Kayleigh-Paige Rees on Pops, Performance, and the Art of Returning to the Spotlight

At a point in her career where many actors begin to specialise, Kayleigh-Paige Rees has done the opposite. She has built a reputation as a producer, entrepreneur, and advocate for independent creatives, while quietly sharpening her craft as a performer. Now, with Pops set for global release on Amazon Prime, she steps firmly back into the spotlight as an actress.

Directed by David Thackeray, the film is a quietly powerful portrait of family, memory, and emotional inheritance. It relies less on spectacle and more on honesty the kind that can only come from actors willing to sit in uncomfortable truths. Rees’s performance reflects that restraint, revealing depth through subtlety rather than theatrics.

When we speak, she is thoughtful, open, and disarmingly self-aware. There is no performative ambition here, no industry soundbites. Instead, she talks about collaboration, vulnerability, and rediscovering her love for acting after years spent building opportunities for others. It is the voice of someone who understands both the business and the art and refuses to sacrifice one for the other.

When you first read the script for Pops, what stood out to you straight away?

When I first read the script, Pops immediately felt really fun to me. There was a lightness and playfulness to the character that I connected with straight away, and I loved the energy they brought to the story. It was also really nice to be part of an ensemble again, I hadn’t acted in a project solely for a few years so that really excited me. 

The film feels very real and personal. How did you prepare yourself emotionally for this role?

A big part of the emotional preparation came from the process itself. We had a really lovely read-through with the cast and crew early on, which immediately made the film feel grounded. Then during the shoot, our director David Thackeray was so wonderful when it came to rehearsal, he took the time to really talk through the emotions and the hidden layers within each scene. He created an environment that felt incredibly safe and secure, where you felt truly seen as an actor, and that made it much easier to be open and honest in the work.  

Your character has a lot of history with the other siblings. How did you and the cast build that connection?

I’m an only child, so I’ve always had a real fascination with sibling relationships and the dynamics that come with them. That curiosity definitely fed into how I approached the role. Building that shared history with the other siblings came quite naturally because we spent so much time together on set as a cast. We all genuinely got on really well and bonded quickly, which made those connections feel honest and lived-in. Even though the shoot itself was relatively short, it was a really lovely experience, and that sense of closeness hopefully translated on screen.

The film mixes humour with quite heavy moments. Was that balance difficult to get right?

I think we were really guided by truly amazing performers and an amazing director, which made that balance feel very natural rather than difficult. Max, who plays Nathan, led with that exact mix of humour and emotional weight, I honestly just looked up to his talent throughout the entire shoot. I’m probably most excited for audiences to see what he does in the film. Alan, who plays Anthony, was also such a true professional. His deep desire to really understand the character helped me so much, especially because Tammy and Anthony’s relationship is the most flawed and complex part of my character’s journey. Having that level of care and commitment from him made navigating those heavier moments feel grounded and honest.

The handheld, intimate filming style makes everything feel very close. Did that affect how you performed?

It definitely did, in a really positive way. I think the handheld style actually helped bring out that sibling closeness and fun dynamic. A lot of the time you had Max, who plays Nathan, right there in the scene filming on a handheld camera as well, alongside the DOP. That created such an intimate, immediate feeling it felt less like performing at a camera and more like just existing with each other in the moment. It also gave David Thackeray more complexity to play with in shaping the characters and the scenes, which was exciting. For us as actors, it was a fun and slightly challenging experience, but in the best way, it kept everything alive.

What did you discover about your character during filming that wasn’t obvious on the page?

I think what I discovered most during filming was just how much Tammy is masking. That wasn’t immediately obvious on the page, but as we got into the scenes it became clear how much of herself she’s carefully presenting versus what’s really going on underneath. It’s something we all do to some extent, so it felt very relatable. I was also really drawn to exploring Tammy’s parasocial relationship with her audience and the complexities that come with that, it ended up being one of the most interesting and fun parts of playing her.

Independent films often work very differently to big productions. What was this experience like for you?

As someone who runs an independent production company, independent cinema is incredibly important to me, so this experience felt especially meaningful. I think this film celebrates that on two levels, through Nathan’s love of independent cinema within the story, and through the truly independent way the film itself was made. There’s something really special about that process: it’s all about teamwork and talented individuals pulling together to create something that genuinely matters to them. Everyone is there because they believe in the project, and that passion is infectious. Hopefully that sense of collaboration and love for the craft really comes through to audiences when they watch it.

Was there a scene that challenged you the most as an actor?

Yes, definitely. I had a few really long monologue scenes as Tammy, speaking directly to camera, and there was one in particular that I found especially challenging. It’s amazing how quickly you can get into your own head with something like that. I actually had to step away for a moment and run it through a few times with our lovely 1st AD, Elliott, which really helped ground me again. Having that space to breathe and talk it through made such a difference, and it was a good reminder of how supportive the set was overall.

How has being part of Pops influenced the way you think about the projects you want to choose next?

Being part of Pops has definitely been a bit of a reset for me in the best way. Over the last few years, I’ve spent a lot of time shaping my career as a producer, which has been incredibly important and fulfilling. But stepping into this project, playing a character and being part of an ensemble again, reminded me just how much I love acting. It was fun to fully focus on performance and storytelling, and it’s made me want to continue taking on acting roles purely as an actor, especially in projects and parts that feel right creatively and emotionally. Pops really reaffirmed that balance for me, and I’m excited to carry that feeling forward into whatever comes next.

When audiences finish watching this film, what do you hope they take away from your performance?

I hope audiences enjoy their time watching the film and really appreciate the fantastic performances from my fellow cast members. I also hope they recognise the incredible dedication and effort put in by our director, David Thackeray, and the entire team.

What becomes clear over the course of this conversation is that Pops represents more than just another credit for Kayleigh-Paige Rees. It marks a moment of recalibration. A return to performance not as a strategic move, but as a creative necessity.

Her reflections reveal an artist who values process as much as outcome, who measures success in trust, connection, and emotional truth rather than visibility alone. Whether discussing difficult monologues, ensemble dynamics, or the quiet pressure of being observed on camera, she speaks with the assurance of someone who has learned her craft from every angle.

As Pops reaches a global audience, Rees stands at an intersection few manage to navigate with such clarity: respected producer, committed advocate, and increasingly compelling screen presence. If this film is any indication, her next chapter will not be defined by scale or category but by intention.

And in an industry often driven by noise, that quiet confidence may prove to be her greatest strength.