Schari Rahbari’s journey reminds us that the road to the stage is rarely straightforward, and that the best stories often begin in the most unexpected places.

Every actor’s path is unique, but few have navigated a journey as diverse as Schari Rahbari’s. I love stories like these because they stand in stark contrast to the so-called ‘silver spoon’ actors, whose journeys are paved with privilege and predictability. 

Schari’s path is refreshingly authentic—no shortcuts, no family connections, no easy breaks. Instead, his journey is marked by hard graft, real-world experience, and a genuine hunger to understand people. These kinds of stories remind us that the most compelling artists are often those who have lived, struggled, and found their own way to the stage, rather than simply inheriting it. If this journey resonates with you, then read on.

Bright Lights Big City

Born and raised in Germany to a Persian family, Schari’s story began far from the bright lights of New York City. His early days were spent in the family’s car repair shop—an unlikely training ground for an artist, perhaps, but one where resourcefulness and strength were not just encouraged, but necessary for daily survival. 

It’s easy to imagine how the prospect of a future on stage might have seemed fanciful, if not impossible, to anyone watching from the outside. In such an environment, staying motivated to dream of a different life—one driven by art rather than mechanics—takes a rare kind of determination. Most people, confronted with the daily grind of manual labour and the weight of family expectations, would have dismissed any notion of acting as a pipe dream. Yet, it’s precisely this distance from the conventional path that makes Schari’s journey so compelling.

Schari Rahbari – Life Lessons

The workshop offered a firm grounding for relatable life lessons: meeting tight deadlines, thinking on your feet, and adapting to new challenges every day. Whether it was diagnosing a stubborn engine fault or dealing with a difficult customer, Schari was constantly learning how to find solutions under pressure. These formative experiences not only shaped his work ethic but also gave him a unique perspective on people, struggles, and what it means to keep going when the odds are stacked against you.

Turning Point

Schari’s move to New York marked a turning point. Inspired by his father and the courage it took to build a new life, Schari saw acting as a way to explore the complexities of identity and human connection. He immersed himself in the city’s vibrant creative scene, focusing his personal history into every role. 

One of his most recent performances as Jørgen Tesman in Hedda Gabler stands out as a career highlight. This milestone deepened his belief that stories not only entertain but also encourage empathy and spark dialogue. 

Schari Rahbari – Balance

While acting has firmly taken centre stage for Schari, it’s impossible to overlook the impressive — and, dare I say, rather distinguished — modelling portfolio he has developed along the way. Narrative is at the heart of both crafts, and Schari proves that being adaptable is a must in an industry that throws curveballs without warning. The crossover between acting and modelling is seamless in his case, echoing the very theme of this edition: there’s no need to pigeonhole creativity. Both pursuits sit side by side comfortably.

Schari Rahbari – Interview

Germany

Let’s start at the very beginning—can you tell us what it was like growing up in Germany as part of a Persian family, and how those roots have influenced your outlook on life and your approach to acting?

Growing up with Persian roots in Germany showed me, in a valuable way, what it means to be raised between different traditions, customs, and cultural influences. As a child, I did not fully recognise how deeply those influences were shaping me; although I occasionally encountered reactions ranging from curiosity to bias and prejudice, I only came to understand their significance as I grew older.

I began to realise how complex it can be to find your place in the world while seeing two cultures as equally integral parts of your identity, family, and sense of home. This growing awareness sparked a desire to learn more about my background and family origins, ultimately helping me better understand myself and develop a deeper appreciation for where I come from. It also taught me to empathise with others who have grown up between cultures or had to build a new life in an unfamiliar environment.

Multicultural Background

That experience continues to shape my outlook and my approach to acting. I believe our backgrounds reveal something about who we were, who we are, and who we might become, and that our individual stories can teach us a great deal about one another. In a world that can sometimes move too quickly to truly appreciate those differences, I see a multicultural background not as a dilemma but as an opportunity: an opportunity to develop a unique voice, challenge prejudice, and inspire others with similar experiences to embrace their own identities and take risks. For me, acting offers a particularly powerful way to do that—to give a voice to characters with complex backgrounds and perspectives, create space for people to recognise themselves in those stories, and perhaps open the door to greater understanding and change.

Schari Rahbari – Early Experiences

Many would say a car repair shop is worlds away from the stage—how did your early experiences in your family’s garage shape your work ethic or the way you approach a new role?

At first, I also believed that the work of an auto mechanic differed significantly from that of an actor on stage. Over time, however, I came to see that the two crafts are far more alike than one might initially suppose. Fundamentally, both are rooted in the principles of transformation. In chemistry, we see how elements interact and combine to form something new; in mechanics, the mechanic’s knowledge of physics comes together with ingenuity and creativity to restore or transform a machine.

Acting

Acting follows a similar principle: the actor’s cognitive and emotional understanding interacts with character, imagination, and craft to create something that did not exist in the same form before. To me, neither profession is simply about repairing something or telling a story. Both reflect a fundamental process found throughout nature and existence—a cycle that begins with growth, moves through decay, and ultimately leads to transformation. My time in our family-run auto repair shop reinforced this understanding. From childhood until I began my university studies, I was surrounded by people from remarkably different backgrounds and circumstances. I heard stories of achievement and hardship, joy and regret, love and loss, and gradually realized that the workshop was not only a place where cars were repaired, but a place where life itself unfolded.

That experience continues to shape the way I approach acting. The workshop taught me that no person is defined solely by what appears on the surface; we are shaped by our past, our circumstances, and the choices we make, constantly changing along the way. In that sense, we all hold the wrench in our own hands: we have the ability to repair, redirect, and reshape parts of our lives, even though perfection is impossible and change is inevitable.

When I approach a new character, I therefore try to look beyond what is immediately visible and discover the history, contradictions, hopes, fears, and experiences that have shaped them. The qualities I developed through mechanics and acting ultimately converge within me, allowing me to approach character and relationships from a more fundamental perspective. I am not simply trying to portray how a character appears, but to understand how they came to exist, how they are shaped by the forces around them, and how they might continue to transform.

Schari Rahbari – The Spark

People often imagine a life in the arts begins with drama schools and spotlight moments, but your path was anything but typical. Schari, what gave you the spark to pursue acting, and how did you keep that fire alive through the years?

The spark to dedicate my life to acting was by no means a long-settled decision. Rather, it was the result of a long, unconscious process—a collection of experiences and realisations throughout my youth that gradually converged and ultimately gave me the courage to enter a field with which I had previously had no real contact. The pivotal inspiration came above all from my father’s story.

Father’s Story

In 1957, decades before I would make a leap of my own, he made the courageous decision to leave his family home in his native country and begin a new life in Germany. His journey taught me that finding your own path often requires the courage to leave the familiar behind and embrace uncertainty. After graduating from high school, I spent time helping my parents in our family-run auto repair shop. Being there gave me the opportunity to step away from the structure of school, work with my hands, and reflect on what I wanted my own future to look like. While many people my age were moving toward more conventional paths, I found myself asking a different question—not simply what career I wanted, but how I wanted to live and what I wanted to contribute to others.

Family Bond

Although I have always maintained a strong bond with my family and deeply valued my heritage, I felt that I needed to discover a path of my own and understand who I could become beyond the expectations and circumstances that had shaped me. Acting emerged almost instinctively as something completely outside the world I already knew. I had no experience in the field, and the thought of pursuing it in another country, particularly in New York, made the decision even more uncertain. Yet that uncertainty was precisely what drew me toward it.

At a certain point, I had to ask myself whether I wanted to simply follow what was expected of me or have the courage to explore who I could become. In that sense, my father’s journey became a kind of compass—not a path for me to repeat, but an example of what can happen when you are willing to leave the familiar behind. I chose to take that leap into the unknown, and acting has since become much more than a profession. It has become a continuation of that same process of discovery: an opportunity to grow, take risks, make mistakes, form meaningful connections, and continually discover new perspectives and new aspects of myself. The journey remains unpredictable, but that uncertainty is precisely what gives it meaning—and reminds me of what it means to be human.

Schari Rahbari – New York

Schari, moving to New York is no small feat. What was going through your mind when you took that leap, and were there moments when you doubted if you’d made the right choice?

I embarked on this journey with immense pride and dedication, eager—like generations before me—to reach another milestone, summon the courage and willingness to take risks, and pursue my own goals, dreams, and lessons, all in the hope of emerging more mature than before. At the same time, I felt a deep sense of awe and trepidation in the face of such a fundamental change. It would be dishonest of me to deny having doubts; moving from the quiet, peaceful city of my hometown, Kiel, Germany, to one of the world’s largest metropolises was a massive adjustment, especially without knowing what lay ahead or how the city might shape me over time. I knew that taking this step meant leaving behind a familiar environment and deliberately placing myself in circumstances where I would have to adapt, learn, and perhaps discover aspects of myself I had never encountered before.

The Journey

Even now, there are moments when doubts creep in, and I question the nature of the journey—or the path—that fate, or God, has set before me, and what its ultimate purpose might be. I have wondered whether, after enough time has passed, I will remain the same person I was before leaving, or whether my experiences with the people and the city will fundamentally change my perspective and mindset.

I have also found myself reflecting on what it truly means to become part of another culture, what it means to be American, and how the differences between American and European culture might shape the way I understand myself and the world around me. Yet despite these uncertainties, I remind myself that this is precisely what makes the journey meaningful. I chose to come here not because I knew exactly what would happen, but because I was willing to find out. For me, the most important thing is to approach the experience with an open mind, allow myself to be captivated by it, and remain receptive to whatever it may teach me.

Schari Rahbari – Hedda Gabler

Your performance as Jørgen Tesman in Hedda Gabler has been singled out as a highlight. What did that role teach you, and did it change the way you view yourself as an actor?

