The PREACHER TV series follows the lives of Reverend Jesse Custer, Tulip O’Hare, and Irish vampire Cassidy as they encounter angels, vampire hunters, and psychotic businessmen. Not only that, but Jesse now has “the voice of God,” a power where he can control people with the sound of his voice. The series has been hugely successful, and production company AMC has commissioned a second season. We got to talk to Sarah Minnich, who plays Sindy, who works at the Toadvine (a brothel of sorts) about her experience with the show.

ComicsVerse: Were you aware of the PREACHER comic series before the TV show was put into production?

SARAH MINNICH: I actually have not read the comics. In all honesty, I’ve never been much of a comic book fan. I’m more of a long fiction fantasy fan (e.g. the Game of Thrones, The Passage, or the Outlander book series). Recently though, I started reading the first part of the PREACHER comic series. The comic book format has taken some getting used to, but I plan to have it finished in the coming days.

CV: How did you get the role of Sindy?

SARAH: I actually went in for two other roles prior to booking Sindy; so by the time I did book, I was soooo ready to get onto the show. Casting is generally a pretty uniform process. An actor gets an email from his or her agent outlining an audition, location, time and sides (sides are the pages of lines that are to be read). The actor responds with an “I’ll be there” or a “Can we reschedule” or a “Will the casting director take a self-tape,” depending on his or her availability/conflicts/etc. Assuming the actor can make the offered time and location, he or she begins prepping the sides (usually a night or two before the audition is to take place). If the actor is lucky, he or she has a reader to practice with. If not, he or she must memorize the lines without having another person to provide the cue lines/actions/etc…that can be tricky. For the auditions that I did for PREACHER, I was fortunate enough to have my boyfriend to read lines with me, so the memorization wasn’t a big deal.

On the day of the audition (which was the same day as the callback), I spent an hour or so doing hair and makeup (I went for a promiscuous mourning look since Sindy is a Toadvine girl reading from the Bible at a service for her friend). When I arrived to the audition, there were 4 or 5 other girls there reading for the same part. I greeted them briefly, signed in, and sat in a corner. This is where I started to try to cry. Sindy is supposed to be crying and mourning her friend; to do this, I had to get into that headspace. I literally sat in the waiting room and cried for 5 or 10 minutes before the audition. Normally, I make conversation and try to have fun in the waiting room, but for auditions like this one, it is important to prepare the mood ahead of time.

Photography by Lesley Bryce
Photography by Lesley Bryce

Eventually, my name was called and I entered the room with tears in my eyes and a fairly somber mood. I greeted the casting director, Kiira Arai (love this woman, by the way!), and her assistant, and went to my mark. Pretty quickly, she cued me to begin. I read through my scene and was fairly happy with how it went. To my great chagrin, Kiira asked me to come back later that day for the callback. At the callback, when I walked into the audition room, I had a moment of internal laughter when it looked like the producers and first assistant director were actually concerned about my mental state. Ignoring this, I went to my mark and waited for Kiira to cue me to start. She cued me pretty quickly again and then I began. After I finished reading and the camera had cut, I looked to the couch where the producers and first assistant director were sitting and gave them a big smile and some of my outgoing personality… I think they were relieved that I wasn’t actually a basket case, and maybe impressed that I had come in the room so deep into the character. They asked me to read once more with a note or two (I don’t even remember what the note was). They thanked me, I thanked them, and then I made my exit. I think it was 72 hours later that I heard from my glorious agent Carissa Mitchell that I booked the part.

READ: We interview PREACHER actress Jodi Lynn Thomas!

CV: Could you tell us a little bit about her?

SARAH: Sindy is one of the Toadvine girls (a nice way of saying that she’s one of the prostitutes). We first see her in episode 4 of season 1 when she is reading from the Bible at Lacey’s informal funeral service held at the Toadvine house. She reads a parable that talks about “the revenue that comes by the strength of the ox.” When Tulip questions what oxen have to do with anything, Sindy snaps a quick reply and storms off to collect Clive and retire upstairs. Once upstairs, Sindy and Clive hear a ruckus and come out of their room to find that Tulip has thrown someone out the window thinking that it was Clive. Stunned, Sindy and Clive stare awestruck at Tulip as she realizes her mistake.

Although I cannot say much about Sindy’s future endeavors on the show, I can say that viewers should keep an eye on all of the Toadvine girls, as they may very well play a role in the coming shenanigans.

CV: Sindy works at Toadvine. How does she handle the death of her co-worker, Lacey?

SARAH: Sindy is very saddened by Lacey’s death. Not only was Lacey her friend, but her death also represents the futility of the life that Sindy is living. Being a Toadvine girl takes quite a toll, and to be rewarded with a messy and undignified death like Lacey’s is quite the depraved conclusion to a life that might have been full of potential. Sindy is very aware of this and the fact forces her to reflect on her own choices and life situation.

