Allison Williams candidly admitted her teenage beauty regrets, from questionable bronzer application to using black eyeliner as an eyebrow pencil. “I’ve seen TikToks of people doing nostalgic early 2000s makeup, and it’s too close to home,” she confessed. “It’s exactly accurate.”
At 37, Williams has evolved significantly, both personally and professionally. After her breakthrough as Marnie, the ambitious yet often cringe-worthy character in HBO’s acclaimed series “Girls,” she pivoted to star in several successful horror films, including “Get Out,” “The Perfection,” “M3gan,” and its much-anticipated sequel. Today, her style is polished and flawless.
Her latest project, “Regretting You” (now in theaters), an adaptation of Colleen Hoover’s popular novel directed by Josh Boone, transports Williams back to her youth. She portrays Morgan, a woman in her thirties who became a teenage mother at 17. A devastating family tragedy forces Morgan to re-evaluate her life and her bonds with her 16-year-old daughter, Clara (played by Mckenna Grace), and an old friend, Jonah (Dave Franco). Through skillfully executed flashbacks, employing subtle de-aging techniques, Williams also embodies Morgan’s younger self.
During a recent morning interview at the American Museum of Natural History, Williams, daughter of news anchor Brian Williams and TV producer Jane Stoddard Williams, exuded adult sophistication in her stylish coordinated outfit and long coat. However, her composure shifted dramatically when she excitedly exclaimed, “Oh God, it’s just so cool,” as she marvelled at a Tyrannosaurus rex fossil. She shared how, as a teenager, she often suppressed her “theater kid” enthusiasm, but now, as a mother to a young son (with husband, actor Alexander Dreymon), she embraces her inner nerd with unreserved joy.
From left, Mckenna Grace, Dave Franco and Allison Williams in “Regretting You.”
“Regretting You” marks another imaginative journey back to her formative years. Following her time on “Girls,” Williams deliberately moved away from romantic lead roles, partly to demonstrate her versatility and partly because her character, Marnie, (and by extension, Williams herself) had become a focal point for online criticism. Taking a step back felt beneficial. Although Williams is keenly aware of her privileged background (and, she admits, not averse to leveraging it for perks like a private viewing of the museum’s Apex Stegosaurus), she now feels prepared to tackle roles that resonate more closely with her own life experiences than, for instance, portraying the inventor of a killer doll. “I want to explore the themes I’m discovering as I live — relationships, marriage, motherhood,” she stated. Notably, “Regretting You” even brought her father to tears.
During an extensive conversation held both within and outside the museum’s dinosaur exhibit, Williams frequently used terms such as “fossilized” and “excavate” as she delved into topics ranging from her career and motherhood to her capacity for impulsive acts like car vandalism. The following are edited excerpts from that engaging discussion.
I understand that when considering a new role, you ask yourself three key questions: Why this project? Why me for this role? And why now? How do these questions inform your decision to take on “Regretting You?”
“This film had a strong nostalgic pull for me, reminiscent of the types of movies that once dominated video store shelves,” she explained. “It seems I first needed to absorb the lessons from my horror roles, which helped me shed the ‘Marnie’ persona — a challenging process. After reading the book and script, I recognized Morgan as a somewhat demanding character, and I aimed to portray her experience with as much empathy as possible. As for ‘why now?’ In a world overwhelmed with challenges and constant stimulation, what I seek before bed is an escape into a familiar world where characters grapple with frustrating yet relatable situations. That, essentially, is the ‘Hooververse.’”
Can you tell us who Morgan is as a character?
“Morgan is essentially a character in a state of suspended animation,” Williams elaborated. “She became a mother at 17 and essentially paused her own life. She made a choice I wouldn’t have, dedicating herself to being Clara’s mom, her sister’s guardian, and her husband’s caretaker, without ever addressing deeper existential questions about herself. We meet her precisely when her daughter reaches the same age Morgan was when she got pregnant, and Morgan is fiercely determined to guide Clara through that pivotal period in a different way.”
Would you describe this role as an “Allison Williams type”?