I was deeply honoured to play Jørgen Tesman in Patrick Marber’s adaptation of Henrik Ibsen’s Hedda Gabler. The role offered me the opportunity to expand my range as an actor and explore facets of the craft I had not previously encountered in quite this way. What fascinated me most was Tesman’s complexity: on the surface, he appears to be a hardworking, devoted family man and a level-headed academic, yet beneath that exterior are naivety, ambition, vulnerability, and a capacity for morally questionable choices. His idealized understanding of life often blinds him to the reality surrounding him, and as the circumstances unfold, his emotions shift dramatically. Act 4 was particularly meaningful to me because Tesman moves in rapid succession through grief, anger, and immense happiness. Portraying those transitions required me to find emotional depth within myself while remaining truthful to the character.

External Qualities

Ultimately, the role taught me that understanding a character goes far beyond portraying what is visible on the surface. Every person—and therefore every character—carries contradictions, desires, fears, experiences, and a history that shape how they move through the world. Tesman challenged me to look beneath those external qualities and discover the human being within them. In that sense, the role changed the way I view myself as an actor: I became more conscious of my ability to draw from my own inner experiences while still allowing a character to develop its own identity. Jørgen Tesman challenged and tested me both as an actor and as a person, and in retrospect, I feel that I reached a new level in both respects. I now approach each new character with an even greater curiosity about the human condition and the transformations that make us who we are.

Schari Rahbari – Modelling and Acting

What’s been the most surprising thing about juggling both modelling and acting? Any funny or unexpected moments you can share?

In fact, acting and modelling have held some unexpected moments in store so far. Both as an ensemble and on a personal level, we have encountered moments that were deeply memorable and inspiring. Every now and then, we could allow ourselves to be completely silly and relaxed, which would break the tension in the room and allow us to share a laugh together.

Particularly during certain scenes or modelling sessions, that freedom allowed us to be ourselves and get to know one another better. What surprised me most was how much this openness could influence the creative process. I realized that my curiosity and willingness to experiment on set or during photo shoots could unleash my creativity and lead me to make choices—both mentally and physically—that I might not otherwise have made. Some of those choices surprised me, while others taught me something I had not expected to learn.

I think that is what I have found most surprising about working in both fields: the moments that seem spontaneous, imperfect, or even silly can sometimes lead to the most meaningful discoveries. They taught me that creativity often begins when we allow ourselves to step outside what feels familiar and remain open to what might emerge. In many ways, that realisation became part of the philosophy behind “Style Meets Strength”—embracing who we are, remaining curious about what lies beyond the familiar, and having the courage to discover what we are capable of becoming.

Schari Rahbari – Inspiration

How do you find inspiration for your roles and photo shoots? Do you have any go-to sources or rituals that help you get in the zone?

One of my key strengths as an actor is my affinity for improvisation. When a scene allows for it, I enjoy making bold and unexpected choices that bring spontaneity and authenticity to a character. My training in different acting techniques, particularly the work of Sanford Meisner and Lee Strasberg, has strongly influenced this approach.

Meisner taught me the importance of truly listening and responding to what is happening in the moment, while Strasberg encouraged me to explore emotional truth and personal experience. I do not see these methods as rigid formulas, but as tools that help me remain present, instinctive, and truthful. I bring that same openness to photo shoots, allowing the environment, photographer, styling, and unexpected moments to influence my choices rather than having every movement predetermined. Sometimes the smallest spontaneous decision can completely change the energy of an image, and those moments often lead to the most interesting discoveries.

Dramatic Literature

Beyond technique, one of my greatest sources of inspiration is dramatic literature and the way great writers explore human life. Shakespeare taught me about relationships, ambition, love, power, and tragedy; Samuel Beckett opened my eyes to uncertainty, meaning, and the contradictions of existence; August Wilson revealed the connection between identity, community, and history; and Tony Kushner, particularly through Angels in America, showed me the relationship between social change, responsibility, and hope.

Their work connected deeply with what I experienced growing up in our family workshop, where I encountered people from different backgrounds and listened to their stories. Literature helped me recognise the recurring patterns in human behaviour and the ways our experiences, relationships, and circumstances shape who we become. So, when I prepare for a role or a photo shoot, I do not follow one fixed ritual. I observe, listen, draw from what I have learned, and remain curious and willing to experiment. Ultimately, my greatest source of inspiration is life itself—the people I encounter, the stories I hear, and the endless ways in which human beings reveal who they are.

Schari Rahbari – Keeping Grounded

Outside of acting, what passions or hobbies keep you grounded and inspired, especially when the industry gets a bit overwhelming?

Right now, I find myself particularly passionate about slowing down and engaging more consciously with my surroundings. Living in a fast-paced city like New York, I make a point of spending time in parks, reading, and simply observing everyday life. I am especially interested in the people and communities that give the city its character, from neighbourhoods like Chinatown to the South Bronx. I find it fascinating how many “unsung heroes” there are in everyday life—people who quietly contribute to keeping their communities and the city moving. In many ways, this reminds me of my time working as a mechanic, where I had the opportunity to meet people from very different backgrounds and hear their stories.

Beyond that, I am drawn to reflecting on history and human behaviour—how our experiences shape who we are and how the past continues to influence the present. These interests help me remain grounded, curious, and attentive to the world around me. I think that is especially important when working in a creative field: stepping away from acting allows me to observe life rather than constantly trying to interpret it. Sometimes, simply slowing down, listening, and paying attention can be just as inspiring as being on a stage or set. Ultimately, I find that the more consciously I experience the world around me, the more I have to draw from when I return to my work.

Schari Rahbari – Advice

For anyone reading who’s dreaming of breaking into acting from an unconventional background, what’s the one piece of advice you wish someone had given you when you first started out?

One piece of advice I wish I had received at the very beginning is this: never lose faith in your own voice, especially when the world around you tries to convince you that it is not worth hearing. Before I began working as an actor, I had a somewhat nostalgic and idealised view of the world of art, shaped by films such as Forrest Gump—films that moved me deeply and made me see the world through fresh eyes. I believed acting was fundamentally about telling stories that could move people, challenge perspectives, create empathy, and perhaps allow someone to recognise something of themselves in a character.

Over time, I realised that the world of art is constantly evolving, and that this evolution does not always align with one’s original vision. I do not necessarily see that as negative; art, like human beings, thrives through transformation. What matters to me is preserving the relationship between the actor and the craft itself. An actor’s voice carries a responsibility—to entertain, but also to challenge, comfort, provoke thought, and offer people another way of seeing themselves or the world. There will always be pressure to conform, compare yourself to others, or question whether your individual approach is worth pursuing. But I have learned that setting yourself apart can be precisely where meaningful growth begins.

Making A Difference

My own unconventional background reinforced that belief. Working in my family’s auto repair shop, helping others during my time as a Scout, and listening to the stories of people around me taught me that even seemingly small actions can have meaning and that our experiences can become part of what makes our voice unique. A quote from Václav Havel has stayed with me: “The moment someone breaks through in one place, when one person cries out, ‘The emperor is naked!’ … everything suddenly appears in another light.” To me, that is a reminder that one person does not have to be powerful to make a difference.

There will always be people who criticise, belittle, or tell you that you have nothing meaningful to contribute, but their judgment does not determine your worth. So, for anyone entering the world of art from an unconventional background, my advice would be simple: find your own voice, protect it, and have the courage to use it. Do not be afraid to take risks simply because your path looks different from someone else’s. Your background, experiences, and even the obstacles you encounter can become part of what gives your voice meaning. Ultimately, having a voice comes with a responsibility—not simply to be heard, but to have the courage to say something that matters.

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By: Sanj Saigal

Independent filmmaking has come a long way in recent years, shaking off the old prejudices that used to haunt low-budget cinema. With Terra, Rory Wilson proves that no blockbuster budget is needed to deliver a gripping, emotionally charged experience. From its very first moments, the film refuses to pull its punches—the opening sequence is not for the faint-hearted, immediately immersing the viewer in a world brimming with danger and authentic emotion.

Terra’s cinematography is nothing short of stunning. Every frame is loaded with atmosphere, capturing a constant sense of fear and suspense. It’s impossible not to be drawn in, always eager (and sometimes anxious) to see what will happen next. Meg Birley turns in a standout performance—her silent, expressive glances speak volumes, inviting the audience to share in the characters’ turmoil without a word being spoken.

Terra – The Story

The story is set in a war zone, where a dedicated doctor and his resilient team are forced underground to run a makeshift hospital. Just as they begin to adapt to their grim reality, a desperate father, Dabir (Ramin Farahani), arrives with his daughter, determined to do whatever it takes to secure help and a chance at escape. Their plight becomes the film’s emotional core.

Terra will make its premiere at the prestigious Oscar- and BAFTA-qualifying Raindance Film Festival this June at Vue Piccadilly in London, having already scooped up nominations for Best Performance, Best UK Feature, Best UK Director, and Best Cinematography. These accolades are well deserved.

I had the privilege of a private screening, and the strength of the story was so captivating that I abandoned my phone for the big screen—a rare move, but entirely justified.

Emotional Ride

Wilson’s direction drops us straight into chaos, never letting us forget the stakes. The grim, almost dystopian world pulls you into an emotional ride, where hope is scarce and survival is uncertain. The chemistry between Ramin Farahani and newcomer Runya Ghani (as Dabir’s daughter) is magnetic, giving the film a powerful, character-driven focus. Rather than relying on spectacle, Terra finds its soul in the intimate moments between its leads—a choice that pays off in spades.

Tension is ever-present, with constant threats looming over the central characters. The musical score amplifies the anxiety and keeps the pace taut, though it occasionally threatens to overwhelm quieter scenes. The film doesn’t shy away from the graphic realities of war—injuries and suffering are shown with unflinching honesty, making it a tough watch at times but all the more unforgettable for its authenticity.

Terra – Narrative Focussed

Terra’s pacing can be uneven—some characters could use more development, and the final act slows after a frenetic opening. Yet, the tight runtime keeps the narrative focused, and once the action ramps up, you’ll find yourself glued to the screen until the pulse-pounding finale.

What’s most impressive is the film’s ability to make the most of its limited resources. By confining much of the action to a single location, Wilson maintains a claustrophobic intensity that reinforces the story’s themes. His use of extreme close-ups brings us face to face with fear, isolation, and the brutality of conflict.

