‘NOS4A2’ star Ashleigh Cummings dishes on creepy Season 2

Australian actress Ashleigh Cummings stars in AMC’s spooky drama “NOS4A2,” which is essentially a topsy-turvy spin on the age-old vampire story. Season 1 of the series — which was adapted from a novel by Joe Hill (Stephen King’s son) — followed Vic McQueen (Cummings), a blue-collar artist who discovers the ability to track the nefarious …

Australian actress Ashleigh Cummings stars in AMC’s spooky drama “NOS4A2,” which is essentially a topsy-turvy spin on the age-old vampire story.

Season 1 of the series — which was adapted from a novel by Joe Hill (Stephen King’s son) — followed Vic McQueen (Cummings), a blue-collar artist who discovers the ability to track the nefarious supernatural being Charlie Manx (Zachary Quinto), who feeds on the souls of children. (The show’s name is pronounced like classic 1922 vampire film “Nosferatu.”)

Season 2 (Sundays at 10 p.m. on AMC and BBC America) jumps ahead eight years after the events of Season 1, as Vic and Charlie continue their game of cat and mouse.

Cummings, 27, spoke to The Post about Season 2.

What attracted you to this show?

The piece that initially drew me to the project was the complex and multifaceted exploration of psychology and trauma inherent in Joe’s book. I love playing Vic because the material in the book and in the adaptation allows her to be a very multidimensional and flawed human being. She’s a walking contradiction; a guarded and roguish tomboy in one sense, but that armor is protecting a very sensitive heart and wild creativity.

What can you share about Vic’s story in Season 2?

Her journey in this season is really about stripping herself of the protective barriers she’s constructed around her in order to survive. At the beginning of the season, we see that she’s essentially turned into her father. She struggles with alcoholism, PTSD and is disconnected from everything she loves; Lou, Wayne, her art. Throughout the season, she has to learn how to confront and grieve her familial and “Manxian” traumas, and to be a parent … to herself and to her child.

What’s it been like working with Zachary Quinto?

I truly, truly adore Zach. A gem of a human being. He brings so much light and camaraderie to the set which is definitely needed amongst all the dark content, but he’s also a consummate professional and an extremely generous, intelligent and creative scene partner. I was glad we got to spend more time together this season, and have learned a great deal from him both personally and professionally over the past two years. It’s been one of the greatest gifts of this show, actually. I also adopted a dog during filming, so our canines formed a firm brotherhood – though I gotta watch the guy as he keeps threatening to steal my dog!

And what’s it been like working with Joe Hill?

Also an absolute legend! I really don’t know many people as huge-hearted as Joe, and I treasure the times we do get to spend together during publicity or when he’s visiting set. He has a fierce intellect but a truly unique and playful lens through which he channels it and views the world. He’s extraordinarily creative and deeply talented and has managed to maintain a youthful joyousness and childlike enthusiasm and intrigue with life, despite the depths and darknesses he explores in his material. Zach and I were privileged enough to be a part of the audiobook recording of his latest collection of short stories called, “Full Throttle,” and it’s so brilliant! I’ve just adored diving into his mind and his rich, expansive landscapes, whether it be through Vic or just by reading his words aloud.

Between this and “The Goldfinch,” movie (2019) you’ve done a few projects that are based on novels. Do you usually read the books, or stay away from them to make your performance fresh?

I definitely read the novels pretty religiously and integrate everything that I feel serves the adaption, even tiny details like the fact that Pippa [from “The Goldfinch”] and Vic both bite their nails. There are a lot of clues you can uncover in there, and I do love honoring the source material and the interplay between mediums like that. But then I have to let it all go, and trust that I’ve done the work and allow my own creative instincts to arise in the moment.