“Initially, she shares similarities with characters I’ve portrayed before, being closed off from aspects of herself,” Williams responded. “However, the truly rewarding part was exploring her as those layers peeled away, truly feeling that vulnerability. Many of my previous characters maintained an emotional distance from the audience for much of the film, so it was a refreshing experience to openly express rage, sadness, and navigate every stage of grief.”
Thank you for giving a voice to the more tightly-wound female characters.
“Someone has to keep everything running and organized in this world,” she quipped. “Things simply have to keep moving forward.”
What is the appeal of portraying a tightly-wound woman as she completely unravels?
“It’s more than just fun; it’s exhilarating,” she enthused. “Honestly, I constantly have to rein myself in, to resist the urge to completely let go. I want to just break, to shatter, to shed the character and utterly fall apart. I particularly love moments with Morgan where she might smash up a car, then return home to scold her daughter for a missed curfew. That emotional contradiction feels incredibly authentic to me.”
Do you find such emotional releases in your own life? Living in Connecticut, away from the public spotlight, do you ever feel the urge, or have the space, to, say, vandalize a car?
“I’m not sure whose car, or how exactly, but yes, I think I could,” she mused. “I get overstimulated quite easily, and if I spent too much time immersed in the world without the ability to retreat to a quiet space, I know I’d be a less effective mother and partner. Anyone with a degree of anxiety understands the crucial importance of having that quiet escape.”
Reflecting on past interviews, I noticed that some comments were quite harsh, even vitriolic, with people expressing strong dislike. Do you understand the reasons behind such intense reactions?
“Absolutely, I understand it completely,” she affirmed. “Firstly, that ‘theater kid’ energy can be quite triggering for many people, which is precisely why I limit my singing performances to about once a decade to avoid becoming overly irritating. Beyond that, I recognize that I possess numerous layers of privilege, making it genuinely challenging to envision someone less enjoyable to root for. I’m far more satisfying as an antagonist. I truly, truly get it. While I’ve always cared about public perception, and still do, I can’t fault people for their reactions. Interestingly, I’ve noticed a shift: Gen Z seems to have a much more charitable and warm interpretation of Marnie.”
In your opinion, is Morgan a good mother?
“In the Winnicott sense, she’s a ‘good enough’ mother,” Williams replied. “She has a living, thriving daughter with strong morals and values, who is rebelling appropriately. However, Morgan herself doesn’t believe she’s as good a mother as she aspires to be.”
As a mother to a young son, what was it like to inhabit the role of parenting a teenager, even imaginatively?
“Imagination is certainly helpful, but the only true way to embody such a role is to connect it to a personal truth,” she explained. “Interestingly, the developmental stage most similar to teenagerhood is toddlerhood. Thankfully, I have many years to prepare and have access to wisdom from those more experienced than me. When developing Morgan’s character, I drew heavily on the experiences of people I know who became parents at a very young age.”
How did it feel to see a de-aged, teenage version of yourself on screen?
“M3gan definitely prepared me for it,” she chuckled. “M3gan herself is designed to be absolutely flawless and poreless, so anytime I had to share a scene with her, I found myself thinking, ‘I am so resentful of this perfection!’ That experience certainly broke me in. But truthfully, it feels fine. I was never professionally on camera at 17, but I distinctly remember what I looked like, and I’m genuinely content with where I am today.”
What are your thoughts on the fantasy aspect of reconnecting with someone who knew you during your teenage years?
“It taps into that unique nostalgia from when romance first truly awakens within you – that specific person, ‘fossilized’ in that moment, reappearing in your adult life and somehow still fitting the adult you’ve become,” she explained. “Often, though, what actually happens is you meet that person as an adult and think, ‘This is so strange that I ever had any romantic feelings for you.’”
Your previous horror films have often tackled significant social themes, such as racism, predation, or fears surrounding AI and murder dolls. What central theme does this new film, “Regretting You,” explore?
“I was just thinking how unusual it is to discuss a film without delving into a larger societal issue,” she mused. “Then I realized, ‘Oh no, there’s no issue more profound than loss and family.’ This film simply allows itself to be about grief, the complexities of parenthood, self-worth, and passion. It feels genuinely refreshing, almost like a balm.”