Human Stories

There are moments when character backstory feels a bit forced, and the father-child dynamic might seem familiar from other films. Still, the performances and emotional honesty elevate Terra above mere genre fare. At its heart, this is a story about empathy—fathers risking everything for their children, doctors doing their best in impossible circumstances, and ordinary people caught in the crossfire. The conclusion is emotionally overwhelming, tying up narrative threads with a sense of closure while leaving you pondering what the future holds for these characters.

In short, Terra is an unforgettable depiction of the horrors of war, offering a colossal helping of empathy for both the healers and the helpless. The lead performances, especially from Farahani and Ghani, are outstanding, and the supporting cast is equally strong. Wilson’s vision is raw and uncompromising, never losing sight of the human stories at its core. If you’re looking for a film that will move you, challenge you, and stay with you long after the credits roll, Terra is one not to miss.

Terra is a gripping independent film directed by Rory Wilson, set in a war zone and featuring standout performances from Ramin Farahani and Meg Birley. Premiering at the Raindance Film Festival, Terra delivers an unflinching look at survival, empathy, and the human spirit.

Terra – Rory Wilson

What draws you to telling stories about people facing tough moral choices? I’ve always been fascinated by those moral dilemma riddles, the classic railroad tracks etc, they can be so revealing, about thought processes and how people make decisions. Within a narrative context, these moments of moral dilemma hold the most revelation in terms of character and understanding who somebody is and what they are capable of. With a tough moral choice, there is a moment of decision where all options are considered, no matter how immoral, and in that moment is a beautiful ambiguity of character, a faustian moment where all outcomes exist just by the fact they are being considered. Perhaps underneath it all I believe we are all capable of much more than we think, both good and bad. In TERRA, the circumstances are extreme and several characters are faced with crossing their own moral line.

Self-taught Filmmaker

As a self-taught filmmaker, what’s been your biggest creative breakthrough so far? Most nominated film at Raindance! Honestly, the creative breakthrough/achievement I’m most proud of is that TERRA is exactly the film I set out to make. Despite the limitations, I went big and somehow it didn’t all fall apart. There are cracks, held together very tenuously, but it’s a finished film. I’m extremely proud of the performances in the film and what the cast brought to the story despite the unconventional production. We’ve had an amazing buzz around the project and we are looking forward to handing the film over to audiences. The aim is to get worldwide distribution, that will be the big breakthrough.

First Feature Film

Terra is your first feature film—what inspired the story, and was there a moment you knew you had to make it? I started to develop a fascination for war doctors who in my eyes are the true super heroes of the world. Dr David Nott is a particular hero of mine, he wrote a book called War Doctor. The intense decision making under pressure, the hippocratic oath, the Geneva convention, these strong moral codes, a shining light of goodness in the most extreme of circumstances. I spent a few years working on Film & TV sets working in various departments, eventually as an AD. On every set I was always drawn to the set medics, many of which had experience as combat medics. Some of the stories were breathtaking. The best and worst of humanity. The stories of decision making, treating “assailants” in the same space as innocent civilians.

Script

One second-hand story stood out, about a civilian who, out of desperation, held a doctor at gunpoint, demanding to be helped. I started to piece together a script, and continued to dive into books, documentaries and current affairs. ‘In the Wars’ was another immense read by Dr Waheed Arian. I had the makings of a script but wasn’t entirely sure where it was heading or if in fact I was the right person to be making this film. This thought was not lost on me. And then I met Rukar Ghani through my work with a sports charity. Rukar is from Northern Iraq and was telling me some stories from his youth growing up around unrest and warfare. I gently mentioned I was writing something about war doctors and outlined the story. His face changed  and he stopped me.”Rory, can I tell you my story.” My heart stopped. Rukar went on to tell me a story about a rundown hospital and a civilian taking up arms out of desperation to be helped by the doctor. Rukar and his family were at the hospital at the time, held at gunpoint. I remember the way Rukar described the man holding the gun, “as if he had never held a gun before, so unconvincing, which made it all the more dangerous, just a normal guy, just desperate.”

Writing & Directing

You wear a lot of hats—writing, directing, shooting, and editing your own films. How does that hands-on approach shape your process? Honestly, I cannot wait for the day when I have a team of collaborators and the process isn’t quite so lonely, but thus far this has been my modus operandi, very very hands on, right in the action. Particularly when it comes to shooting my work myself, it creates an immediacy to the filmmaking process, an intimacy with the actors, their performances and importantly the way those performances are being captured. I absolutely love it, camera on my shoulder, moving through a scene with the characters, catching moments, holding in a suspended moment, gently directing mid-take. This intimacy with the footage carries right through to the edit, I know exactly which moment of which was the best because I was right there when it happened. I know there’s a 15-second moment of transcendental acting from Meg Birley or Ramin Farahani buried in a take that was riddled with technical faults and mostly unusable, bar that glorious moment.

Authenticity

What’s it like making a movie with minimal resources and a local cast—does it add to the authenticity you’re after? The authenticity was a major priority and I was led as much as possible by Rukar Ghani who was our Kurdish consultant, supported with the script and was on-set every day. He was an incredible sounding board, sharing photos and stories from his youth, supporting with reference images for the production design. It was Rukar’s involvement that gave me the grounding to bring the story to life. All that said, this is a proper independent production with a budget smaller than the coffee tab of a major production. My job is to make a virtue of necessity, to make every choice feel deliberate, even though it may have been the only choice available to me!

Process

Writing in the knowledge that I’ll be shooting, I’m making choices very early in the process to avoid being backed into a corner. I knew where I was going to shoot the film as I was writing it so I knew where to stage certain scenes and how the geography of the ‘hospital’ corresponded to the story. But it’s pretty chaotic. I am very grateful to my cast who put a lot of trust in me. The script was vast and there was a fairly big story to try and tell, and slowly I drip-fed just how small this production was going to be…I’ll try to paint a picture – Camera on my shoulder, 25 SAs, totally outnumbering our 4+ crew. The scene is blocked, we are placing the SAs, trying to maximise their screen presence, we want it to feel like 60, I could only afford 25.

Production

My phone rings, an inbound actor for a scene that afternoon is delayed, train issues…I make a call to the taxi I had booked for pick-up. Cancel. Re-book for later pick-up. Hopefully the train isn’t cancelled. I’m already making plans to lose that actor and shoot something else. Camera still on shoulder. Actors are ready to go. ‘Phone rings again. Another cast member due-in any minute, involved in the next scene, is stuck at a train station nearby. Their taxi  didn’t show up. It’s a small remote station. No local taxis. I’m going to have to send Finn, my co-producer and production foot-soldier. Losing a crew member is not what I need, especially not Finn who is keeping this set from crumbling…applying make-up to the SAs, clapper board, blocking SAs, shepherding and corralling. But off he goes, yikes. We are also dangerously close to lunch and I need to wrap this scene before we break. Okay! Camera ready, and ACTION!

Your short films have been recognised by the BFI and you have been selected for both BFI and Warner Bros. Discover Emerging Directors Programmes, how have those experiences influenced the way you approach filmmaking now? I’m very conscious of being a ‘Rogue Filmmaker’, because ultimately I am trying to build a career and increase the scale of my productions, so being part of the BFI and Warner Bros programmes has helped to anchor me into the industry and to understand how productions operate at scale. I want to be part of the industry, be a “professional director”, build a team of collaborators, make impactful big-screen films and add to culture, but there will always be a rogue spirit to my filmmaking.

Terra – Meg Birley

You’ve said you’re drawn to stories with moral complexity and deep human connection—what sort of roles really get your heart racing?

For me, it always comes down to high stakes, intense pressure, and impossible choices. I’m deeply drawn to three distinct worlds that, on the surface, seem very different, but all share that same raw human heartbeat.

First, I love the claustrophobic, high-adrenaline energy of gritty contemporary dramas and modern warfare stories. Projects like Boiling Point, The Bear, Adolescence, Kin, Warfare  or Ozark completely captivate me. I’m fascinated by characters pushed to the absolute brink—whether they’re navigating the criminal underworld, dealing with drugs and survival, family loyalty being pushed to the edge, life-or-death environment of a modern war drama like American Sniper. There is a psychological thrill in playing someone operating on the edge of a knife, where one wrong move changes everything.

On the flip side, I get that exact same rush from sci-fi, particularly space survival. I love the crucible of putting astronauts in isolation, facing a massive moral dilemma where they have to make an agonizing choice with lightyears of distance separating them from safety.

Fantasy

Finally, my actor’s brain absolutely lights up with fantasy. I love the grand scale of it, but also the sheer fun and character depth it allows. I’d jump at the chance to play a character exploring the reality of having magical powers—even the brilliant, everyday magic of using powers to navigate mundane daily tasks! But I’m also fascinated by the deep, complex dynamics you can find in immortal characters. Imagine playing a 500-year-old vampire who forms an unlikely, deeply rooted bond with a werewolf; that kind of history and hidden vulnerability is a goldmine to explore.

Ultimately, whether a character is surviving a crisis in deep space, navigating a dangerous street or combat zone, or wielding ancient magic, it’s that pressure-cooker environment and deep connection that gets my heart racing. I want to play people whose choices force the audience to look inward and ask, ‘What would I do?’“

Syrian roots

Coming from Syrian roots, do you find your background shapes the way you approach your characters or the stories you’re most passionate about?

To be completely honest, I didn’t grow up with my Syrian father—I only met him when I was 18—so I didn’t have that direct cultural upbringing shaping my perspective from an early age. But rather than closing a door, that separation actually created a deep, lifelong curiosity within me. It made me want to explore that heritage and the history of my father’s side through my work.

Because of that, I’m incredibly eager to delve into Middle Eastern stories and roles. In fact, it was a brilliant stroke of luck early on that led me to a casting call for a Middle Eastern character—a Kurdish role, specifically. I had to dive straight into the deep end, learning a general Middle Eastern accent and even lines of Kurdish.

