GALO: On Grimm, Rosalee has quite a dark past. For example, she used to be a drug addict. Do you struggle with the character’s turmoil or does that element make getting into character more interesting?

BT: I think it’s the most fun and most interesting thing about her, hitting rock bottom and wanting to change her life.

Last season, we walked away from that backstory a little bit in a necessary sense that I think Rosalee’s really recreated herself here in Portland, being with Monroe, having these new friends. Rosalee doesn’t have any friends, these are her only friends and she’s chosen a new quiet, simple life with Monroe. And I think, it’s almost like she’s buried her past, and that’s what last season was about for her really, turning over a new leaf of vulnerability and letting love into her life. It was necessary not to really hit on that too much.

What I’ve loved so far about season three, and you haven’t seen it yet, is that her past leads back into her new fantasy life and the repercussions, and also with that she makes some major confessions. She has to bear her soul. We shot a really huge day yesterday, where you meet my mother and my sister, who I haven’t spoken to in seven years, and basically everything’s laid out on the table. I think it’s been a really beautiful journey of having to face your demons so far in season three for Rosalee. It all comes back. Why do we never talk about her drug habit again? I think it wasn’t appropriate to last season, but we’ve been dealing with it this season, which has been really cool.

GALO: You’ve worked with some amazing people, from Silas Weir Mitchell on Grimm to Matthew McConaughey. Do you think working with someone really talented can make you a better actor?

BT: Absolutely, I mean every experience is an opportunity to grow with your craft and to learn more about yourself. I’ve been blessed to work with the people I have. Everyone on our show is so good and so present, and professional and authentic. Silas is really special — he’s a special actor and I am lucky to be his partner on this. We just have a great natural chemistry together, and we both like to play and be there for each other on screen. It’s just been a really great experience working together.

GALO: I’m sure it was something of a jumping off point for you, but you’ve worked on TV shows, such as MTV’s Undressed that marked a different kind of TV from what we see now. People talk about shows like The Sopranos and Mad Men as evidence of a golden age of television that might have even surpassed the quality of films today. Do you think that TV might be the more dynamic medium to be working in right now?

BT: I think so. I love television. I am a huge TV buff. I love the serial format of it. It’s like reading a book. It’s so addictive, you’re just like, “oh, just 40 more minutes and I’ll be at the next chapter.” It’s so exciting and you’re so sad when it’s over — I have to wait a whole season. There are a lot of emotions in watching television. The intimacy of these characters in your living room and in your life is different than going to a movie. Going to a movie is fantastic. It’s the original experience of escapism in entertainment and nothing can beat going to the movies. It’s still one of my favorite things to do. I do think the quality of TV right now, it’s the renaissance — it’s the new golden age, and I’m thrilled to be a part of it in a way. We’re doing really special work with Grimm. We’re doing something different. I’m glad to be doing something that’s not conforming to a specific mold, especially in episodic viewing.

GALO: I’m sure it helps career-wise to be in Hollywood, but I wonder if there are certain parts that you might be excluded from due to geography. Do you think it is easier for an actor to live in NYC or LA? Can you talk about the different kinds of roles that are available on the different coasts?

BT: I think, honestly, if you are beginning your acting career and you want to work in film and television, then you have to live in LA. There are no bones about it. There are a lot of cool opportunities in NYC, but the business is done in LA, always has been and probably always will be. It’s pretty essential, if you want to have a real film and television career, to move there.

GALO: How important is it for a young actor to have an agent? Is it possible to move to LA and go on auditions or do you need some hook into the business?

BT: Unfortunately, it’s the evil catch-22 of the business. You have to have an agent to get work, but you can’t get work without an agent, so now what? I didn’t come with any daddy in the movie business; there was no nepotism with me. I do admit I had a special entry with my dance [and] that was a unique path, but you just have to hustle. To answer your question, yes, you have to have an agent, but you don’t have to have an agent before you move to LA. You move to LA and you get the trades, you do non-union work and submit yourself and you do your own mailings. It’s not [like you’re going to] be a guest star on Mad Men, you’re not going to get that without an agent, but you can do plenty of resume building work, [such as] short films, USC short films, grad school films, AFI films and plays.

There’s a lot of opportunity. Unfortunately, the current standard of work ethic of today’s youth is: I don’t want do any work, I just want to have it — and that’s really not how it works. I think you’ve got to come and put your game face on, and work hard and hustle, and don’t have an ego and say yes to everything – [you have to] get in class and work your ass off. I believe the cream always rises to the top. A lot of people think they have magic fairy dust and are going to book Modern Family as their first audition. I guess that does happen, but it’s not the norm and kind of what I said earlier — I just appreciate my own path because it’s allowed me to not get weird and [has helped me] understand how you have to work hard. It’s really satisfying when you get the opportunity that changes your career. You’re like, “wow, I deserve this,” and that’s a really cool feeling.

GALO: Many people speak of the difficult plight of millennials today, mainly in terms of the state of the economy. It seems that young people today are having a tough time pursuing their creative passions, and yet there is a great deal of new work being done by young people. Someone like American actress Lena Dunham comes to mind. Do you think it is getting harder or easier for people to pursue a career in acting?

BT: I think the amount of focus, effort and drive it takes hasn’t changed, and it will stay the same, but I think it’s a really cool time to be young right now. I feel like its inspiring. I think a lot of people are plagued with this immediate gratification issue, no matter what your age is, but on the flip side, it’s a truly inspiring time and there’s all this opportunity. There are no boundaries anymore.

Even when I started, it was like film was better than TV or doing commercials was beneath you — there were all these segregated lines and this hierarchy of work, and I just don’t think that’s the case anymore because great technology is so accessible now. Your camera phone is as good as any other camera. Digital film cameras, you can get [them] for so much less money than you used to. Everyone can make a movie now on a really high quality device. And that’s super cool. I think it’s exciting to be entering the business now.

“Grimm’s” Season 3, episode 5 “El Cucuy” airs tonight on NBC at 9/8c. For more information about the show or to catch up on past episodes, visit http://www.nbc.com/grimm/.

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Featured image: Actress Bree Turner. Photo Courtesy of: Adam Cantor.