Four years. That’s how long it took Sandra Oh, known to many as Dr. Cristina Yang on Grey’s Anatomy, to claim her next great role. That’s not to say the Golden Globe winner hasn’t kept busy since leaving the mega-hit Shondaland series. In fact, she’s been hard at work, jumping from one interesting character to the next on TV and in film, including a stint opposite Regina King on American Crime last year. It’s a period Oh refers to as “actively waiting"—she'd reached a point in her career where she felt confident saying no and holding out for “the right thing.”

It’s a comfortable position for an actress to be in, particularly a woman of color in an industry where opportunities are already slim. But for Oh, 46, it held an even greater significance. It was the culmination of a near three-decade career, an opportunity that enabled her to channel her power as a creative in to taking on the role of star and associate producer of Killing Eve.

In the new BBC drama, Oh plays Eve Polastri, an MI5 security officer whose latest case takes her away from her typical desk duties and into the center of a dangerous pursuit for a cunning assassin, a woman known only as Villanelle (Jodie Comer). As Eve draws closer to her target, she becomes seduced by the power of the chase, and the thrill of using her instincts. On the surface, Killing Eve looks like the classic spy thriller, right down to its European setting, but this is a smart, consistently stunning, women-led narrative that refuses to play by the rules of the genre.

While watching Killing Eve, it’s hard not to notice the parallels between Eve and Oh, both of whom have recently taken giant leaps in their careers to pursue what makes them feel most alive—what makes them feel most seen. Here, the infectiously pleasant Oh talks to BAZAAR.com about this empowering new stage in her career, navigating the “bullshit” in Hollywood, and embracing her fears.

Harper’s Bazaar: I love Killing Eve. It’s so good to see complex women characters in power on the small screen. And of course, it’s always good to see you on TV.

Sandra Oh: That’s one of the many things I love about the show—its complex women characters. You see women in their 20s, 30s, 40s, and 50s all interacting with each other, all the decades of a vibrant life represented by slightly different characters. I am just really happy about that.

HB: I first heard you talk about this series when you were on the “Women Breaking Barriers” panel at Sundance in January. You said this is the role you felt most empowered by, and that really struck me. What made this role so impactful for you at this point in your career?

SO: The whole process, even before deciding to take this part, was empowering. The point when I decided to leave Grey’s and the time since then has been extremely creative—not necessarily regarding output, but exploring the empowered place of waiting. It’s like, “I’m going to wait. I’m going to say no. I’m going to wait,” because I am able and privileged at this point in my life and in my career to make choices. My four years approaching saying yes to this show were also empowering. I was filled with doubt, nervousness, and anxiety, but I felt like I wanted to practice staying true to what I wanted.

When this opportunity came about, there were so many elements that were exciting to me. I have a producing credit on this piece, which made the creative process even more empowering. I also really appreciated that the team I’m working with is curious about and welcomes my opinion. From top to bottom, how I approach the work from the script stage and how I am involved with the creator [Phoebe Waller-Bridge], to how I am with the crew and my fellow actors, to how I am with you at this very moment—I felt extremely empowered by all of this. This show, this experience, demanded everything. I was waiting for it to be able to give, and I did—I have given my all to it. I continue to, because I believe in it. I feel like this entire experience was very much an embodiment of the last 30 years. I feel like I’ve worked to get here, to even get a chance to speak to you. I’m really happy that you’re interested in the show.

"Waiting is not a passive thing."



HB: It’s a wonderful show that explores women coming into their power in very fascinating—and even uncomfortable—ways. And it sounds like it came at a perfect time in your career.

SO: It is entertaining and thrilling, and I’ve gathered a lot of meaning from it, especially having had a very collaborative working relationship with a team dominated by women. To be able to bring this show to the world, to the people who are messengers like yourself—it reassures me that I’m on the right path.

HB: The characters are so interesting, and it’s less about their likability or how they’re satisfying a particular agenda. It’s more about how emotionally naked and savvy these women are, even with each other. Eve is no exception.

SO: That’s really, really well said. The more you can hit that mark as a performer, the more you’ll be able to relate to an audience. If we don’t bring out a richness to the character, it won’t keep your attention. I think because this is the type of show that is interested in the women, the actresses playing it want to give it their all.

HB: That definitely comes across on screen. Another thing I love about the show is your character’s relationship with the villain Villanelle, an assassin Eve becomes obsessed with. Villanelle, in turn, becomes obsessed with Eve. It’s very interesting to see a woman like Eve, who prides herself on her strength and control, almost willfully lose that control and become Villanelle’s prey—and how you interpret that through your performance.