That experience only fueled my fire. So while my background didn’t dictate my past, it definitely shapes my future aspirations. I would absolutely love to continue using my heritage to bring authentic, complex Middle Eastern characters to life, using acting as a way to connect with and honor that part of my roots

You didn’t go the traditional drama school route—what’s been the biggest challenge (or maybe secret advantage) of building your acting career independently?

Biggest Challenge

The biggest challenge is undoubtedly the unpredictability and the lack of a linear ladder. In a traditional career, you move from assistant, to supervisor, to manager. In acting—especially when you’re finding your own way in through the back door—there is no roadmap. You constantly have to try to read and predict the industry. One minute you’re busy and riding high on a lead, and the next, you might find yourself a year out from a high-quality project, working on a student film just to stay sharp.

There’s absolutely nothing wrong with student films, but when you’ve had the privilege of working on an incredible project like TERRA with Rory, it’s deeply humbling. It forces you to sit with those quiet moments and re-evaluate your life choices when you’re striving to land that next cinema- or TV-worthy project. Having TERRA under my belt now—especially with the four award nominations it’s received—is a massive anchor for me. It’s the proof that the hustle pays off, and it really keeps me going during the dry spells.

As for my secret advantage? Well, it’s not much of a secret anymore, but it’s working for free on the right passion projects. Early on, indie films and short projects where you work for expenses were everything to me. It is an unmatched way to flex your acting muscles, build a showreel, and network. I’ve met some of the most incredible, collaborative people on those sets—people I still work with today. When you don’t have a drama school showcase to hand you connections, you create them yourself on the ground, and that grit becomes your greatest superpower.”

Future

From gritty dramas to sci-fi and fantasy, is there a role you’re still dreaming of playing one day?

Honestly, there is so much I want to sink my teeth into, and so little time! But if I had to narrow down the ultimate dream roles, they fall into a few distinct, high-stakes categories.

First, on the gritty drama front, I’m dying to play someone from a raw, uncompromising UK background—whether that’s a struggling mother of six on a council estate, someone navigating the survival-driven world of a drug dealer, or a character trying to rebuild their life fresh out of prison. I’m fascinated by gritty, true-to-life stories because they demand absolute authenticity. For an actor, stripping away any pretense to play that kind of raw survival is the ultimate, humbling challenge.

Chess

On the complete flip side of that, I’d love to play someone incredibly sharp, polished, and put-together on the outside, but with a completely broken moral compass underneath. Think of a seemingly perfect professional who is secretly laundering money or hiding a dark, dangerous double life. The psychological chess match of playing someone who wears a flawless mask while doing awful things is just a goldmine.

When it comes to war dramas, that desire comes from a very personal place. I actually wanted to join the cadets when I was younger, and even tried to join the Army Reserves later on before an ankle injury sidelined me. Because of that, I have an immense fascination with the psychological bravery of soldiers. To be able to honor and depict that kind of profound mental and physical pressure on screen would mean the world to me.

And finally, my imagination completely runs wild with sci-fi and fantasy. I dream of playing a character like Matthew McConaughey’s in Interstellar or Sigourney Weaver’s Ripley in Alien—ordinary people carrying the weight of the universe on their shoulders in deep space. Or, in the fantasy realm, diving into worlds like Shadow and Bone or playing a fiercely complex creature like Cara Delevingne’s character in Carnival Row.

Ultimately, my dream isn’t just about one specific role; it’s about pushing myself to the absolute extremes of human experience.”

Outlander was your first taste of the industry—do you remember the moment you thought, “This is it, acting’s the thing for me”?

Outlander

Oh, absolutely. I can pinpoint the exact moments it happened. The first was the sheer, immersive scale of it. Walking onto the Outlander set—I think it was Season 2—wearing this incredible, heavy 17th-century ball gown, and another time playing a villager in a completely fabricated historical town they’d built up in Cumbernauld, Scotland. You are quite literally transported to another century. It felt like the ultimate form of ‘dress-up,’ and the inner child in me was completely captivated.

But the real turning point—the moment the deeper fire was lit—happened when I was standing just a few feet away from Sam Heughan (Jamie Fraser) and the director.

I was close enough to overhear this incredibly quiet, intimate conversation they were having right before a take. They were discussing the close-up, and Sam was explaining how he was only going to give about 80% on this specific pass to save the rest for the next angle. Watching that technical, psychological chess match happen in real-time was fascinating. It wasn’t just magic; it was a craft.

Standing there in my costume, listening to them dissect the scene, everything clicked. I thought, ‘That scenario right there. That conversation. I want that.’ That was the catalyst. As soon as I got home, I jumped straight into more acting classes, started hunting down short films, and began networking like crazy to build my own way or something gracefully muscle my way in!

Unexpected Job

You’ve juggled side hustles while building your career—what’s the funniest or most unexpected job you’ve had along the way?

Oh wow, that is a tricky one because I’ve literally had over 40 jobs! I honestly think I could write a comedy series based entirely on my resume at this point. I’ve done everything from assisting swim teachers to sports massage, folding jumpers at Superdry, working festivals, doing heavy lifting for removals, newborn baby photographer in hospitals, dressing wedding chairs, and working in care. You name it, I’ve probably done a shift in it!

But if I had to pick the highlights, the most unexpected was definitely a stint making luxury Christmas crackers for high-end retailers. My mum and I would drive down to a local warehouse, pick up all the raw materials and premium gifts, and assemble them together at our office table. I quickly realised I didn’t quite have the meticulous patience required for that level of craftsmanship, though my mum bravely carried it on for a bit!  

Unexpected

The funniest job by far, though, was being a live host on the auction app Whatnot. I would go live for four hours straight, talking non-stop, selling the most wonderfully random items to absolute strangers, and then spend hours packing it all up afterward. It was exhausting, but looking back, it was actually the ultimate, accidental acting training—absolute pure improv, high energy, and dealing with whatever unexpected thing happened live on camera.

But the most interesting job by far was working at an auction house. I was completely taken aback by the sheer volume of history passing through the doors—beautiful vintage rugs, antique furniture—where every single item clearly had a rich story to tell. I absolutely loved it, and I was actually starting to train to be an auctioneer—yes, the ones who talk super fast!—before I ended up relocating.

If anything, having 40 different jobs hasn’t just paid the bills—it’s given me an endless library of human behavior to pull from for my characters!”

Terra is a big milestone for you. Looking back, what’s something you wish you could tell your younger self starting out in this business?

Younger Self

Looking back, there are two distinct pieces of advice I would give my younger self, and they both boil down to taking back your own power in an industry that can often make you feel powerless.

The first would be: start making your own films immediately. Finish writing that script, learn the camera gear, and understand the production side. When you know how to make your own work, you stop waiting around for permission or relying on someone else to cast you. You create your own opportunities and give yourself something tangible to talk about. I actually get a bit annoyed with myself because I did Media and Film Studies at A-Level—we literally had to create title sequences and learn camera work! If I had just kept that momentum going, I’d have a decade of filmmaking experience by now. I’d tell my younger self not to let those skills sit on a shelf.

The second piece of advice is something that actually only sunk in for me recently, after a reassuring voice note from a close friend: stop stressing about finding 100% ‘flexible’ gig work all the time.

Actors are notoriously known for being skint, but the endless anxiety of zero-hour contract side hustles can drain your creative tank. I’d tell myself to find a stable job I actually enjoy, with predictable hours that allow me to pay rent without panicking, afford a birthday present, or save for a holiday. At the end of the day, if you can’t occasionally request a shift off, or ultimately walk away from a job when your dream passion project finally comes calling, then what are you doing it for anyway? Take care of your life and your financial mental health first—the acting will thrive because of it.”

Podcast Show

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“Writers are often the unsung architects behind every production, quietly shaping worlds and characters that only come alive when actors step onto the stage or screen.”

Ariella Carmell

Writers are often the unsung architects behind every production, quietly shaping worlds and characters that only come alive when actors step onto the stage or screen. It’s a perspective that resonates with me—having written my own book, Dreamstones, back in 2011, I know firsthand how creativity can simmer late into the night, fuelled by unconventional hours and a relentless drive for perfection. The process is messy, magical, and sometimes solitary, but it’s always deeply rewarding.

Ariella Carmell—her name is practically shorthand for boundary-pushing playwriting and screenwriting, though that’s just the tip of the iceberg when it comes to her talents. It’s impossible not to focus on her writing, given the sheer impact she’s had on the entertainment world, but there’s so much more to her creative journey.

Magazine Interview

In this exclusive interview, Ariella Carmell opens up to Networking Magazine about both her professional milestones and the personal experiences that shaped her along the way. 

Writer, Director, and Producer 

Ariella Carmell is a writer, director, and producer known for her darkly comic and thought-provoking work. She graduated from the University of Chicago and received the 2019 Olga and Paul Menn Prize for Playwriting. That same year, she was named the Michael Collyer Memorial Fellow in Screenwriting by the Writers Guild of America East and the Black List.

Ariella Carmell – Theatre Work 

Her theatre work ranges from intimate character studies to ensemble pieces, all set in memorable places and featuring unique characters. Her plays include Sit for Me (SoHo Playhouse, TheaterLab), Please Let Me Save You (Emerging Artists Theatre, NYC Fringe Festival), and Her Resting Place (New York Theater Festival). 

Directorial Debut 

Last year, she made her directorial debut with her play Women Who Cut at the Circle Theatre Festival at AMT Theatre. She won Best Director, and the play received awards for Best Ensemble and Best Actor in a Comedy (Chelsea LeSage). Since then, the play has been staged again as an immersive experience at Rosa in Williamsburg and as the first play at Pauhaus Gallery in Los Angeles, directed by Bella Balsamo.

Collaborations

Ariella’s screenwriting includes the feature Know Your Body, which has been recognised by BlueCat, the Austin Film Festival, and other competitions. Her script, Fathers and Daughters, was developed through the Collyer Fellowship and reached the ScreenCraft Screenwriting Fellowship Quarterfinals. She recently completed a short film that will be directed by her collaborator, Chelsea LeSage, and is developing several other projects across different genres and media.

