Welcome to Random Roles, wherein we talk to actors about the characters who defined their careers. The catch: They don’t know beforehand what roles we’ll ask them to talk about.
The actor: Mandy Moore has been a part of a lot of legacy projects. Can it get any better than the iconic The Princess Diaries as your movie debut? But then, she topped that with an unforgettable performance in the sweet A Walk To Remember, fun YA movies, even more rom-coms, surprising thrillers, and, of course, voicing a Disney princess in Rapunzel—all while fleshing out her music career. Yet, her career-defining role arrived with 2016's This Is Us. Moore was the evocative anchor in NBC’s six-season drama. She left no acting stone unturned in playing Rebecca Pearson beautifully across generations (it’s the Television Academy’s loss for not giving her that damn Emmy award).
Now, Moore is exploring genres with her next TV gig in a post-TIU era. She stars in the second season of Peacock’s compelling true crime drama Dr. Death. She plays former reporter Benita Alexander with a passion, getting entangled in a romance with Paolo Macchiarini (Edgar Ramirez) before catching onto his fatal scam and helping bring him down. The A.V. Club spoke to Moore about choosing a project that’s the polar opposite of This Is Us, her on-set experiences with films like The Princess Diaries and Romance & Cigarettes, her unforgettable four-episode arc on Grey’s Anatomy, and, of course, whether or not we can let go of Rebecca Pearson.
Dr. Death (2023)—“Benita Alexander”
The A.V. Club: In the true crime drama’s second season, you’re playing Benita, a reporter conned by Paolo Macchiarini who experienced a version of these events in real life. Is it daunting to play someone like that or an interesting challenge as an actor?
Mandy Moore: It’s a little bit of both. It’s a sensitive tightrope act when you’re retelling probably the most traumatic events of someone’s life. I’m not speaking just to playing Benita, but obviously, all the families affected on the medical side under Paolo’s hand. There’s a sense of obligation and responsibility to get it right, but also understanding this is a dramatized version of the events. It’s not a documentary, of which there are plenty out there about this story. Dr. Death is based on the podcast where Benita tells the story in her own words. So I felt comfortable with the dearth of information out there to draw from.
I hope she’s able to watch the show and there’s some sort of resolve. Ultimately, I think her vulnerability and the fact that she was able to tell her story on her terms was a huge turning point in holding Paolo accountable as well. It helps give her some of her autonomy and life back and helps destigmatize the shame and guilt around the idea of what it means to be a victim. I hope that’s what she and the people get out of Dr. Death.
AVC: What was it like to try and understand Benita as a person and get into the headspace of that character?
MM: The nature of Benita’s story with Paolo has darkness, manipulation, and destruction. It’s hard to wrap your head around it. I read the Vanity Fair piece she did, and there’s a lot to glean from it and the other information out there. But also, we’ve all had our own experiences with deception, clearly not on this level, but I’ve had my stuff to draw from, so it wasn’t outside of the realm of something I could understand. Certainly, my husband-to-be never told me the Pope was going to marry us or the Obamas were going to be at my wedding, but even then. [Laughs]
AVC: Did you find any of the emotionally heavy scenes particularly difficult to film?
MM: I was a second-time new mom as we were filming the show, so the idea that Paolo deceived Benita’s daughter, who also got caught up in all of this and was about to abandon her life and move to Spain. And she had recently lost her dad too. That was ... I don’t know how a human with a heart could cross that line. In the first four episodes, I just got to fall in love with Edgar Ramirez. That was pretty easy. The latter half is Benita coming to terms with questions like “What is it about me? What is the fatal flaw that allowed me to be susceptible to someone who could recognize, observe, pray upon, and exploit it?” and “What was the vulnerable thing that let this happen?” That was all hard to digest, having to take accountability and ownership for what happened.
AVC: As you said, the tone of Benita’s story shifts in the second half. What was it like to find that switch as an actor, with her going from being in this intense romance with Paolo to then teaming up with her best friend, Kim (Judy Reyes), to bring him down?