CV: Tulip isn’t happy with the way everyone at Toadvine is treating Lacey’s death. What does Sindy think of Tulip?

SARAH: Sindy finds Tulip to be a bit out of her league. Sindy wonders why Tulip has anything to say about the girl’s lifestyle when she is not in it herself. When Sindy leads Tulip away, she has simply had enough of the argument at hand and just wants to get on with her job.

CV: Clive seems to be a regular with Sindy. Do you think she likes him or is he just someone she uses?

SARAH: I think that Sindy is very stuck in her life as a Toadvine girl. She is resentful of her work and is doing what she must to get through the day. When Lacey passes and Clive becomes Sindy’s responsibly, Sindy is simply rolling with the punches, doing what she must. Although she is not particularly a fan of Clive, she knows that she must do her job and service this paying customer. I think that there is also an element enjoyment in Sindy’s newfound center of attention; Sindy may not like what she does, but at least she is getting attention in a world where she is just another warm body.

Photography by Lesley Bryce
Photography by Lesley Bryce

CV: Could you describe what a typical day on set is like?

SARAH: Sure! There is usually a fairly uniform process to working on a film or TV set. Typically, an actor arrives approximately 10 minutes before their “calltime.” A calltime is the hour at which you are expected to be in your trailer or in the makeup trailer, ready to begin prep. During those 10 minutes, the actor can hit up catering for breakfast and then report back to his or her trailer.

Once in the trailer, the “basecamp PA” will come to collect the actor to report to makeup or sometimes costumes. Once in the makeup trailer, the actor spends between 15 minutes and 2 hours having their makeup done. On some sets that require elaborate costume makeup, the process can take up to 8 hours, such as on GAME OF THRONES during the filming of “the children of the forest” scenes. After makeup, the actor typically reports back to his or her trailer to dress. Some actors dress before makeup, some after. Then begins the waiting. Sometimes, an actor is called immediately to set after finishing in the makeup trailer; sometimes, he or she must wait for a period of time. There have been occasions where I have waited to be called to set for upwards of 7 hours. It just depends on how quickly the production is moving, and how far off they are from working on the specific actor’s scene. On longer waits, the actor is “broken for lunch” and allowed to go to the catering line to eat.

Once the actor is called to set, he or she does a rehearsal with the director (sometimes called a “blocking rehearsal”). After this rehearsal is complete, the actor is taken to his or her chair, or to the “crafty” carts, to wait for filming to begin. During this period of waiting, the camera and lighting departments are getting set up for the shot. Usually, this is when “2nd team” or the “stand-in” actors work. After a period of time, AD collects the “1st team” (the actor) and everyone takes their places. Either another rehearsal is done or the production moves straight to shooting. Sometimes, a director will call for a “rolling rehearsal,” which is technically a rehearsal, but the cameras and sound are rolling in case it’s good material. After the 1st take, 2nd take, and so on, the director works with the individual actors to achieve the scene, sometimes giving direction and sometimes simply requesting everyone to go “back to one” (meaning, back to your first mark to start the scene over again).

Eventually, the director and producers in the director’s tent decide that they have what they need and call “moving on.” If the actor is in the next scene, he or she goes back to his or her chair to await another blocking rehearsal. If the actor has finished, he or she goes back to his or her trailer to change clothes and pack up for the day. Once the wardrobe has been removed and hung back up in the trailer (some actors make the mistake of leaving their wardrobe all over the floor of their trailer, which is terribly rude and unprofessional), the actor can return to makeup to have any prosthetics or makeup removed. After this has been completed, the actor finds the basecamp PA and signs out. He or she is then free to leave.

LISTEN: Want to find out more about PREACHER the comic? Check out this ComicsVerse podcast!

CV: TV and film comic book adaptations are becoming more commonplace. Are there any other comics that you think would make good films or TV shows?

SARAH: Since I have never been much into comics in general, I can’t really answer this question as it is written. I am, however, big into reading fiction. There are so many books that I would love to see made into films. Some of the books that I want to see produced are apparently already in the works, but these things can take a lot of time to get going. One such book, one of my favorites, is called Shantaram. The screenplay rights are all set, but the project has been In-Development since 2004. Same goes for The Passage, an amazing book series by Justin Cronin, In-Development since 2007. These are the kind of projects that I think would make incredible films and/or TV shows.

CV: Sarah, it’s been a pleasure to talk to you. Thank you so much for your time.

If you want to hear more from Sarah Minnich you can follow her on twitter here @sarahminnich. You can check out the PREACHER TV series on AMC on Sundays at 9/8c.

Show ComicsVerse some Love! Leave a Reply!

Check Also

The Irish in Comics Part 1: Ten Irish Comic Characters

America is home to many cultures, with Ireland being among the most prominent. So how do A…