Annabeth Gish is no stranger to the crime genre, having made appearances in Double Jeopardy, Texas Killing Fields, CSI, Law & Order, Criminal Minds, and Sons of Anarchy to name but a small few, which stands her in good stead for playing Billie Riggs in John Swab’s hard-boiled thriller Little Dixie.
A fixer of sorts that operates as the go-between standing in the middle of Eric Dane’s corrupt senator and the Mexican drug cartel financially backing his campaign, it’s a different spin on a formula the actress knows all too well. With Little Dixie now available in select theaters, on-demand, and digital, We Got This Covered had the chance to speak to Gish about her involvement in the film.
On top of that, we also cover her hot streak of appearing in several TV shows that can be named among the greatest of all-time, her ongoing collaboration with Mike Flanagan, hit fantasy series Mayfair Witches, and the news she’d joined the cast of Succession for season 4, which you can check out below.
Obviously, the crime genre is something you’re very familiar with, so what was it about Little Dixie that stood out to you as a performer, especially one that’s already tackled the genre in many different ways both in film and TV?
For me, it was an opportunity to join in the efforts of John Swab, who I think is really creative. And on the pulse of something, something new and old at the same time. It was joining Frank, and John Swab, and Eric Dane in this new way for me, because I got to play kind of a combination of a political – like my character in The West Wing – political advisor within a dirty cop.
So it was like Sons of Anarchy and West Wing, mixed together. And I was excited to join and work with Frank. Honestly, I have always admired Frank for his work ethic and… he’s just prolific, tireless.
Dancing around spoilers, Billie’s story doesn’t turn out the way you might expect given the way she’s introduced and her role in pushing the story forward, did that take you by surprise reading the script or were you fully aware of where things were heading beforehand?
Absolutely. I think the unpredictability of who she really is, the role she plays in the cartel story, and then how her storyline… continues, shall we say? Yeah, it’s surprising. It’s not even obvious at first. It’s like a, “Oh, how’d that happen,” kind of a thing. And I think people will want more of her.
I spoke to John last week, and he prides himself on the culture he’s created on his sets for both the cast and crew. From an actor’s point of view, what is it about working with him as a filmmaker and collaborator that stands out for you?
Well, I think there’s a functionality and there’s efficiency that comes along with this type of filmmaking, because it’s a reduced lower budget. Because the day-to-day shoot is limited, you have to be ready to run and gun, and bring it. But at the same time, that’s when you know that without apology, it just fosters a sense of productivity.
I think that’s really fun. It was fun to shoot. John knows exactly what he wants. And he is a director with a lot of sensibility, but also a lot of vision. So it’s great when your director knows exactly what he wants.
John has gathered a number of actors who appear in many of his projects, does your experience on Little Dixie leave you open to being added to that list?
100 percent. I really, I very much enjoyed working with him and his crew, I very much enjoyed working in Tulsa, which again, I love the fact that that is where he’s from, and he’s kind of building this whole world of production. So yes. In fact, I’ve already reached out to both Jeremy and John, saying I’d happily join another one of their ventures any day!
Is it comparative to working with Mike Flanagan, because you’ve been part of that group for a while now. He’s sort of built up that kinship with lots of regular collaborators that will jump at the chance to work with him. Is John going to be one of those names? If the phone goes and it’s him on the other end, it’s going to be a “yes” straightaway.
Well, you know, yes. And listen, I think that’s a trend now, because I think people are getting tired of bullshit, right? Like, if you find people that you like to work with and have the same sensibility and ethos of work, then it becomes like a repertory company where you want to go to work with these people instead, because there’s no drama, there’s not all of this “who has the biggest trailer” and all of that stuff.
It’s just it’s like the love of cinema, and the love of telling a good story. And if you find those people that you want to keep doing that with? Hell yes. I think that’s why it’s happening more and more, you find that people are rehiring. It’s just when you find a good thing that works, you keep it going.
There’s a false sense of security that defines the first act of Little Dixie in the way the characters are introduced before their fates are revealed one by one in ways you won’t predict. It’s definitely going to catch audiences off-guard when they see the film. Was that unpredictability part of what drew you to the project?
Yeah, I mean, I suppose it was all on the page. And that’s really John’s responsibility as the writer/director, because clearly, my character doesn’t know what’s going to happen to her. Billie knows she’s playing a dirty game.
I mean, she’s playing with the cartel. So she probably had her own sense of false security. But that’s what makes it exciting. When you know something that your character doesn’t know, you cannot give it away.
Mayfair Witches has gotten off to a strong start and fans have really taken to it, but is there any bittersweetness on your part to be on the outside looking in after what happened to Deirdre?
I know, right? Well, that’s a perfect metaphor, also for my character. Dierdre. Because in Mayfair, she’s lost 18 years of her life to a drunken stupor. You know, she was always outside looking in. And yes, there is.
I mean, I think the show is definitely going to have another season. And who knows, Dierdre may come back, but I am just so happy that I was a part of it. Because I was such a lover of the initial Witching Hour novel.
As well as being a fan of the source material, was it the chance to do something different that drew you to it as well? Because fantasy isn’t really something you’ve done all that often in the past?
It’s true, I haven’t, no. And this is kind of an interesting crossover between the horror genre and mystical fantasy, and I would love to do more fantasy. I think I’m gonna take a pause on the horror for a minute, though, I’ve done a bit of that lately. And now I’m really into the more uplifting!
You’ve also joined the cast of Succession for season 4. Even as someone who’s appeared in a handful of the all-time small screen greats, what was that like to come in as a newcomer on a show of that scale that’s already being called one of the best ever?
It’s both an honor and terrifying at the same time. It is an honor to join something that I like very much. Like, you’re right, I joined The West Wing, I joined The X-Files. I joined Sons of Anarchy. I’m a joiner, apparently! It was kind of, it’s already established, the success of it. So it’s a gift. But then, you better bring your A-game, you know, because you’re playing at the top. So it definitely keeps your cortisol levels high!
You’ve built up a varied and eclectic filmography, but are there any genres or stories you haven’t told yet that you’re actively looking to tick off?
Well, you know, what I’m doing right now currently is working at a modern Western, and it is fun. It’s great, I’ve got a little Texas twang, and getting the cowboy boots. And I’m thrilled to do that. So I’m here for the ride!
Little Dixie is now available in select theaters, digital and on-demand, and be sure to check out our review of the movie here, as well as our exclusive interview with writer/director John Swab.