MM: It was fun to play with Edgar for those first four episodes, and then I was left in Judy’s capable hands. I got to work with her so much, I love her. I’ve been a long-time fan of her since Scrubs, we’ve sort of known each other since then, so it was nice to reconnect with her. But I loved the switch because it felt like working on two different projects. I was able to channel all of this righteous anger into the latter half of trying to bring this guy down. To recognize the part she played in holding him accountable along with the other amazing doctors who were whistleblowers, felt gratifying.
AVC: This is your first TV role after This Is Us. Were you seeking something different after six seasons of it?
MM: Truth be told, I wasn’t looking for anything because I was about to have a baby. And then I had the baby. The script just came to me by chance because somebody dropped out last minute. They said they were going to start shooting in New York City soon. I thought, “Well, New York sounds fun for maybe if I didn’t have a month-old child, but let me just read through it anyway.” Of course, once I did, it seemed like the type of stuff I hadn’t done before and I wanted to do it. It was eight episodes and not something ongoing. Because it happened so last minute, I didn’t have a chance to overthink anything.
Also, had this not come around, I would’ve maybe been too precious about it because the experience on This Is Us was so perfect in every sense of the word. It was the most fulfilling professional experience. Had I hesitated and continued to wait, I probably would still be waiting. I thought I’d just jump in, and I’m so glad I did. It might not be a project for everybody, but I had so much fun doing it. It ended up being a fun chapter for my family, too, to be in New York. I’m also in the process of developing other things that are taking longer to get off the ground and will hopefully come to fruition soon. So until then, I wanted to take a shot at doing something that new, and luckily they were ready to film.
Grey’s Anatomy (2010)—“Mary Portman”
AVC: You were in four episodes of the show, including the season six finale, which is still considered perhaps its best installment almost 20 seasons in. What was the experience of filming that intense hospital shooting episode?
MM: I was a big fan of the show. When I got the call, and I was talking to Shonda Rhimes herself as she was walking me through the part, I thought, “Wow, this is special.” How could I have passed up the opportunity? I had such a great time despite the intense subject matter. I felt like everybody on set was walking on eggshells because nobody had filmed an episode like the season six finale before. It was outside of the norm for the cast and crew as well, so it felt even more heightened. Then they brought me back in season seven for one episode to make my character die after she survived all that. [Laughs].
It was a fun experience. I had no idea it would be looked back on with such reverence because the show has such a storied history. I remember being nervous and wanting to get playing Mary right because it was a super dramatic part. I didn’t think [the episode] would still be so memorable at the time, I was just excited to play a small part in the TV show I loved. I mean, who would’ve even thought Grey’s Anatomy would still be going on back then? How long ago was the season six finale, 2010 right? That’s a long time ago.
Scrubs (2006)—“Julie Quinn”
AVC: I’m realizing you’ve worked in varied medical TV shows during your careers.
MM: [Laughs] Oh my God, you’re right!
AVC: Scrubs was your first TV show appearance playing a different character because in Entourage you played yourself. Did that establish your liking for the episodic format?
MM: I loved it. I was dating Zach Braff at the time, so I spent a lot of time on that set. I felt comfortable around everyone, so it felt like an easy foray for dipping my toes into TV. Honestly, I was flattered they asked me. It wasn’t an assumption that I’d cameo because he’s my boyfriend. It’s a beloved show. I was honored that was my first experience.
AVC: Would you want to experiment with comedies or sitcoms like that some more?
MM: I would be interested in something that’s not a traditional sitcom but more like a single-cam. That feels like my cup of tea rather than doing a multi-cam sitcom, even though those don’t exactly exist anymore. I also don’t think comedy is my strong suit. It’s not something I gravitate toward. So as long as it can tonally live in both worlds, that would be fun.
Saved! (2004)—“Hilary Faye Stockard”
MM: I love that movie. I’m so proud to be part of it. I think people that needed to find it, found it, and I’d be happy if people continued to discover Saved! even today. That would be fantastic. I don’t think it was ever going to be the kind of YA film that was for everybody. It’s too specific, it’s too much of a genre. But I love it. I had such a great time. It was a formidable experience and a time in my life as a young person. I have a fondness for thinking back to it.
