Amanda Seyfried is sharing a “regret” she has about her performance in Les Misérables.


While reflecting on playing Cosette in the 2012 movie musical during a video interview with GQ, published Thursday, March 20, the 39-year-old Long Bright River actress got candid on how she felt about her singing versus her costars’.

“Les Mis was an incredible movie. And oh God, I loved it. The costumes, the people. We were all really happy to be there. But I, unfortunately, was not technically ready or capable of the live singing in the way that I would have liked to be,” Seyfried told the magazine.

Calling the “process” an “infuriating” experience, the Emmy winner explained, “I knew what I had to sing, but they’re hard songs. And the acting part of it came naturally; it was very indulgent — it was beautiful to be like [singing], ‘How strange this feeling that my life’s begun at last.’ “

“I was also worried about my accent, but that was the least of my worries,” Seyfried said. 

Amanda Seyfried, a name synonymous with captivating performances across genres, from the bubbly Karen Smith in *Mean Girls* to the dramatic Sophie in *Mamma Mia!*, has consistently charmed audiences with her versatility and undeniable talent. However, even for seasoned performers, certain roles carry a weight of expectation, a level of scrutiny that can linger long after the curtain falls. For Seyfried, one such role is Cosette in the 2012 cinematic adaptation of the iconic musical *Les Misérables*. While the film itself garnered critical acclaim and commercial success, and Seyfried’s portrayal of the grown-up Cosette was generally well-received, the actress has recently opened up about a specific aspect of her performance that, in retrospect, she views with a tinge of regret. This candid reflection offers a glimpse into the self-critical nature of artists, their constant striving for perfection, and the unique pressures that come with interpreting beloved characters in such a monumental production.

The regret Seyfried expresses isn’t a blanket dismissal of her entire *Les Misérables* experience, but rather a focused introspection on her vocal performance within the film. *Les Misérables* was notable for its ambitious decision to have the actors sing live on set, a departure from the traditional practice of pre-recording musical numbers and lip-syncing during filming. This approach, championed by director Tom Hooper, aimed to capture a raw, emotionally authentic performance, believing that live singing would imbue the musical sequences with a heightened sense of immediacy and vulnerability. While the live singing undoubtedly contributed to the film’s unique and powerful atmosphere, it also presented a significant challenge for the actors, demanding not only strong vocal technique but also the ability to maintain that technique amidst the pressures of filming, acting, and hitting emotional beats simultaneously. It is within this challenging context that Seyfried’s vocal regret emerges, centered around the technical demands of live singing and the impact it may have had on the overall quality of her performance, at least in her own critical assessment.

Specifically, Seyfried has alluded to feeling that she wasn’t as vocally prepared or as technically proficient as she ideally would have liked to be for the demands of the role and the live singing format. Musical theatre singing, particularly the demanding score of *Les Misérables*, requires a specific set of skills and vocal training. While Seyfried has showcased her singing abilities in other films like *Mamma Mia!* and *Dear John*, those roles, while musical, did not necessarily require the same level of vocal stamina and operatic precision demanded by *Les Misérables*. Cosette, though not the most vocally demanding role in the musical, still has crucial songs like “A Heart Full of Love” and “In My Life” that require a clear, strong soprano voice capable of conveying both youthful innocence and burgeoning romantic feelings. Seyfried’s regret seems to stem from a feeling that, under the pressure of live singing and the intensity of the filming process, she might not have consistently delivered her vocal performance with the technical security and vocal freedom she now wishes she had possessed.

The context of live singing in *Les Misérables* further amplifies the potential sources of Seyfried’s regret. Singing live on set is inherently more vulnerable than pre-recording. There is no safety net of studio retakes or vocal editing to smooth over imperfections. Every breath, every note, every vocal nuance is captured in real-time, adding to the pressure on the performer to be vocally flawless while simultaneously delivering a compelling acting performance. For an actor not primarily trained as a musical theatre vocalist, this could be particularly daunting. The physical demands of filming, the emotional intensity of the scenes, and the technical challenges of maintaining vocal control throughout multiple takes could all contribute to vocal fatigue and potential inconsistencies in performance. Seyfried, being self-aware and driven by high standards, may look back and perceive moments where her vocal technique wasn’t as polished or consistent as she would have liked, especially when compared to the seasoned musical theatre performers in the cast like Hugh Jackman and Anne Hathaway.

