A rom-com veteran and a newbie director, Amanda Peet and Matthew Shear found ‘Fantasy Life’ together

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Amanda Peet has been consistently working on TV, but “Fantasy Life” is her first movie role in eight years. She delivers one of her best performances as a woman rediscovering who she really is, a performance that stands out alongside her work in films like “Something’s Gotta Give” and “The Whole Nine Yards.”

She says she never particularly noticed her absence.

In a recent interview, 54-year-old Peet explained that she hadn’t given the matter much thought. She believes the changing entertainment landscape, where the lines between movies and TV are blurring, has played a role. There are now more complex and relatable roles for middle-aged women in both mediums, and she’s always chosen projects based on the quality of the script.

In the new movie, Peet stars as Dianne, a former actress now living in Brooklyn with her husband, a musician who is focused on his own career. She develops a complicated emotional connection with Sam (Matthew Shear), a troubled young man they hire to help care for their three daughters. “Fantasy Life” is a gentle, thoughtful film, reminiscent of the realistic and dialogue-driven city comedies made by directors like Nicole Holofcener and Noah Baumbach.

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This film marks the directorial debut of actor Cory Finley, who’s previously appeared in acclaimed movies like “Mistress America” and “Marriage Story,” as well as the TV series “The Alienist.” It won two awards at last year’s South by Southwest festival: a special jury prize for Erin Peet’s acting and an audience award.

Peet was immediately drawn to the script, captivated by its portrayal of therapy and messy family life, and knew she wanted to join the project.

Peet was surprised and immediately interested when she first read the script. She said she knew she wanted to be involved, explaining that the writer, Matthew, had a unique and delightful sense of humor – one that felt similar to the New York Jewish comedy she enjoys – and she felt a responsibility to honor his vision.

I really connected with the film’s exploration of feeling obsolete, that fear of wondering when you’ve had your moment and still trying to embrace whatever comes next. It was especially striking to see those vulnerable feelings expressed through a character like Shear, who, at 41, seemed so unexpectedly open about his own insecurities.

Peet noted it felt strange that a male writer created this character, and that’s valid. People in creative fields often worry about how long their work will last, if it should even continue, and that constant uncertainty is something they experience frequently.

Peet says she’s surprisingly improved with age. Despite the challenges of being an older actress, she feels she now has a much clearer and more peaceful understanding of Hollywood and the entertainment industry.

I have to admit, while talking about finding some inner calm, I suddenly worried my husband would overhear and be totally confused! I can just picture him saying, ‘Wait a minute… what peace are we even talking about?’ It was a funny moment of self-awareness, realizing how unusual it might sound to him.

During our interview, Peet was in a Los Angeles hotel, taking a break from promoting the second season of the Apple TV series “Your Friends & Neighbors.” Shear joined us from a New York City law office – his father-in-law’s – just a short walk from his home.

Peet and Shear have a natural and playful connection, even when talking over video chat from different sides of the country. They often seem to anticipate each other’s thoughts, with Peet frequently completing or explaining what Shear means. And when things go well, he’s quick to give her the credit.

Wow, it’s been a really tough year for Blythe Danner. Since the movie came out, she not only lost both her parents after they went into hospice, but she also bravely fought breast cancer herself. She actually wrote about everything in a really moving essay for the New Yorker, and it’s just incredibly powerful to read.

Her writing is deeply personal and honest, sharing her experiences with a vulnerability and emotional honesty similar to the powerful, yet subtle, feelings conveyed in Peet’s recent work.

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Amanda Peet says her house often resembles a lunatic asylum.

Peet says she’s doing well now, but earlier this year, while at a film festival in Miami with Shear, she learned her mother’s health was failing. She had to leave immediately to be with her.

She’s been dealing with her mother’s situation for some time now. It was much more difficult when she kept it private. Having supportive people like Matthew, who she can both discuss work with and confide in about what’s happening with her mom, has brought her a lot of peace.