Ariella Carmell – New York City

She has trained as a performer at T. Schreiber Studio and the Acting Studio. Her writing has appeared in Alma, the Brooklyn Review, the Sierra Nevada Review, and with the Jewish Book Council. Now living in New York City, she is fulfilling her childhood dreams and building her own creative world. Each new project is a little wilder than the last, so stay tuned.

Thought-provoking Themes

Your plays and screenplays often blend dark comedy with thought-provoking themes—what draws you to this unique mix, and how do you strike that balance?

I’ve always had a bit of a melancholic disposition, and yet I love to make myself and others laugh. The mix of darkness and humour comes from the contradictions of life itself, and the art I love reflects this sensibility. From being a kid reading A Series of Unfortunate Events to a teenager watching Heathers to a young adult inhaling Coen Brothers movies and shows like Barry and Fleabag, I’ve always liked what I like, which happens to be what disturbs me and makes me cackle all at once.

I strike the balance by staying true to the characters’ motivations and desires, never to be funny for the sake of it. There always must be a reason why a character says or does something, and nobody tries to elicit a reaction from an audience they are not supposed to see. Humour is usually a byproduct of the given circumstances, a release of tension, and often it’s the things taken most seriously that end up being unintentionally funny.

Pivotal Moment

Can you share a pivotal moment or breakthrough in your journey from university graduate to award-winning writer and director?

Winning the Michael Collyer Memorial Fellowship in Screenwriting was a huge moment of recognition from a major institution. I attended the Writers Guild of America East Awards that year and got to speak in front of a crowd of industry professionals, including John Krasinski and Emily Blunt. I felt so glamorous.

Since then, the industry has changed so much, and the road has been far from linear, but I look back at that award as something to remind myself that I’m “legit.” Because, honestly, a lot of the time, I am still that university graduate figuring things out — but, also, I know I’m on the path that has brought and will bring me back to spaces like the WGAEast Awards. As an artist, there are often long stretches of time when I work in total, unfettered isolation, and while the pursuit of my craft is never about the awards, the memories of the wins remind me that I am not working in a vacuum.

Ariella Carmell – Inspiration

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“Women Who Cut” has garnered multiple awards and been staged in several formats—what inspired this play, and how did seeing it reimagined in different venues influence your perspective as a creator?

A lot of people think I’m a man-hater because of this play, but that’s not exactly it (although I’ve had my moments of frustration around gender dynamics, as we all have). I was mostly drawn to a sort of “girl’s girl” language around misandry, the way trying to destroy the patriarchy can bring women together, even as we are so often incredibly vicious to each other. I went to an all-girls’ school, so I saw this pattern play out many times. It felt that the only times we weren’t at each other’s throats were when we were directing our rage outward, to the system. Then we’d be back to glaring at each other and denying that anything was wrong. There’s an undercurrent of violence in this candy-coated “yass queen” language that I think is so hilarious that I wanted to see it represented. That being said, I depict everyone, man or woman, in this play cartoonishly. They are all, in their own ways, ridiculous characters, each one capable of being both monster and victim. I take this stance on humanity in general.

Different Formats

Restaging Women Who Cut in different formats and venues has expanded my capabilities as a creator. Before I directed the first performance at the Circle Theatre Festival, I saw myself as a playwright who self-produced out of necessity. Now, I view myself as more than a writer. Both the piece and I are more flexible than I initially thought, which is a necessity in a time when boundaries of entertainment are shifting. I’ve been writing since I was eleven, more or less, so sometimes I don’t have the excitement for it that I have for a new activity. But directing is a whole new adventure, terrifying and exhilarating, that ignites the entire creative process for me. Sometimes it’s good not to be so masterful when you make something, I’ve learned.

Ariella Carmell – Writing & Directing

How has your training as a performer shaped your approach to writing and directing for both stage and screen?

My playwriting teacher, Jeremy Kareken, said that taking an acting class is one of the best things you can do as a playwright, and he was right. Same for directing. I don’t think I would have been able to conceive of directing without taking a Meisner class, which opened my eyes to the perspective of actors, what they need to be told to bring out the best of them. Now I hear repetition in daily life and incorporate it into my work in a way that feels both naturalistic and musical.

My studies also made me consider the actor more as I write. You’d be surprised how little the early-stage playwright considers the realities of acting and stagecraft when writing — I can only speak for myself, but it took me time to understand the specificities of the form that make it different from screenwriting or fiction. Being in the shoes of the actor made me realise, “Oh, I don’t always want to be saying the most poetic thing.” What works for the writer often doesn’t work for the actor. I realised playwriting is not about writing something beautiful for beauty’s sake, but to propel the narrative forward so that it’s impossible to look away. That is the ultimate goal: to keep every eye locked on the stage, to keep every actor engaged in pursuing their own objective. Theatre is quite an athletic endeavour — whether you’re watching or participating, you might be quite sweaty by the end of the show.

Genres and Mediums

You’ve worked across theatre, film, and even immersive experiences—what excites you most about experimenting with different genres and mediums?

As I said earlier, I’ve been writing in several different mediums since I was eleven. I’m almost thirty now (gasp!). There is still so much to discover when it comes to writing, but in some ways, I feel like I am a former piano prodigy who wants to learn different instruments now. Writing will always be my first love, but I do think I’m grappling with the creative scars that come with pressure on my writing from such an early age. When I sit down to write, I sometimes feel the burden of expectation. I want writing to feel like freedom, not a responsibility.

Experimenting with different mediums, as a creator who writes and directs, expands my skillset and keeps me creatively plastic. In this day and age, where everyone has seen everything, the best thing is to keep people engaged. Throwing a play like it’s a party, for example, changes the game for creator and participant alike, blurring the boundary between art and life. As a recovering perfectionist, breaking the rules brings me back to that state of childlike wonder that inspired me to create in the first place. It’s healing to try out different things, to push the limits of artistic definitions.

Feedback

As someone whose work has been recognised by major competitions and festivals, what’s the most meaningful feedback you’ve ever received about your writing?

Funnily enough, I think the best feedback came from Adi Lynton, the production and costume designer for the first run of Women Who Cut: “The gods really came together on this one.” My best work never feels written but rather like it’s fallen from the heavens, from a place of the universal creative soul. I really do believe that I am merely a conduit for worlds and characters that already exist. My job is to keep the channel open and translate these worlds and people into being.

Ariella Carmell – Creative world

You mention building your own creative world—what does that world look like, and how do you stay inspired to keep pushing its boundaries?

With each production, my web of collaborators grows. I love connecting with fellow artists and working with them multiple times, and seeing the way they connect with each other as well. To see how the girls of Women Who Cut kept working on different projects together after the show ended warmed my heart. It makes me feel like each production lives on beyond its run, that there’s a greater purpose to the ephemeral nature of a show.

I want to keep working with former collaborators in different capacities and different roles, as well as expand my network of possibilities. There’s a staggering amount of talent out there, and like a Pokémon master, I’m going to catch ’em all. That’s the satisfaction of working in production and not only writing: the whole venture becomes about something bigger than myself and my words.

Artistic Growth

Collaboration seems central to your process; can you talk about a partnership or project that had a major impact on your artistic growth?

That’s a hard one — I’ve been lucky to have so many talented collaborators: Andie Lerner, Meredith Ginsburg, Talya Dayan, and Emma Tadmor, to name a few. I’ve learned so much from all of them, and each, in their own way, has impacted my work.

Working with Chelsea LeSage on both Sit for Me and Women Who Cut has been so important to me. She’s the real deal, a truly consummate actor, not to mention such a lovely and calming presence. When she auditioned for Sit for Me, the air in the room changed. She was absolutely amazing in that role, and a pleasure to work with, but her performance as Ava in Women Who Cut really showcased her brilliance. Never afraid to try anything, she was absolutely deranged in that role, and I loved every second of it. Off-stage, though, she could not be more calming as I navigated my first time directing. It meant so much to me that I won Best Director and she won Best Actor, a testament to the power of our collaboration, because we both brought out the best in each other. I will work with her anytime.

Ariella Carmell – Advice

Looking back at your journey so far, what advice would you give to emerging writers who want to make their mark in today’s entertainment landscape?

Don’t give up! There have been many, many times when I wondered what the point of making art is, but it’s always when I’m on the verge of giving up that I write the story I need to write. Make things all the time, especially if they’re bad, because constantly creating will prime you to capture the story only you can tell. Don’t be rigid in how you see yourself as an artist — just because you haven’t tried something yet doesn’t mean you shouldn’t pursue it. If you’re a writer in a slump, try acting or directing. If you’re an actor between jobs, try writing. Even if you simply try something once, you will learn so much. You don’t need to be a master of a craft to have permission to do it.

Mystical Act

One last thing I would say is that you need to be the one to get others on board for your vision. Women Who Cut is the most insane thing I’ve written so far, and not everyone understood it on the page. I had to be the one to believe in it to get anyone else to believe in it. Even though I had my struggles with self-doubt, I maintained confidence in myself and my piece that sustained the whole production. I knew, deep down, that I could see something that no one else could see, and it was my job to get them to see it. Writing is its own mystical act, but it’s not enough to sit at home and commune with the gods on your own: you must work with others in order for your words to exist beyond the page.

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For Kathi Reichel a visit to the set proved unforgettable—being starstruck by the cast. Soon after came a first experience as a background actor in a German feature film; sitting in the make-up chair, getting hair and make-up sorted, it became clear: this could be a lifelong pursuit.

Acting

The seeds of an acting career were sown early. With just thirty minutes of television permitted each day, a young aspiring performer made a beeline for “Hannah Montana” every evening. It wasn’t long before friends were recruited to join in impromptu skits, performing pop hits with a flair that hinted at future ambitions.

When her brothers landed roles in a German TV show, the competitive spirit was piqued. A visit to the set proved unforgettable—being starstruck by the cast, and perhaps developing a secret crush on the lead. Soon after came a first experience as a background actor in a German feature film. Sitting in the make-up chair, getting hair and make-up sorted, it became clear: this could be a lifelong pursuit. This was a calling.