AVC: What I liked about it is you’re the mean girl throughout but you always bring that hint of vulnerability to her, as evidenced in the scene at the end when she breaks down in the car.
MM: She did have this duality. She was angry and had her grievances in life that she carried around with her. But she camouflaged it as best she could. I loved straddling that line of being awful but digestible. Yeah, I wanted you to root for her. I hope that vulnerability was able to come across, but it’s always fun getting to play someone like Hilary. She had a lot going on.
The Princess Diaries (2001)—“Lana Thomas”
AVC: This is in no way a random role, but I wanted to bring it up because it’s your very first movie. What was it like to be on such a big set for your debut, and do you remember how you perceived stuff—the industry, your career, etc.—during this time?
MM: I have no idea what I was doing. [Laughs]. I was so happy to be involved with sweet Garry Marshall at the helm. It allowed me to dip my toes into the acting world. I was woefully unqualified. I went from doing local theater in Orlando, had the fortune to score a record deal, and started making music. This came along shortly after. It’s not like I had much experience under my belt whatsoever. I was grateful to be on that set. It was a dream come true because I was also surrounded by a bunch of people my age. It was the high school experience I wasn’t having in my real life that I was able to have for the months we made this movie. For me, TPD solidified the thought that this is something I want to continue to do if I am lucky enough to pursue it. I wanted to do whatever I could to get better at [acting] and find more opportunities.
Romance & Cigarettes (2006)—“Baby Murder”
MM: When you get a call from John Turturro saying he’s inviting you to be a part of this film and with this cast, it’s a no-questions-asked situation. It wasn’t an intentional pivot from me in terms of coming-of-age stories [after A Walk To Remember and Chasing Liberty]. I mean, this film has James Gandolfini, Susan Sarandon, Kate Winslet, Steve Buscemi, Bobby Cannavale, Mary-Louise Parker, and on and on. I was like, “Yes, I’d pay you to be part of this.” [Laughs]. Being on the set with these incredible actors for an irreverent musical felt like something I had never seen before.
AVC: Since you were spending time with such cool actors, do you have any memories with them or if there’s advice they shared?
MM: I spent a lot of time with Mary-Louise Parker, and she’s such a good friend to this day. I adore her deeply. I remember bonding with Bobby Cannavale, who was so kind to me when I was just this young person coming of age in the city. I remember watching a scene with Kate Winslet dancing on the street and being in awe of her. It was pretty freaking cool.
What I really remember, though, is going through my very first heartbreak, like the deep kind. I was bringing that pain to work with me because I couldn’t get around it. I remember James Gandolfini being like, “Who is this guy? Whose legs do I have to break?” He was so protective and fatherly despite our limited interactions. I was so touched by that. I was like, “No, no, it’s fine, I’m 18, this is what’s supposed to happen.” It was such a specific part of my life. I was in New York City by myself for the first time and I felt like such a big girl.
AVC: You’re also on the soundtrack for Romance & Cigarettes. What was it like to blend both your career goals into one project, and did it inspire you to do more of that in the future?
MM: Firstly, such great songs were chosen for the musical. I was discovering songs and artists through the soundtrack. It’s funny because I’m sure there are people out there who see I’m in something and go, “Ugh, does she have to sing in this one, too?” But I’m never someone who asks for it. It’s asked of me, and I think when it makes sense, it works. It made sense here obviously, it made sense narratively for This Is Us. I always have fun leaning into the musical side of things.
Tangled (2010-)—“Rapunzel”
AVC: I wanted to bring up your voice role because Tangled is one of the big projects you’re known for. But first, do you remember voicing your Dr. Dolittle 2 character, which is your first actual credit? And did you fall in love with voice acting over time?
MM: I don’t even remember Dr. Dolittle 2. It was so brief. It came up and I said, “Sure, sign me up, sounds cool.” I have no recollection of doing it. I did do a lot of voiceover work locally growing up in Orlando. I loved being in the studio. Plus, what little girl doesn’t grow up loving Disney and fantasizing about being a princess? The Tangled audition opportunity came up and Disney was going back to musicals with Alan Menken involved. It was a no-brainer, I had to get through the door and be involved. It’s a forever bucket list to be part of. I’m excited to show my kids those films when they’re remotely interested. We were at Disneyland recently, and it was fun to see Rapunzel walk around and think, “Oh my God, I can’t believe I’m a part of helping bring this to life on the screen.”