Shear started with a vivid image – a young man experiencing a panic attack while browsing the self-help aisle of a bookstore – and built his screenplay around it. His experiences as a babysitter for wealthy families in his twenties informed the story, as he often felt overly involved in their family issues.

I got the idea to cast Peet when a friend—who isn’t in the entertainment industry—suggested her. Once she read the script and signed on, even becoming a producer, the project really started to move forward. Her involvement helped us attract other cast members, like Nivola.

Shear describes it as a turning point. Having Amanda involved immediately attracted more interest in the film. From their very first conversation, Shear, worried about being a new director, was reassured by Amanda. She quickly shifted the focus to the script, saying, ‘You’re fine. Let’s talk about the script.’ And that’s exactly what they did.

Peet brought a fresh perspective to the characters and story beyond just her own part.

According to Shear, this actress offered insightful and helpful feedback on the script, even going beyond her own role to help improve the story. He notes that this is unusual, as actors aren’t typically known for offering such broad contributions.

After that, things moved very quickly,” Shear explains. “Amanda remained incredibly determined throughout the process, and she always believed in the project’s success.”

Peet also considered how her character could develop further and how her connection with Sam was evolving. While they share a significant kiss, their relationship is currently more focused on emotional connection than physical intimacy.

Shear chuckled, recalling one of the first directions he received from Amanda: to make the romantic connection between them more intense. He added with a smile, ‘And you didn’t think it was strange at all.’

“I was definitely weird about it,” Peet shoots back.

I loved the idea Peet came up with – having Sam help Dianne with a self-tape audition! It’s such a relatable struggle for actors, and it was a brilliant way to show how their feelings were developing and how quickly Sam was falling for her. It felt so real!

I recall thinking the film really needed a romantic element. It couldn’t just be about a nanny and a family; there had to be a shift from that initial, purely professional relationship – you know, ‘he’s the manny’ – to something more. It needed to build gradually, with the characters slowly realizing their feelings for each other, moving beyond just a business arrangement.

The movie offers a subtly welcome take on mental health, notably through Sam’s candid discussion of taking antidepressants.

Shear feels that many movies get mental health stories wrong. They often focus on extreme cases – people in institutions, dramatic suicide attempts, or characters like the Joker who stop taking medication. He wanted to create a story that showed what it’s really like for someone dealing with common mental health challenges in everyday life, and the specifics of that experience.

Peet appreciated that the script dealt with mental illness in a way that felt realistic and down-to-earth. He was glad it approached the topic without judgment, but also wasn’t preachy or trying to make a big statement. He believes that when tackling difficult subjects, it’s better to focus on humor and entertainment rather than showcasing the writer’s own cleverness. That’s the kind of approach he prefers.

Peet shared a funny story about being mistaken for actress Lake Bell, something that’s happened to her often – she says “like a million times!” She even recalls an instance on the red carpet where photographers were calling out Bell’s name, thinking it was her.

Peet chuckled, admitting it’s a strange situation. He wondered how to handle it in the most considerate way possible.

Originally, the scene involved a character recognizing Peet, but struggling to remember where they knew her from. After Peet mentioned to the director, Judd Shear, that she’s frequently mistaken for Kristen Bell, they changed the scene. The two actresses have actually discussed this happening, and Peet recently found out that sometimes people mistake Bell for her as well.

It’s so exciting to finally see “Fantasy Life” in theaters! The film had a great run at festivals like AFI Fest after premiering at SXSW last year, and honestly, as a fan, it feels like a real accomplishment. I know the director, Shear, is thrilled too – he’s been working on this for a while, and now he can finally dedicate himself to his next project, which I’m already looking forward to!

Peet perks up at the mention of Shear’s new writing project.

“Is there a part for me in it?” she asks earnestly.

“We’ll talk later,” Shear said. Seeing the look on her face – and worried he’d come across as uninterested – he quickly added, “It’ll be a good conversation, a really creative one.”

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2026-04-02 23:40