In the glittering haze of Hollywood’s relentless churn, where dreams are as fleeting as viral TikToks, Kirrilee Berger emerges as a beacon of unapologetic authenticity. Seated across from AMFM Magazine’s Paul Salfen in a conversation that crackles with raw enthusiasm, Berger dishes on her latest cinematic escapade, Peas and Carrots—a film that dares to whisper a radical notion: happiness isn’t measured in private jets or follower counts. Directed by Evan Oppenheimer, this whimsical tale follows Joey Wethersby, a quintessential 16-year-old New Yorker (if your quintessence includes parents from a ’90s one-hit wonder band), who tumbles nightly into a surreal alternate reality where dialogue is confined to the cryptic mantra “Peas and Carrots.” Amid this linguistic limbo, Joey grapples with evolving family ties, proposing they reform as a band—siblings included, much to her teenage dismay. It’s a story of rediscovery, rebellion, and rock ‘n’ roll redemption, wrapped in the kind of clever dialogue that Berger credits to Oppenheimer’s paternal affection for his three daughters.
Berger, whose performance as [character not specified in transcript, but inferred as a key role—perhaps Jezebel, given her mentions]radiates the film’s infectious joy, confesses she was “struck” by the script nearly four years ago. “Evan Oppenheimer’s writing is so beautiful,” she enthuses, her voice laced with reverence for a kindred spirit in prose. “I love the way that he writes dialog. And I thought the way that he writes women, it’s very fair. It’s clear that he loves his daughters.” In an era dominated by “hyper social media influencer, private jet billionaire times,” as Berger aptly dubs it, the film’s core message—do what makes you happy—feels like a timely antidote to the capitalist grind. “It’s such an important message that we need to okay to live a slow life,” she says, her words a gentle nudge toward simplicity in a world obsessed with excess.
The set of Peas and Carrots wasn’t just a workplace; it was a forge for lifelong bonds. Berger reunites with childhood friend Lola Remen (who plays Jezebel), their history dating back to a framed photo from Berger’s eighth birthday party. “We’ve actually known each other our entire lives,” she reveals, the serendipity underscoring the film’s familial warmth. Newcomers like Faith Gayle (as Mary) and Dan Thompson (as Dylan) have since become “two of my best friends,” while even the hair and makeup head, Clare Coleman, joins the inner circle. “We became such a family on this set,” Berger reflects. “It was a joy to come to work every day. I woke up at 5:30 in the morning, every day, leaping out of bed. So excited.”
Yet glamour comes with grit, and Berger’s journey on Peas and Carrots tested her resilience. A professional dancer turned actor, she faced a literal break when she fractured her ankle mid-production. “I was in tears when I found out my ankle was broken,” she admits, not for fear of losing her dance career, but because she worried, “Am I going to be able to film today?” Defiant, she was back on camera three hours later, embodying the tenacity she preaches. “You have to love it,” she insists, offering hard-won advice to aspiring artists. The industry is brutal—rejection, unemployment, and emotional lows are par for the course. Her counsel? Secure a day job, train relentlessly, and safeguard your mental health. “If you can pick yourself up after that, you can be successful in this industry.”
Musically inclined, Berger’s debut album, Stories, Lies, Allegories and Fables, mirrors the film’s eclectic spirit—a folk-rock blend with pops of soul and gospel. One track, “We Could Have Made Movies,” was penned amid filming, drawing from the movie’s meta-musings on creativity. “It’s heavily inspired by some of my experiences that I had, filming Peas and Carrots,” she teases, bridging her dual worlds of screen and sound.
As Peas and Carrots hits theaters on October 3rd—a “Hail Mary moment” Berger equates to a lifelong pursuit culminating in an AMC screening—she’s already eyeing the horizon. “I’ve worked my entire life for this moment,” she says, gratitude spilling over for co-stars like Jordan Bridges, Amy Carlson, and breakout Callum Vincent. Her success mantra? “Live as if.” Envision your ideal life—gym routines, coffee-shop script sessions, even thrifted wardrobes—and embody it now. It’s a philosophy that dovetails with the film’s ethos: eschew societal pressures for personal fulfillment. “You do not have to make millions and millions of dollars to be happy,” Berger insists. “If the dream of your life is to be a bookkeeper in rural Maine, you can totally do it.”
Looking ahead, Berger hints at “potentially cool collaborations” in music and stars in the upcoming thriller Dead of Night, directed by Derek Sully alongside Dermot Mulroney and Scott Grimes. But for now, she’s rallying her “village” to the big screen, where movies like Peas and Carrots belong. In a landscape of streaming silos, this theatrical triumph reminds us: sometimes, the simplest words—”peas and carrots”—can unlock the most profound truths. Catch it in theaters; your inner dreamer will thank you.
Paul Salfen is the host of AMFM Magazine’s celebrity interviews, bringing unfiltered conversations with Hollywood’s rising stars.