AVC: Is it more difficult to do these roles because you have to emote without having a camera visually on you?
MM: It’s certainly more freeing because you don’t have to worry about being gussied up for a camera to face you. You can do whatever it takes to get the job done. I love that I get to be both. I would feel creatively pigeonholed if not. You have to employ imagination while doing voiceover work, it has to come from within. Sometimes things elude description on the page, or even when the director tells you what your character is going through. The world is not in front of you. I remember for Tangled, so much of it seemed implausible. “She’s jumping out of the tower and rappelling down on her hair.” It’s not until I saw the movie’s finished product that I went, “Oh, okay.” But that’s the fun of it. I’m going to employ the childlike part of my brain to dig in and create it.
How I Met Your Mother (2007)—“Amy”
MM: They asked me to be a part of HIMYM and I said yes without even knowing what the part was. Again, like Grey’s Anatomy, I loved the show. It’s daunting walking onto someone else’s set but everybody was kind and welcoming. It didn’t feel scary and took away the nerves. It made me more cognizant of when I was on a show with guest stars, and I could tell myself to keep in mind how someone new feels walking onto an already established set dynamic. So I try to be as gracious as possible.
This Is Us (2016-2022)—“Rebecca Pearson”
AVC: Again, it’s not a random role at all, but I’d be remiss if we didn’t talk about This Is Us. Going back to when you joined the show, you hadn’t done a leading role in a TV show in a while. I think the last one was a recurring appearance in Red Band Society a few years before that. Were you looking to play someone like Rebecca?
MM: I’d had like four or five years of doing pilots that didn’t get picked up to series. Yes, I did Red Band Society but I wasn’t in the main cast at all. So I was pretty accustomed to being heartbroken. When I got cast on This Is Us and filming the first episode, [series creator] Dan Fogelman was excitedly explaining the plot twist to Milo Ventimiglia and I that the show wasn’t linear, we were going to jump timelines and go back and forth. I told him, “No, no no, I don’t want to know more yet because if it doesn’t work out, I’m going to be even more crushed, so spare me the details if you don’t mind.” I was so superstitious because things hadn’t evolved. It felt like I kept hitting roadblock after roadblock each year.
I was told that even though Rebecca isn’t a huge part of the pilot, she is, as you find out at the end of the episode, the matriarch. The way they imagine the series is that it’s very much a story about Rebecca, Jack, and what they’ve built. I was thrilled to be part of it. None of us knew what it was when we got cast. Ultimately, I remember getting to the second episode and it was so cool to see it play out. We couldn’t have fathomed it. It’s the old adage of all you need is one person to see that potential in you and give you that opportunity and unlock that door for you to step through. That’s what Dan did for me. He saw something in me and that I was hopefully capable of playing Rebecca as everything from a teenager to a 70-year-old woman and everything in between.
It was always really beautiful to see her at that older age. This woman lived such a tragic life in many ways, but she had such an incredibly rich life full of joy. I lean on that. We should all be so lucky. It never scared me or made me feel trepidation [to see myself at that age]. It felt like a privilege. How Rebecca met her end was not a happy one for caregivers and family members, I get that. But I just try to hold onto the sense of hope and the macro picture of her life.
I’ll never ever have something as satisfying as playing her. I knew that. It’s why I wanted to do Dr. Death as a “What’s the opposite of what I just did in TIU? Let me find that because I can’t keep chasing that show.”
AVC: Do you think it’ll be your career-defining legacy role?
MM: I hope I get to do other cool and fun stuff, but I understand what the breadth of This Is Us was and what it meant to people. That connection people had with the Pearsons and their story, and the connection we had to it, it’s so rare. I totally recognize that. It’ll not come along again. As any creative person, I hope I get to do more things that people remember, but who knows? If This Is Us is where it ends, I mean, I’m extremely proud of that.