It’s important to emphasize that Seyfried’s regret is likely rooted in her own artistic perfectionism and her growth as a performer in the years since *Les Misérables*. Actors, particularly those as dedicated as Seyfried, often hold themselves to incredibly high standards and are their own harshest critics. With time and further experience, performers naturally evolve, refine their skills, and develop a deeper understanding of their craft. Looking back at past performances through the lens of present-day expertise can often lead to moments of self-reflection and, sometimes, regret over choices made or areas where one feels they could have been better. Seyfried’s vocal regret about *Les Misérables* likely stems from this kind of artistic self-assessment, recognizing areas where she feels her younger self could have been more vocally equipped or technically assured, based on her current understanding and mastery of her craft.

Furthermore, the immense scale and cultural significance of *Les Misérables* undoubtedly added to the pressure and scrutiny surrounding Seyfried’s performance. *Les Misérables* is not just a musical; it’s a global phenomenon with a devoted fanbase and a long and storied history. Stepping into the role of Cosette in a big-budget cinematic adaptation meant not only embodying a beloved character but also facing the expectations of millions who hold the musical in high regard. This level of pressure can be particularly intense, especially for a younger actress taking on such a significant role alongside established stars. The awareness of this global audience and the weight of expectations could have contributed to a heightened sense of self-consciousness and a greater internal pressure to deliver a flawless performance, vocally and dramatically. This pressure, coupled with the technical challenges of live singing, may have amplified any perceived vocal shortcomings in Seyfried’s own assessment of her performance.

Despite her vocal regret, it’s crucial to acknowledge that Seyfried’s portrayal of Cosette in *Les Misérables* was generally well-received by audiences and critics alike. Many praised her delicate portrayal of Cosette’s innocence and vulnerability, and her vocal performances, while perhaps not technically flawless to her own ear, were nonetheless considered emotionally resonant and fitting for the character. Her rendition of “A Heart Full of Love,” in particular, is often cited as a highlight of her performance, capturing the youthful romanticism of the song effectively. The overall success of the film and the positive reception of her performance demonstrate that, despite her personal vocal reservations, Seyfried successfully embodied the essence of Cosette and contributed meaningfully to the film’s emotional impact. Her regret, therefore, should be understood not as an indication of failure, but rather as a testament to her artistic dedication and her unwavering pursuit of excellence.

Seyfried’s willingness to publicly express this regret is also a sign of her artistic maturity and her commitment to growth. It takes a certain level of vulnerability and self-awareness for an actor to openly acknowledge perceived shortcomings in their past work, especially in a project as high-profile as *Les Misérables*. By sharing her vocal regret, Seyfried is not only offering an honest reflection on her artistic journey but also demonstrating a valuable lesson about continuous learning and self-improvement in the performing arts. This vulnerability can also be incredibly relatable to aspiring artists and audiences alike, reminding us that even accomplished professionals experience moments of self-doubt and look back on their work with a critical eye. This openness fosters a more nuanced understanding of the artistic process, highlighting the ongoing pursuit of perfection and the inevitable learning curves that come with any creative endeavor.

Ultimately, Amanda Seyfried’s “regret” regarding her *Les Misérables* vocal performance should be interpreted within the context of her own artistic standards and her commitment to continuous growth. It is not a condemnation of her performance as a whole, nor does it diminish the positive reception she received for her portrayal of Cosette. Instead, it offers a fascinating insight into the inner world of a dedicated performer, their relentless self-assessment, and their ongoing journey of artistic refinement. Her candid reflection serves as a reminder that even in successful projects, artists may identify areas for personal growth and that this self-awareness is a driving force in their continued evolution and pursuit of artistic excellence. Seyfried’s nuanced perspective provides a valuable lesson in artistic humility and the enduring power of self-reflection in the creative process.