Medicine Vs Film

But life had other plans for a while. Attending a demanding school meant the focus shifted to academics and family. Growing up in a small town where the arts weren’t exactly encouraged, it was easy to drift away from that early spark. When it came time to choose a path of study, there was a sense of being torn—medicine or film? In the end, film won out.

Then COVID arrived. A hands-on, creative degree suddenly became entirely theoretical, mostly studied from bed. It wasn’t until the final two semesters that a passion for storytelling started to creep back in.

Kathi Reichel – New York

After graduation, a move to New York for an internship followed, but something just didn’t sit right—it all felt miles away from a true sense of purpose. One day, while burning up with a fever, there was a spontaneous decision to sign up for an acting class—one barely even remembered making. That class changed everything, helping to heal, restore confidence, and bring back laughter and dreams. For the first time in ages, there was a sense of feeling truly oneself.

Back in Germany, there was no time wasted searching for a summer acting programme—and that’s when the Lee Strasberg Theatre & Film Institute appeared on the radar. What was supposed to be a brief stint turned into something much more. It became a home, a place to rediscover parts of oneself lost along the way.

Auditions

Instincts said to enrol in the conservatory. After completing the programme, it was time to take full advantage of OPT, diving into auditions and building a growing portfolio. Among the student film credits is ‘Veradens’, which earned Best Horror at the Paradise Film Festival and accolades at the Rome Prisma Independent Film Awards, plus selection for the Lift-Off Global Network Film Festival.

Later, Kathi jetted off to Atlanta to work on the TV pilot/film “Asherah: A Love Odyssey”—a surreal experience, especially being on a set where massive productions, including ones from Marvel Studios, had been filmed.

Women Who Cut

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One of the most life-changing chapters for Kathi was joining Women Who Cut. The people she met there changed everything. They became more than collaborators—they became family. The project picked up several awards, and through her role as Mia, she grew massively as an actor and as a person.

Kathi also got the chance to work as an assistant director on a stage production, which pushed her creatively in brand new ways. Being on the other side of the process gave her a deeper understanding of storytelling and teamwork—and she loved every second of it.

Her final project before heading back to Germany was Women Who Cut Immersive, and it was an experience she’ll never forget. Leaving New York felt like leaving home—like leaving a bit of herself behind.

Creativity

The people she met, the work she created, and the growth she experienced during that time shaped Kathi in ways she never expected. Acting became more than just a job—it became a space for healing, connection, and honesty.

And if one thing’s clear to Kathi now, it’s this: she wants to go back to that place—not just physically, but creatively. That’s where she feels most alive, and that’s where she truly feels at home.

Breaking news: Kathi has just revealed she’s been cast in “Spider-Man: The Book of Peter”! Follow us on Instagram to keep up with her latest adventures.

Kathi Reichel – Credits

Website homepage image – Photography by: Alan Rexroth: @alan_rexroth_visuals

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From school stages in Mexico to the bright lights of New York, Manuel Zopiyaxtle’s journey is nothing short of extraordinary.

We’ve always had a soft spot for talented people, especially when it comes to that elusive spark that sets real go-getters apart from those who leave things to chance. There’s something fascinating about the drive behind the dream, and Manuel Zopiyaxtle fits that bill perfectly. Hailing from Mexico and now making waves in New York, Manuel’s journey in the arts kicked off early, thanks to a supportive family—his mum in particular. Let’s be honest, a bit of encouragement from those closest to us can work wonders for confidence, and Manuel’s got it in spades.

Creative

Creative to his core, Manuel found his calling in acting, which led him from the stages of Mexico to the bright lights of the New York Film Academy. He’s been labelled a natural storyteller—something confirmed by those who’ve shared a stage or screen with him—and he thrives on making each story he tells completely believable. From acclaimed short films and stage productions to voice work, Manuel’s been recognised at international festivals, with standout performances in pieces like “The Mime,” “For Lila,” and “The Missing Kitchen King.”

Manhattan

Once settled in Manhattan, Manuel threw himself into the NYFA whirlwind—studying with top industry pros and building the kind of creative friendships that last a lifetime. It’s true what they say: sometimes it’s not what you know, but who you know. For Manuel, the real magic of acting lies in the details, and his mantra quickly became all about authenticity and specificity. His first short film, “Gothic Girls Are Right,” made a splash at festivals worldwide and marked a turning point in his career. Since then, he’s scooped up awards, tackled everything from gruelling winter shoots to fully improvised features, and proved he’s just as at home on stage as on screen. Genuinely passionate about his craft and always up for the next challenge, Manuel Zopiyaxtle is definitely one to watch—he’s got his eyes on the future and firmly believes art is what makes life worth living.

Manuel Zopiyaxtle – Performing

Looking back, was there a particular moment in your childhood when you realised performing was more than just a hobby for you?

When I was 14, I was performing in Aladdin as part of a theatre workshop—back then, acting was just a hobby for me. It was opening night, and the mix of nerves and excitement was almost overwhelming. Playing Aladdin was my first time in a lead role, and I took it very seriously. I was on stage nearly the whole time, fully aware that my family, friends, and even people who weren’t my biggest fans were all out there in the audience. But I realised I had to give my all to everyone watching, regardless of who they were. That night, something shifted inside me. I finally understood why acting meant so much to me: no matter the circumstances, you always have to give your best and perform at 100%. I thought, “This is a tough discipline”,—but I could see myself doing it.

Manuel Zopiyaxtle – Big Moment

Then came the big moment. I had to step into Aladdin’s shoes and take the stage for my first musical number. The excitement was there, but so were the nerves—I honestly thought I might implode. Still, I had to go on, and as soon as I did, I felt an incredible sense of peace—a force more powerful than anything I’d experienced before. Suddenly, the nerves disappeared. I felt connected to everything: the audience, the lights, the stage, even the darkness beyond. In that moment, while singing Aladdin’s song, I thought to myself, “I want to do this for the rest of my life.”

Manuel Zopiyaxtle – Perspective

How did your move from Mérida to New York challenge your perspective, both as an artist and as a person?

It changed me a lot. New York is a tough city, honestly. There’s a phrase a close friend once told me: “New York is a city meant for strong-spirited people only.” I really believe that. Coming from Mérida, where people are always looking out for each other, everything felt different. Back home, everyone’s a bit more open, friendly, and welcoming. I love my country and the city I grew up in, so leaving was incredibly hard. When I arrived in New York, I quickly realised things weren’t the same. New Yorkers aren’t exactly friendly—they’re kind in their own way, just not warm and welcoming. If pushing you aside means they get somewhere two seconds faster, they won’t hesitate. I used to joke that if I collapsed on the street, not a single New Yorker would stop to help.

New York

That first year in New York was a real struggle. I felt incredibly lonely at times. But, bit by bit, the city made me stronger, more resilient, and more passionate. Eventually, I found my people and my community, and that brought me back to life. I rediscovered my passion and became relentless in everything I did. I took inspiration from the challenge itself—it felt like I’d managed to tame the city and merge with its energy. I became more committed than ever. It wasn’t easy, but I learnt to love the struggle and embrace the challenge. That’s what fuelled my life and my art. It lit a fire inside me, and I knew I wouldn’t stop until I achieved what I set out to do.

Manuel Zopiyaxtle – Creativity

Your mum played a big part in encouraging your creativity—are there any family traditions or values that still influence your work today?

So many of them. My mum and dad played huge roles in shaping the person I am today. Commitment, resilience, and a love for what you do—those were the big lessons they passed on to me as I was growing up. But above all, they taught me to be myself. Not to worry about other people’s opinions or what others might try to impose on me, but to stay true to who I am and always show my most authentic self.

They also instilled in me the importance of passion—carrying that flame with pride and love. They encouraged me never to shy away from what I care about, because it’s our passions that make life meaningful and push us to achieve more. I became a passionate person because of them.

Manuel Zopiyaxtle – Film Academy

When you think about your time at the New York Film Academy, what’s one lesson or experience that’s really stuck with you?

Professionalism might sound like a buzzword, but it’s absolutely vital. Whether you’re stepping onto set or meeting someone new in the industry, always aim to be the best version of yourself. That means being on time, staying engaged, and being responsive. Simply showing up isn’t enough—you need to be present in the room, ready to react, be respectful, and support those around you.

Wherever you go, bring an idea with you. Share your thoughts with the group; they might help, they might not, but what matters is that you’re contributing and putting yourself out there. The key thing is to take action—don’t just sit back and wait for something to happen. As actors, there’s a lot of waiting around, but if you’re going to be there for a while, at least bring your best attitude and energy to the job. It’s important to remember that we’re all in this together. Supporting each other and working as a team is what creates a truly collaborative environment. Staying committed to that sense of teamwork is, in my view, the essence of professionalism.

Impact

Is there a role you’ve played so far that’s felt especially close to your heart, or perhaps changed you in some way?

The Mime, written and directed by Veronika Hermann, was truly life-changing for me. In the film, I had to portray a street-working mime who was utterly exhausted by his circumstances. Many of the scenes involved genuine interactions with strangers and passers-by who had no idea we were filming. Often, people would ignore or even mistreat the mime—and that really got to me, not just as an actor, but as a person.

It opened my eyes to just how little attention we pay to those who make a living on the streets, and how isolated and invisible they must sometimes feel. The experience genuinely changed me, both personally and artistically. Especially in New York, where everyone is always in a rush, you rarely stop to speak to someone on the street. Playing this role taught me a great deal about empathy, kindness, and respect—not just for my character, but for every person I encounter.

Manuel Zopiyaxtle – The Mime

The film also delved into sensitive topics, such as giving up on life. At the time we were shooting, I was going through a rough patch myself—I felt lost and unsure about where I was heading, even in my career. Working on The Mime helped me reconnect with my art and my soul. It reminded me why I fell in love with acting in the first place and reignited my passion for the craft.

How do you keep your performances fresh and authentic when you’re juggling so many projects at once?

That’s a great question, and honestly, it’s one I often ask myself. At the end of the day, this is my job—and I feel incredibly privileged to call it that. Whether I’m learning lines, preparing my character, working on my voice and body, auditioning, or editing tapes, it’s all part of what I’ve trained to do. Every time I step into a new character, I approach it with as much respect as possible, honouring both the writer’s vision and the character itself, almost as if I’m meeting a new person.

