.
When did you first become interested in acting? I know you studied at Syracuse, but was acting something you were drawn to earlier?
Oh yes. When I was three, my mother said I used to run around saying, “I want to be a ‘nactress,’ except I couldn’t pronounce the A’s—so it came out as ‘nactress.’ From that young age, I always knew this is what I wanted to do. There was never a moment I considered doing anything else.
Did you have opportunities to act in high school, or did that really start in college?
I started early. I grew up in Queens, so I was close to Manhattan. I took Saturday classes at the American Academy and the Neighborhood Playhouse. I also went to theater camp at Stage Door Manor—basically, where everyone who’s someone has been. Then I attended Syracuse University and joined their fantastic theater department.
So, you stayed local. Did you ever consider moving to Los Angeles to pursue your career?
Bonnie Rose: I actually did go to L.A. back in the early ’90s. I had started doing stand-up comedy and studied with Lewis Black. I had a great routine and tried it out for a bit out there, but I quickly realized that lifestyle wasn’t for me. I didn’t want to pursue stand-up comedy.
How long were you in L.A.?
Just a couple of months. I stayed with my brother, hit some comedy clubs, but it wasn’t a long stint.
Clearly, staying in New York has worked out well. You’ve had a steady acting career for over 30 years. Have you thought about going out there again?
If the right job came along, absolutely. At one point, my husband and I even considered moving, but life kept us here. And there’s plenty of work in New York. It’s worked out. My career really got started here—with Sidney Lumet.
I was just about to ask you about him. That must’ve been an incredible way to launch your career.
It was. There was an ad in Backstage—this was before cell phones and the internet—for Night Falls on Manhattan. They were casting a lot of roles. At the time, I was working as a cater-waiter at NYU and doing a double shift. I jumped on the train to the Upper West Side for the audition. Supposedly, there were about 600 people in line. How I even got into that auditorium—it’s a God story.
At one point, I realized I had to get back to work downtown, so I asked someone if I could leave my headshot. Someone must’ve noticed me and said, “Do you have time to audition?” I said yes and was brought into a room. The casting director was Billy Hopkins. He gave the okay to someone else who said, “Sidney’s going to love you.”
They handed me sides, and I auditioned in Sidney’s office—which was across the street from Studio 54 back then. I went in, and Sidney said he thought I’d be right for another role. I told him, “But I worked on this one.” He said, “Well, you’ll be reading with me. Is that okay?” I said, “All right, let me go outside and work on it.” I came back in, read with him, and he said, “You’re hired.” I didn’t even have an agent. That was one of my first big yeses—in a major feature film. I ended up working with Sidney for nearly a decade after that.
That’s wonderful. You’ve also worked with the Coen brothers—what was that experience like?
It was great. Oscar Isaac was on that set. Everyone—the wardrobe, the designers, the crew—was top-tier. When I arrived at 7:30 a.m., you could hear a pin drop. That’s not normal on a set; usually, the crew members are talking. There’s a lot going on, but everyone was just thrilled to be there. It was a great role. I’d love to work with them again.
What kind of roles are you looking for now? Has that changed over time?
I grew up on sitcoms—The Carol Burnett Show, The Mothers-in-Law with Kaye Ballard. I’d love to see that one brought back; it was so funny. I’ve done a lot of drama and serious work, and I’m grateful for that. But I really love comedy. That’s why I was so drawn to Living with Grandma, where I played Grandma Rose. It’s a comedy rooted in reality, and from that, the humor emerges.
There’s a great scene in that where you’re tackling new media technology.
That scene wasn’t far from the truth! I’m not a kid. I’m 64 and a half—and yes, I count the half! Technology changes constantly. I get attached to a phone and its buttons, and then a new one comes out, and I panic. It’s a learning curve for those of us who didn’t grow up with all this.
You’ve worked extensively in both television and film. Do you prefer one over the other?
I love both, but probably television. I grew up on ’60s sitcoms. TV is fast-paced, so you have to be grounded and ready to go. Film gives you a bit more time, although with short films, like Living with Grandma, we shot in three or four days. Still, TV is a great medium—especially now. There’s a plethora of great shows right now.
I want to ask you about My Kind of People. First of all, are you Italian?
My husband is!
The film focuses heavily on heritage and lineage. Did the casting reflect that?
You’d have to ask the writer and director, Joe Picozzi, about that. My manager sent me the audition. I worked with Lucas Van Egan at Open Studio to prepare, and we submitted it. Then the director, Joe, had a Zoom call with me. We shot in Rhode Island.
How long of a shoot was that?
My scenes were done over a weekend. They may have shot other things, but mine was shot over the weekend.
You mentioned Living with Grandma, which has earned you two Best Actress awards—well deserved, by the way. You worked with Finise Avery, a first-time director, correct?
Yes.
You’ve worked with some veteran directors. Can you talk about, you know, working with someone that’s maybe a bit wet behind the ears?
Actually, Joe has directed other shorts before My Kind of People, which won the 2024 AGBO Russo Brothers Italian American Filmmaker Forum. And Finise and I met on Fleishman Is in Trouble—she was on the crew. There was just an energy about this young woman. She has her own production company, has already shot commercials, and is working on her next short.
She pulled in an incredible team. Wardrobe came from Manifest, and the entire crew were seasoned professionals. It was a very well-oiled machine. She’s already won several Best First-Time Director awards and is on fire. I’m in her next project too. For the first time out, unbelievable. She knew what she was doing.
You’re also in Tow, which recently premiered. What can you tell me about that?
My manager sent me the audition—those are called “C-mails” when you get them on your phone. I worked with Lucas again to craft it and got the part. My scene was with Octavia Spencer, Rose Byrne, and Ariana DeBose. It was an amazing experience.
The film was shot in 19 days. I only worked one day—just happened to be available when they needed me, right before a trip with my husband that we couldn’t reschedule. It was a needle in a haystack. It premiered at Tribeca on June 7. The reviews are excellent. Rose Byrne is phenomenal. It’s a powerful story that needed to be told, and Stephanie Laing, the director, was fantastic. All women—just a great team.
What’s next for you?
My manager just called yesterday—I booked another project shooting in July. I have an audition today for something else. Double Happiness is a short film to look out for—great cast, very funny, heartfelt. And I just wrapped another short. So yes, a few things in the works!
Congratulations again on the awards and thank you so much for taking the time.
Thank you. This was delightful!
You can follow Bonnie Rose on Instagram and Facebook, or on her website, bonnieroseny.com.