Popularity is relative, especially in the digital age. You could have hundreds of thousands of followers online but be completely unknown in the streets — massively famous on Instagram, YouTube or Twitter, but lack any kind of real, authentic cool in person. For our series Coolest Person in the Room, we pinpoint all the people whose energy is contagious regardless of their following count or celebrity. For this edition, we caught up with Stephanie Suganami, actor, environmental advocate and all-around internet icon at Jean’s.
Hi Steph! How are you?
I’m good! I’m in LA — just woke up like an hour and a half ago, sent my dog off on his little walk, and we’re just chilling.
Let’s go all the way back, because I’m very curious with any sort of creative about where their spark comes from.
I grew up in a really small rural town called Ontario, Ohio, which is a suburb of Mansfield, Ohio, which is an hour north of Columbus. It’s where they filmed The Shawshank Redemption. I drove past cows on my way to school every day, but I really loved growing up in Ohio. I did dance my entire life, from three-year-old ballet classes to Kent State as a dance major and an environmental science minor. Dance was the creative part that really defined so much of my life. I attribute so much of my discipline, ambition, focus and independence to dance, because it’s really a singular thing that shaped who I am as a person.
Dance seems like one of the most rigorous performance avenues to go down.
It’s pretty hard. That’s what brought me from Ohio to LA — I wanted to go on tour. I always had a travel bug. I thought that would be such a cool gig to be a backup dancer and travel the world. I still think it would be a cool gig.
Who would you want to be a backup dancer for?
Britney Spears and The Pussycat Dolls. I grew up in peak girl pop era, so that’s very much who I am still to this day. And it’s so funny because when I moved to LA, I didn’t become a Pussycat Doll, but I did work for the creative director and choreographer for The Pussycat Dolls. That’s kind of how I started assisting different people.
Did your interest in acting come later on in your career?
As I got older and realized my body probably couldn’t handle the dance, I just missed performing and missed that kind of artistic and creative expression, so I felt like, why not just try acting? I always have had a knack for it, so I dove in and really studied and took classes and immersed myself. I always hate things that I’m uncomfortable doing, but I know that I have to do it because it’s part of the growth. Acting is like that. It’s getting back to that performance and that artistic feeling, but it’s such a different form of expression from dance. I have had so much that I’ve had to learn, but it’s been really fun and exciting to do.
You’ve done so many things: been on TV, assisted Kim, became COO of her brands and environmental work. Were you also pursuing acting during all of that?
I took acting classes for probably two or three years before I went on my first audition because I didn’t want to just assume that I could do it. I wanted to learn, and I wanted to study. It also took me time to find my path. All those iterations of work and different chapters of what I did really helped lead me to where I wanted to go. The beauty about being an assistant is you get a front-row seat to a career that isn’t yours, but you can have access and learn and watch. I always encourage people to assist the greats — learn from the people who have what you want. That’s the best way to get in those rooms. I didn’t know exactly where I wanted to go after dance. I didn’t know if I wanted to be in front of the camera, or maybe behind the camera was something that was better suited for me. It was just trial and error. Working on [Keeping Up with the Kardashians], I would do the producer cam, and I would help with edits. I helped Kourtney with her edits for her wedding special, and I do enjoy still doing that. There’s a world where producing and developing shows is something that I am going to pursue for sure, because I enjoy all aspects of the film and TV-making process.
Was Opus a pivotal moment for you?
I think so! It was my first real feature, and to be working alongside that iconic cast, who are so heavily credentialed and so well-respected in their craft, was really validating for me. And to be given that opportunity from our director, Mark Anthony Green, and A24 and MACRO, the production company, was like, “I’m doing this. I can do this. I’m in it. Somebody believes in me to give me this role.” It’s such a validating feeling, and I learned so much. I would sit on set and watch everyone else, or watch how the camera person does their job. Everybody on that set took so much pride in their work. I love to be around that. It felt like this community of people that cared so deeply about the project, and it was really cool to see people do their job and do it well and be proud of it and know that we’re all contributing to making this really cool project. I completely fell in love with the whole process.
What kind of projects do you want to work on in the future?
There’s so much! I love working on smaller projects. Every set is different, and working with people only expands your like realm of possibility, because every experience is unique. Doing thriller/horror was fun. Our film was so smart, and I love movies that make you think — a greater message beyond the gore. But I personally don’t watch horror films, because I’ll wake up screaming and crying in the middle of the night. I get very affected. Also, ironically, this is what [Opus] was about. I am someone that has that parasocial relationship. If I’m watching TV, I’m friends with these people. I am in it. I am immersed in the world. It becomes all I can think about. So I don’t know if I could take too much of the horror films, but I would love to do action. I would really love to do comedy — that’s where I gravitate. I love comedy. I love light. The world’s really dark. You know what I mean? So hopefully I can do something there.
In the same vein, do you feel like the characters you play become a part of you?
There’s definitely a part of you that really immerses yourself in it. Luckily for me, I knew exactly who Emily was. Because I’ve had so much experience with so many different influencers in my life, it was really easy for me to find her point of view and drop into that. It wasn’t that far of a departure from what I know. Also, I would probably follow someone into a cult, so maybe I am her.
Wait, what’s your sign?
I’m a Virgo, Pisces moon, Libra rising. I think it’s the Pisces and Libra that would really lead me down a questionable path.
Maybe that’s why you love emotional expression and performance so much, too.
It’s interesting, because I didn’t think that I had [performance] left in me when I started working on other people’s businesses and doing more behind the scenes stuff. I was like, “This is where I’m gonna live.” And it was this incomplete feeling. I really missed performing and feeling that rush when you’re about to step on set or on stage. I kind of was always like, “Why am I feeling a little unfulfilled?” I realized that [performing] really is just a part of who I am and has always been since I’ve been a kid. With acting, it’s been such a nice change of pace and a nice way to push myself to expand as a human. I could’ve stayed in a little bubble where I’m comfortable and it’s easy and I’m safe, but there is something about releasing fear and just going for it. If it doesn’t work, it is what it is. It’s a freeing feeling to put yourself out there in that way. I, after so long, really wanted to feel something, and that’s what I get from [acting]. It’s really been life-changing.
Developing parasocial relationships with fictional characters is something I’ve been thinking about, too. Some people watch movies or TV as entertainment, but some people watch something or read something and truly take that experience in the story with you.
I cry at everything. I deeply take everything in and take everything on. I think that’s the beauty of it, right? It’s storytelling, but it’s also validating the human experience. In a way, like there is this camaraderie that we all are in the same boat, going through the same shit. No matter where you live or what your socioeconomic status is, there are all these human parts of life that we can relate to. You can understand each other better, and you can see a different point of view. It’s so important to have film and TV in that way, because it unites and connects people. That’s really important and beautiful, especially right now.
Photography: Diego Villagra Motta
Styling: Angelina Cantú
Hair: Stefano Greco
Makeup: STOJ
Lighting: Kaiya Lang
Photo assistant: Xandra Haftermann
Styling assistant: Joyce Esquenazi Mitrani, Mo Johnson
Managing editor: Matt Wille
Executive creative producer: Angelina Cantú
Story: Andrew Nguyen
Location: Jean’s