Respect

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I have a huge amount of respect for the arts, and acting in particular. I approach my craft with a lot of care and passion, following a process that helps me truly connect with every role. Sometimes, I’m juggling three different characters at once, and it’s a challenge to manage them all. But I treat each character like a friend—you don’t forget your friends, or what makes them tick. I dig into the specifics of each project and develop a unique point of view for every role.

When I’m on set, I give it everything I’ve got. No matter how tired I might be, I always put in my maximum effort. I know how lucky I am to be a working actor, so I bring as much energy as I can, hoping it translates into a fresh and authentic performance. Most of the time, it does!

Challenge

What’s been the biggest obstacle you’ve faced on your journey, and how did you overcome it?

I’d say one of the biggest setbacks I’ve faced has been working with or befriending people who weren’t good for me. There have been times when I trusted people too easily, only to realise that not everyone wants to see you succeed—some are happy for you, but only as long as you’re not doing better than they are.

I’ve had moments when people turned out to be very different from who they claimed to be, or ended up treating me unkindly. It’s always disappointing and can leave you questioning yourself and your choices. I genuinely believe we’re meant to support one another, so when you encounter people who push you away or treat you badly, it can really affect your mental health.

I struggled with this, especially in a city like New York, where you can never be entirely sure of people’s intentions. These days, I’m much more careful about who I trust. Most importantly, I’ve learnt that while it’s important to have people around you, I also need enough belief in myself to keep moving forward, no matter what challenges I face.

Manuel Zopiyaxtle – Collaboration

Collaboration seems to be a big theme in your career—what do you look for in a creative partner?

Initiative really stands out to me. I love it when someone comes to me and says, “Let’s do something” or “Let’s create this.”

I believe creativity and imagination come from within—you have to truly want to make something happen. It’s inspiring to work with people who don’t just sit around waiting for a project to land in their lap. I enjoy collaborating with partners who are passionate about what they’re building, have a clear vision, and are mature enough to share the reins and let you help steer the ship.

Collaboration is something I genuinely love, and when you’re working with the right people, it can take you so far. Feeding off each other’s good ideas and energy always benefits the project, and that mutual spark is what makes creative work so rewarding.

Inspiration

Away from the stage and the camera, what inspires you or keeps you grounded in your day-to-day life?

What really inspires me is the question: “What if?” What if I actually achieve what I want? Success in this business is so subjective, and it’s never easy—but that’s exactly what drives me. When I wake up and remind myself how difficult it is to reach my goals, it lights a fire in me. I’ve always been drawn to things that are hard to get, and I think that’s part of the appeal. It’s easy to tell yourself, “It’s fine if it doesn’t happen,” but I always wonder, what if it does? What if I win, what if I get everything I’ve dreamed of, and more? That thought keeps me motivated. I love dreaming big and then actually taking steps towards those dreams, picturing myself achieving them. That’s what keeps me going.

Manuel Zopiyaxtle – Dreams

The other thing that inspires and grounds me is the people I meet along the way. I come from a place where so many people have huge dreams, but they’re held back by circumstances—money, opportunity, talent, or sometimes even their own families.

Whenever I step on stage or in front of the camera, I remind myself: “How many people would love to be in my shoes?” There are so many with a passion for acting who, for whatever reason, never get the chance. I do it for them—for those who can’t, and those who never could. I feel honoured and deeply privileged to be where I am, and I give it my all every time. The craft deserves it, and so do all the people who aren’t able to chase their dreams.

If you could go back and give your younger self one piece of advice about pursuing the arts, what would it be?

Trust the process. So often, we feel rushed, as if everything has a deadline and opportunities might pass us by. I’ve felt that way plenty of times, especially as an actor—you’re always wondering when your big break will come. But the truth is, you can only do so much. I give everything I can to pursue my goals, but beyond that, there are things and people I simply can’t control.

Trust

Learning to trust the process has helped me stay calm, even in high-pressure situations. If I could give my younger self any advice, it would be to hang in there, no matter what he’s up against. There have been moments when I felt trapped with nowhere to turn, but I’d tell him to keep going, to ride out the storm, and to trust that whatever happens—good or bad—is meant to be.

And most importantly, say yes to everything. If a project comes along and you know nothing about it, say yes. If the script’s great but there’s no pay, or even if the script’s awful and there’s still no pay—say yes. If there’s a short film shooting two hours away, or a hangout with people you don’t know, say yes. Take on roles that make you act tired, sad, or moody—just say yes. The more experiences you gather, the more they’ll enrich your craft and artistry. You never know, you might just find yourself in the right place at the right time and hit the jackpot. But you’ll only find out if you’re open to every opportunity.

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With relentless determination and a belief in the power of dreams, Juliette Cochet reminds us that we can create our own story and shine brightly.

Everyone possesses a unique superpower, but it can be difficult to carve out your own path when surrounded by those who share a similar gift. We shine the spotlight on Juliette Cochet, an exceptional actress who stands out in her field.

My introduction to Juliette came through Chelsea LeSage, a gifted friend known for her ability to connect with talented people. The Networking Magazine had the pleasure of interviewing Juliette for a candid conversation that sheds light on her inspiring journey, highlighting both the challenges she’s faced and the successes she’s achieved along the way.

Hollywood

Imagine this: a young girl from a quiet suburb in France, dreaming of Hollywood glamour and bright city lights. Many people have those dreams, but not everyone takes the leap. Juliette did! With ambition in her heart and a supportive family cheering her on from afar, she packed her bags and moved to the iconic New York City—fondly known as “the city that never sleeps.”

At the New York Film Academy, Juliette met amazing collaborators who would become her creative partners for years to come. When she wasn’t studying, she was busy auditioning for short films. Her first significant break came with “Mon Amour”, directed by Kaisar Maxutov, which earned a collection of festival awards. Talk about a strong start to her career!

“Stop waiting, stop dreaming, and start creating your own story”. – Juliette Cochet

Leading Role

Her dedication continued to shine with the film “I’m Afraid”, also directed by Maxutov, which earned her the ‘Best Actress’ award at the MultiDimensional Independent Film Festival. And if that wasn’t enough, she landed a lead role in the Off-Broadway play “Women Who Cut”, sharing the stage with industry legends like Chelsea LeSage, Kathi Reichel, and Monte Bezell. What an incredible team!

While dazzling audiences at the AMT Theatre, Juliette was also fully invested in her thesis film, “Eternity with You”, which won her another ‘Best Actress’ award at the Stockholm City Film Festival. Talk about multitasking! This touching story about motherhood was personal for her—a fitting conclusion to her years of education.

Surreal experience

Just when you thought her schedule couldn’t get any busier, Juliette landed a lead role in her first feature film, *The Blue Woman*, directed by Kyle Sharp. Although the film is still in post-production, she’s buzzing with excitement for its release. Working alongside a cast that quickly feels like family has been a surreal experience, especially with co-star Andrei Kogolenok, who makes the journey even more enjoyable.

In an unexpected turn, Juliette recently teamed up with Kaisar Maxutov for a fully improvised independent feature, embracing the spontaneity of the moment. Alongside talented actors like Manuel Zopiyaxtle, Dasha Zhykharska and Jaylen Stapleton, she learned to thrive in the chaos—it’s all about being present!

Interests

But there’s more! When she’s not dazzling on stage or film sets, Juliette explores other artistic interests. Whether learning piano as a tribute to her granddad, dabbling in photography, or immersing herself in dance and martial arts, her creative spirit knows no limits.

Juliette Cochet is indeed a force of nature. With relentless determination and a strong belief in her dreams, she’s relishing every moment in the greatest city in the world. And guess what? She’s just getting started!

Juliette Cochet – Create Your Story

If her journey teaches us anything, it’s that with the right support and a dash of optimism, you can achieve anything you set your mind to. If I were to take a page from Juliette’s book, it would read: stop waiting, stop dreaming, and start creating your own story. 

France

Juliette, when you were growing up in France, what sparked your dream of making it in Hollywood?

When I was younger, especially living outside the US, Hollywood seemed like the ultimate destination, the best place where dreams become reality. But what truly inspired me to become an actress is actually a funny story. I watched “Mission Impossible 4” for the first time, and being a young girl, I had a huge crush on Tom Cruise. 

I remember telling my family, ‘When I grow up, I’ll be working with Tom Cruise’—not realising there were so many other jobs that would allow me to be around him! My only thought was that I needed to become an actress to work with him. So far, I still haven’t shared the screen with Tom, but I know it will happen sooner rather than later. If he ever comes across this… please hire me!  

Moving

Moving to New York City is no small feat! What was the biggest challenge you faced when you made that leap?

The first challenge I faced was mainly in the language. I had a high level of English in France, but learning the slang of a country and a city specifically, learning some expressions that school will never teach you, as well as speaking, reading, writing, and thinking in English every day for years was definitely harder than I expected. For the first few months, my brain had a hard time getting used to it, but it became easier faster than expected.

The second, and definitely harder, challenge I faced was gaining my independence so quickly. I’ve always been independent, even when living with my family, but when you live alone, far from everything you thought you knew, it truly forces you to grow faster, without a choice, and that process is quite lonely. When you wish to talk to someone who lives on another continent with a big time difference and realise you can’t right away, it forces you to sit with yourself, make your own decision, and own up to it. 

New York

We heard you had some fantastic experiences at the New York Film Academy. Can you share a bit about the collaborators you met there and how they influenced your journey?

Everybody that I’ve worked with has influenced my journey one way or another. Whether it is by getting another point of view, learning about another culture, or just being inspired by them. I’ve met some of the most inspiring artists, who I believe should be better recognised for the work they put in, given how talented they are. 

I love asking questions to the crew on set, getting to understand their work and how they create this magic, and I’ve been fortunate to be around people who have been willing to teach me some of their craft. 

Craft

The cinematographers, grips, sound mixers, gaffers, assistant directors/camera and script supervisors have all taught me something about their craft, and it has made me, as an actress, more patient, grateful, and hardworking. When you know a group of people come before you and leave work after you to create an environment that will make you, the actor, comfortable enough to simply play, it makes you want to give all that you have to make all of their work worth it.