SO: Eve really goes down the rabbit hole and she starts falling and losing pieces of her identity. It’s fantastic to play someone who’s losing perspective and changing. That’s something I wanted to explore as a woman. I’m beautifully exploring this midsection of my life, when a lot of belief systems are settled and have become tired principles. But if we’re lucky, we get an opportunity that will shake us up. This is one of the reasons why I wanted to do this part. Eve’s relationship with Villanelle ignites her vitality. Villanelle sees Eve in a way she is not able to see herself yet.

Oh and co-star Jodie Comer, who plays Villanelle BBC America

HB: There’s so much about how you’ve described Eve’s trajectory and her journey that mirrors this point in your career. You left behind a sense of familiarity to chase something new that thrilled you.

SO: Oh, now I feel exposed. [Laughs]

HB: No, it’s a very good thing! It really brings things into perspective. I’ve always been amazed by the variety of characters you’ve portrayed and the way you’ve directed your career. For someone who’s been in the game for so long, you continue to pleasantly surprise your fans. Particularly as a woman, and as a woman of color, what do you credit that to? How do you avoid typecasting, for instance?

SO: Earlier in my career, I made the conscious choice—when I was around 28—that I only want to play roles that are central to the story. So, I had to say no to certain things, and I had to say yes to other things. It’s trying to get closer and closer to that inner voice that asks, what is interesting? What is igniting me? What do I feel aligned with in my life and in the character’s life? I try to find that match. It’s really not about typecasting for me. I was even trying to find that match with Eve, asking myself, “Is she the right one? Is this the character I’m supposed to play?” I just think it takes time and experience and the ability to wait, and faith. Waiting is not a passive thing. It’s an active thing. I’m still doing my work. I have this creative collective. I take classes all the time.

"I’m exploring this midsection of my life, when a lot of belief systems are settled and have become tired principles. If we’re lucky, we get an opportunity that will shake us up."

HB0: Oh wow, you still take classes?

SO: I’m a big class taker. I’m a big workshop taker. I do it to cultivate closeness to the craft. It transcends a lot of the bullshit we have to deal with and it can change your point of view creatively so that you feel freer. If you are not beholden to studio A, or if you’re not beholden to a place of bills (and I know that I am speaking from a place of privilege), then you can just be freer. I am free of the things that would hurt me before. For example, why am I not getting A, B, C role? Is it because I’m not pretty enough? Is it because I’m not white? Is it because I’m too old? I could go down any of those roads, but I just really work hard to not.

HB: I think, even as frustrating as it can be, there is power in saying no and power in waiting, like you said. In waiting comes strength to be able to claim what is right for you—regardless of how much time it will take to get there.

SO: Absolutely. In the midst of waiting, there is everyone else telling you A, B, or C, and you just have to find your own voice. I think it comes with age and experience. I feel good with exactly where I am right now.

HB: That’s a great place to be.

SO: Oh, the 40s are good. I understand what’s going on. I’ve got some experience under my belt. But I still have a lot of energy.

HB: Do you think that the landscape in Hollywood has evolved since you first started out, pre-Grey’s and pre-Sideways, as words like “diversity” and “pay equality” have become a part of the conversation?

SO: Well, the conversation is happening. Whether the action is remains to be seen. I will say from the Asian-American perspective, it’s woefully slow. Like, painfully slow. The way that I’ve had to deal with it is to try to find a completely different way of looking at it, to think about what being an actor is all about. Is it trying to fit into this paradigm? Why am I trying to get into a room where they don’t want me? I always feel like, why wait for a call from a guy who’s not into you? There’s a structure here where these people get to go to a party. It has always been this way.

I’m really trying to change my point of view and approach to my work with the paradigms that Hollywood has set for all of us. I’m focusing on my work and either people will respond to it or not. What I would say to actresses of color is to really be honest about why you’re in the game. Is it to have a zillion followers on Instagram? Is it to be on thousands of screens across the country? What do you really want? I’ve constantly asked myself that question over and over in my career and it gets more and more refined.

This interview has been edited and condensed for clarity.



Killing Eve premieres Sunday at 8 PM EST on BBC America. You can watch the first episode right here .



Candice Frederick Contributor Candice Frederick is a freelance TV/film critic living in New York City.

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