Bringing her background as an independent filmmaker and musician to the set, Sofia Rosinsky offers a layered perspective on The Miniature Wife’s intricate rhythm and breathtaking production design. Sofia discusses the lessons learned from her co-stars, the influence of classic screwball comedies, and why the most unrealistic circumstances are the ones that reveal the deepest human truths.

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Working alongside veterans like Elizabeth Banks and Matthew Macfadyen on a high-concept project like The Miniature Wife must be an incredible masterclass. What was the most valuable lesson you took away from watching them navigate such a unique marital dynamic on Set?

Unfortunately, I didn’t get to see a lot of the scenes Matthew and Elizabeth had together, since Elizabeth was on her own soundstage filming with greenscreens, for the most part. However, they were physically together in the table reads, and it was thrilling to watch them work. I really admired their freeness, and willingness to get down in the dirt with these characters. They had total command over the room and could completely shift the energy of the scene with just so much as a smile, or a scoff.

The show explores power imbalances through a literal "technological accident." As the daughter in this family crisis, how does your character react to the surreal reality of her mother being the size of a doll?

Lulu is shocked, naturally. She can’t believe her eyes. But it's also the moment her emotional dam breaks, and she, for the first time in years, lets her guard down and allows herself to listen to her mom’s side of the story.

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Jennifer Ames and Steve Turner come from the high-stakes worlds of Boardwalk Empire and Goliath. How does that prestige drama translate into a story that features someone living in a dollhouse, is the tone more grounded than we might expect?

There’s an inherent darkness to everything Jennifer and Steve write. Even the most slapstick gag is rooted in some twisted truth. It’s part of what makes their writing so layered and fresh. Is this show grounded? For the most part, no, but it’s because when the stakes are this high, being grounded becomes unrealistic. That’s what makes it so true to reality, and human nature. It’s like they bring all these complex dynamics and beautifully developed characters, and then throw them into a comedic storm of epic proportions. It's next level.

You have a background as a filmmaker and musician. Does that behind-the-scenes perspective change how you view a set as massive as a Peacock original series compared to your earlier work on Paper Girls?

My sister Alexis and I have an independent production company together, Sisters Rosinsky, so I was so excited as a filmmaker to see how they would pull off something of this scale. The production design by Max Orgell was absolutely breathtaking. I had experience with greenscreens on “Paper Girls,” so I thankfully felt prepared to act alongside a tiny Elizabeth doll! As a musician, I thought that the score for “The Miniature Wife,” composed by Isobel Waller-Bridge, was just terrific.

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The premise of The Miniature Wife feels like a dark, modern fairy tale. Did you look to any specific cinematic or literary influences to help find the tone for your character?

For the tone, I rewatched a lot of screwball comedies from the 30s with my grandfather - “Bringing Up Baby,”“Arsenic and Old Lace,” etc. These films have heightened reality, and every. The added element is like pulling another block from a shaky Jenga tower. For Lulu herself, I tried to infuse her with some of Matthew and Elizabeth’s mannerisms and vocal patterns to start to feel more like their daughter.

The show examines the meticulous design of toy homes and the dream of being tiny, but through a much more complicated lens. If you were to design a mood board for the aesthetic of this series, what textures and colors would be on it?

Our production designer Max Orgell’s moodboards are stunning, and perfectly capture the show! But if I had to make one for “The Miniature Wife,” I would probably use a lot of dark blues and tomato reds. Texture wise, I might choose silk, or some kind of light-reflective material to capture the constant movement and changes throughout the series.

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As a musician, do you ever find that the rhythm of a scene helps you lock into a performance, especially in a show that relies on such specific comedic and dramatic timing?

An inner sense of rhythm definitely helps with comedic timing, especially since I’m not counting beats in my head when I’m in a scene. I do also enjoy listening to music before a scene sometimes, as I associate certain pieces with the character’s mental state.

If you had to describe this current chapter of your creative journey in one word, other than "miniature", what would it be?

Nomadic. My sister Alexis and I are independent filmmakers, and there are a lot of twists and turns right now, but we’re always on the move!

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With all 10 episodes of The Miniature Wife dropping at once on April 9th, what is the one thing you’re most excited for audiences to discover about the relationship between your character and her "miniature" mother?

It's a really fresh telling of a universal dynamic. I hope that viewers will be able to connect with Lulu and Lindy’s journey and see how listening and communication can make a difference, even in seemingly scorched-earth relationships.

The show is based on a short story by Manuel Gonzales. Did you dive into the original text to find clues for your character’s backstory, or did you prefer to start fresh with the script?

My character isn’t in the book, but I was able to draw a lot, tonally, from the brilliant short story. The script covers so much ground, in terms of character history, so I really relied on the scripts to learn about Lulu.

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CREW CREDITS:
Talent: Sofia Rosinsky
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director: Mike Ruiz
Photographer: Dani Sax
Fashion Stylist: Alison Hernon at Exclusive Artists
Hair: Michael Thomas Lollo at The Only Agency
Makeup: Tatyana Makarova at The Wall Group
PhotoBook Assistant to Creative Director: Mia Aponte
Fashion Stylist Intern: Malia Leonard
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview by Lily Kalbasz, Contributor, PhotoBook Magazine

Sofia Rosinsky on the World of The Miniature Wife