Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#26634
of 909177 performers
Top 5%
Laura Ramsey works on versatility rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Laura Ramsey appears in 8 films in the Nutevio catalogue, and none of them would work the same way without Laura. Lords of Dogtown is the clearest case: a film rated 7.1 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, transformation, quiet performance. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for comedy, action, crime. It is a style built on what is withheld as much as what is played.
Working with Matthew Weiner, Jonathan Hensleigh, Sofia Coppola and others, Laura Ramsey helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Lords of Dogtown (2005) as Gabrielle · Kill the Irishman (2011) as Ellie O'Hara · She's the Man (2006) as Olivia
Career snapshot
Ranked #26634 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
8
2005–2013
Career length
8 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.1
Lords of Dogtown
Average Nutevio score
6.2
Across catalogue work
Highest IMDb rating
7.1
Lords of Dogtown
Most frequent director
Matthew Weiner
1 film together
Longest collaboration
1×
With Matthew Weiner
Most common genre
Drama
4 titles
Average runtime
1h 43m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.2
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
2000s
6.3 average MV
The 2000s are where the work and the material meet. Shrink, The Ruins, She's the Man — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2000s
6.3
Across 5 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2000s
6.3
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2000s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Shrink, The Ruins, She's the Man.
Most productive era
2000s
5 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 2000s | 2010s |
|---|---|---|
| Drama | 6.72 films | 6.42 films |
| Action | 6.32 films | 6.81 film |
| Thriller | — | 6.81 film |
| Comedy | 6.52 films | 5.11 film |
| Crime | — | 6.81 film |
| Romance | 6.81 film | — |
| Horror | 5.82 films | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio · Highest rated performance
2005Lords of Dogtown
Where our catalogue meets this career, as Gabrielle. 7.1 on the Nutevio scale, the top of the catalogue for this performer.
Career peak
2006She's the Man
Weighing billing against the film's own quality, this is the point where everything aligned at once.
Most recent film
2013Are You Here
The current state of the argument, as Angela Baker.
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
8 of 8 films
as Olivia
Directed by Andy Fickman
as Gabrielle
Directed by Catherine Hardwicke
as Ellie O'Hara
Directed by Jonathan Hensleigh
as Angela Baker
Directed by Matthew Weiner
as Naked Blonde with Sailor Cap
Directed by Sofia Coppola
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Olivia
She's the Man (2006)
Performance score7.2
The performance the rest of the career is read through. Olivia gives Laura Ramsey a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Gabrielle
Lords of Dogtown (2005)
Performance score7.0
Lords of Dogtown asks for something the previous films did not, and gets it. Gabrielle is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Ellie O'Hara
Kill the Irishman (2011)
Performance score6.7
Kill the Irishman asks for something the previous films did not, and gets it. Ellie O'Hara is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Angela Baker
Are You Here (2013)
Performance score6.5
Are You Here asks for something the previous films did not, and gets it. Angela Baker is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Olivia
Start here. She's the Man is the clearest statement of what Laura Ramsey does — accessible, 105 minutes, and rated 6.8 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Laura at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Lords of Dogtown (2005)
A deliberate change of key after She's the Man — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Somewhere (2010)
Keeps the drama register of Lords of Dogtown but asks for a colder reading of it.
Kill the Irishman (2011)
Keeps the drama register of Somewhere but asks for a colder reading of it.
Are You Here (2013)
A deliberate change of key after Kill the Irishman — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Catherine Hardwicke
Director
1 film together
Notably Lords of Dogtown
Renny Harlin
Director
1 film together
Notably The Covenant
Andy Fickman
Director
1 film together
Notably She's the Man
Jonas Pate
Director
1 film together
Notably Shrink
Sofia Coppola
Director
1 film together
Notably Somewhere
Jonathan Hensleigh
Director
1 film together
Notably Kill the Irishman
Matthew Weiner
Director
1 film together
Notably Are You Here
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Catherine Hardwicke
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Lords of DogtownJonathan Hensleigh
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Kill the IrishmanAndy Fickman
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
She's the ManJonas Pate
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
ShrinkSofia Coppola
Director
1 film together · 6.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
SomewhereRenny Harlin
Director
1 film together · 5.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The CovenantMatthew Weiner
Director
1 film together · 5.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Are You HereSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Lords of Dogtown
as Gabrielle
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
She's the Man
as Olivia
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Lords of Dogtown
as Gabrielle
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Somewhere
as Naked Blonde with Sailor Cap
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
She's the Man
as Olivia
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Laura Ramsey has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Modern Classic Performer
Awarded
Defining performances delivered inside the last twenty-five years, in films already being taught rather than merely remembered.
Drama Legend
Awarded
4 catalogue titles in drama, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Lords of Dogtown
as Gabrielle
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Kill the Irishman
as Ellie O'Hara
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Somewhere
as Naked Blonde with Sailor Cap
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Kill the Irishman
as Ellie O'Hara
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Lords of Dogtown
as Gabrielle
Images that would survive with the sound switched off.
Best action sequence
The Covenant
as Sarah Wenham
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Shrink
as Keira
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
The Ruins
as Stacy
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Tom Hanks
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Have your say
Community
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Reference
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