Photos by Chloe Horseman
Moves: With The Westies, what originally drew you to the role of Bridget and the crime drama genre? Would love to know of your experiences on set.
Sarah Bolger: What drew me to Bridget was how difficult she is to pin down. She can be incredibly loyal and incredibly hardened, but underneath that toughness is someone carrying a great deal of guilt and grief. Those contradictions are always exciting as an actor because they feel true to life. Crime dramas are full of people making choices they can justify to themselves, and I think that’s what all these wonderful characters struggle with. As for the experience on set, every day was a joy. The cast and crew were deeply invested in the world and the history behind it, which raises the standard for everyone. It’s always a gift when you’re surrounded by people who make you want to do and be better.
How did you get the role of Bridget Walsh?
I read the script and immediately wanted to know more about Bridget. She’s one of those characters who reveals herself slowly, and I found that really intriguing. The deeper I dug into the material, the more invested I became in being part of the project. I auditioned for it and thankfully they chose me.
The Westies explores a fascinating chapter of New York’s criminal history. What do you find most compelling about Bridget’s place within this story?
Oh the most fascinating chapter! It was one I wanted to fully dissolve into as an actress. What I find most compelling about Bridget is that she’s constantly caught between who she was and who she’s trying to become. She arrives in New York hoping for a fresh start, but very quickly realizes you can’t outrun yourself. The choices she’s faced with are different, but the moral compromises aren’t. That’s what I loved exploring—that tension between redemption and survival.
As someone who was born and raised in Dublin, did your Irish background give you a unique connection to The Westies and the story of an Irish-American gang in New York, or did it challenge any assumptions you had about that history?
I actually think In America was my first exposure to the Irish-American story. I was ten when we made that movie, and it was set in Hell’s Kitchen, so there’s something quite funny about finding myself back in that neighborhood years later through The Westies. They’re obviously very different stories, but both are exploring questions of identity, belonging, and what people do to build a life for themselves in New York.
You’ve played memorable characters ranging from Princess Aurora in Once Upon a Time to Emily Thomas in Mayans M.C. How does Bridget compare to some of the roles that have defined your career?
I’ve been so lucky to play the most amazing characters. Bridget feels incredibly grounded to me. She doesn’t have the luxury of seeing the bigger picture. She’s making decisions moment to moment, based on the information she has and the people she loves. I tend to be drawn to characters who are trying to navigate impossible situations rather than characters who have all the answers.
Having started acting at a young age in films like In America, how has your relationship with the craft evolved over the years?
I think when you’re younger, you’re often focused on getting things right. As I’ve been lucky enough to continue in the industry, I’ve become more interested in understanding why people do what they do. Right or wrong. That’s where the interesting work tends to live for me now. I’ve also learned to trust that preparation and spontaneity can coexist. I still obsess over the script, but it used to live in my hands. Now it lives in my imagination.
You’ve played in many genres including horror with The Lazarus Effect, fantasy with Once Upon A Time, and historical drama with The Tudors. What has been your favorite so far and what would you like to try?
The truth is I love bouncing between genres. It’s one of the joys of being an actor. And I love period pieces. Historical dramas do satisfy the part of me that loves research, horror is great because it can be so physical, and fantasy asks you to fully commit to your imagination. But some of my favorite performances are from actors who can make you laugh and break your heart in the same scene.
You’ve spent most of your life telling stories through different characters and eras. When you look at where you are today, what continues to excite you most about being an actor, and what stories do you still feel compelled to tell?
Every project introduces me to a world, a profession, or a perspective I knew very little about beforehand. The stories I respond to most are the ones that force us to look at people we think we understand and discover we were wrong. I’m increasingly interested in stories that sit in moral grey areas. Characters who are contradictory, who make mistakes, and who are trying to figure things out just like the rest of us.
Irish actors have had a remarkable impact on film and television globally. Why do you think Ireland continues to produce so many great storytellers?
Storytelling is such a fundamental part of Irish culture. I grew up singing, reciting poetry. Whether it’s literature, theatre, music, or just conversation, we’re raised around people who know how to tell a story. I also think Irish people are naturally curious about human behavior. We love observing people. We love talking about people. Acting is really just an extension of that curiosity.