Some of the future greatest actors of our generation that I’ve met will never cease to inspire my craft. I learn so much just by watching them. We’re all on the same boat: we all love acting and want to learn, so, at the end of the day, actors will always be my biggest inspiration. It’s hard to open yourself up to someone in real life; it’s even harder when you do it in front of dozens of people while being filmed to be shown afterwards. So when I see an actor being truthfully open and vulnerable, it makes me so grateful to be there to experience it. 

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Juliette Cochet – Mon Amour

Your first big break was with *Mon Amour*. What was that experience like, and how did it feel to receive all those festival awards?

The shoot itself was so much fun! It was my first time feeling like I was shooting a movie! My co-stars were so talented, the story was interesting and fun, and the crew was full of energy! I remember doing the photoshoot for the poster, and my best friend from France was there, and she was just as in awe as I was! 

Receiving those festival awards felt unreal. I didn’t know much about it, so when I heard the news, I was shocked, euphoric and very proud! 

Achievements

You’ve had some significant achievements, like winning ‘Best Actress’ for “I’m Afraid”. What do these accolades mean to you personally, and how do they impact your work?

It’s quite unreal, to be honest. I try not to think about it too much, because though it means a lot, I want to keep the momentum going and use it as fuel for my future work! I want to keep in mind why I came here to do this. It’s a beautiful thing to receive, and it will help me move forward. 

Juliette Cochet – Balance

Balancing a lead role in “Women Who Cut” and your film “Eternity with You” sounds intense! How did you manage the pressure of multitasking on and off stage?

It was intense, that’s for sure! But the two characters were so different that switching between them was easier. Lila, from “Women Who Cut”, a comedy, is way more naive, younger, positive and very energetic. At the same time, Becca, from “Eternity with You”, is inspired by the dramatic play “Rabbit Hole”; she’s older, hurt by life’s experiences and grief, and way more grounded. I’d also worked with Becca for months before that shoot; I knew her in every way. 

Character

I knew her past, her present, her thoughts. I would also sometimes walk around the city and catch myself thinking the way Becca would be thinking: on her guard and attentive. At the same time, I was still learning about Lila and working on her. And to be fair, Lila was a light, fresh air to come back to after the heaviness of Becca. 

But the pressure itself doesn’t bother me, quite the opposite. I thrive on pressure. While my real pressure is when I have nothing to do: that’s the hard thing for me to deal with!

Juliette Cochet – First Feature Film

Tell us about “The Blue Woman”. What was it like working on your first feature film, and what are you most excited for audiences to see?

It was so cool working on my first Feature! Most actors will probably agree, but we love working on a character for a long period of time and getting to play with it under different scenarios, so I just loved playing Marie in “The Blue Woman” for a few days non-stop. Plus, we had a small crew with us, so we all bonded so well together, and we were all having so much fun!

Marie felt familiar to me in a certain way, even though she is quite different from who I am. I found myself wanting to care for her and protect her from the challenges she faced. While I can’t reveal too much, the story is very original, and my character is very ambiguous. I’m really looking forward to hearing people’s opinions about her. The audience’s perspectives on Marie will vary widely, which makes me even more excited to see their reactions!

Improvisation

You just wrapped up an improvised independent feature with Kaisar Maxutov. How did diving into improvisation change your approach to acting?

Yes, we did! It actually changed my approach drastically. Though improvisation was fun and stress-free because we didn’t have to prepare anything beyond our knowledge of the character, it reminded me of how important preparation is. And it made me, maybe, more serious about it as well. I would sometimes catch myself watching my co-stars act as if I were part of the audience, and I would find them funny, but I realised that my character wouldn’t find any of it funny. 

So, it made me work more on accepting the reality of the circumstances. Plus, though I’m a firm believer in following your instincts when acting, I also realised that, by making a feature fully improvised, a bit of improvisation is great, but following a script and a strict dialogue is where you can expand your creativity so much. I personally find ideas in somebody else’s ideas. When I have a script to decrypt, I can go extremely deep into it, finding crazy scenarios, and that is what I like the most, personally!

Creative Interests

Outside of acting, you explore a variety of creative interests. Could you tell us how your passions, such as learning Piano and photography, influence your work as an actress?

An actor plays different types of human beings, and even if their skills aren’t shown on screen, I still believe it is important that we know what our character can and likes to do outside of their work and their relationships. So the more I learn, the more I can use it for my acting. 

Learning new skills reminds me that no matter what you work towards, you need to practice a bit more every day to grow. I used to believe that when you learn acting, then that’s it, you don’t have anything else to do. I used to believe that Meryl Streep wasn’t practising every day because she was Meryl Streep. But I was drastically wrong! Acting is a skill like Piano or Photography, and you need to practice a bit every day to get better at it. 

There’s also a quote that I love that influences me to learn new skills every day: “Luck is when preparation meets opportunity”. And that is just so true. So I want to be prepared for anything so that if an opportunity comes, then I’ll be ready to jump in. 

Juliette Cochet – Credits

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Sophia Eleni‘s creative journey has seen her collaborate with leading studios such as the BBC, FOX21, and Paramount. Sophia made a striking entrance to the West End, earning critical praise for two solo performances.

For most people, a good thriller or horror film is all about that heart-racing excitement and a proper scare. These are the films you put on when you want to be kept guessing—packed with suspense, jumpy moments, and twists you never saw coming. Whether it’s a creepy supernatural tale or a tense psychological drama, they deliver a real adrenaline rush—especially if you’re watching with mates and can share a few laughs (or screams). It’s all about enjoying those nerves and chills, safe in the comfort of your own sofa.

Of course, there’s no denying that CGI and all the latest tech make films look incredible these days. Slick effects and clever camera angles can really set the scene. But at the end of the day, it’s believable characters that make a story stick with you. That’s where Sophia Eleni truly shines.

Sophia Eleni – Standout Performance

Meet Sophia Eleni—the rising star everyone’s talking about after her standout performance in the spine-tingling horror flick Bone Keeper. Just this morning, a photo of Sophia at the Glasgow Film Festival landed on my desk. What caught my eye wasn’t the usual red carpet glamour, but her expression—she absolutely radiates pride in her achievement. And who can blame her? She’s earned every bit of it.

With her infectious energy and down-to-earth charm, Sophia is quickly becoming an actress to watch—not just for her talent, but for the warmth she brings both on and off screen.

London

Born and raised in London, Sophia’s love for performing was clear from the start. She trained at Rose Bruford College of Theatre & Performance and The Estonian Academy of Music & Drama, perfecting her craft and developing the versatility that’s now her trademark. After a series of impressive roles on stage and TV—including memorable appearances in BBC’s Casualty—Sophia landed her breakout film role in Bone Keeper, a tense supernatural thriller that put her right at the centre of the action.

In Bone Keeper, Sophia plays a determined and resourceful lead, handling both the psychological twists and the physical demands of a horror movie with real skill. With this milestone under her belt, Sophia Eleni is clearly poised for even bigger things. As she takes on new challenges and unexpected roles, one thing is certain: Sophia is a force to be reckoned with, and her journey is only just getting started.

Sophia Eleni – Early Moments

What first inspired you to pursue acting, and were there pivotal early moments?

I think it started with an interest in people and their behaviours. I was always an intuitive and emotionally sensitive child, and acting gave that instinct somewhere to live. I’ve always believed our early experiences shape us, and acting became a way of transforming mine into something purposeful. One pivotal moment came early in training, when I realised that presence, stillness and listening could be far more powerful than pushing for size. That’s when I understood that authenticity — especially on screen — is the most compelling thing to watch.

Training

How did your training in both London and Estonia influence your approach to performance, and what key lessons have stayed with you throughout your career?

I started training from a very young age, around six, and then went straight to drama school once I’d completed my formal education. London gave me a rigorous, theatre-led foundation — discipline, stamina, and the technical craft of building a performance. Estonia stayed with me in a different way. It was where I properly dipped my toe into screen and voice work, and I fell in love with it immediately — it was exhilarating and felt like a calling. I often regard Estonia as the foundation of my work in screen and voice acting.

Sophia Eleni – Challenges

Can you share a few standout challenges or breakthroughs that marked turning points in your transition from stage to screen and voice acting?

One of the biggest challenges in moving from stage to screen was scale. On stage, you’re trained to project and hold the back row; on camera, the smallest shift in thought can read as a huge moment. The breakthrough for me was trusting stillness — letting the inner life do the work rather than “indicating” it.

Voice acting was another turning point, because you don’t have the support of your face or full physicality in the same way — everything lives in breath, intention and rhythm. You’re often working alone in the booth, which means relying far more on imagination and visualisation. I like to think of the microphone as a close-up camera! Once I treated it as full acting rather than “just voice,” it unlocked a whole new level of freedom and specificity.

The Voice Of Aava

You’re the voice of Aava, the lead character in the hugely successful survival-climbing game Cairn, which recently won an award at Tribeca in New York. What drew you to the project, and how did you prepare to bring such a central character to life?

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I was immediately drawn to Cairn because it has real emotional integrity. The narrative grabbed me because it’s survival with soul. Aava is central to the story, and the writing treats her like a full human being — not a stereotype. I prepared by building her psychology first, then grounding it in the physical reality of climbing: breath, effort, timing, and the way determination sounds when you’re running out of strength. I wanted her to feel truthful — not performed.

Sophia Eleni – Bone Keeper

You play Nadia in Bone Keeper opposite John Rhys-Davies. What can you tell us about the role — and is there a moment from set that’s stayed with you?

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Nadia is an interesting character because she genuinely wants to help her friends uncover the truth about this legendary creature in the caves — but she absolutely has her own agenda. She’s a scientist with a real curiosity for geology and biology, and she’s determined to be the first to work out what’s actually going on… partly because it could be the discovery of a lifetime and, yes, it would elevate her career. That makes her tough, prickly at times, and brilliantly unapologetic — she’s not here to soothe egos, and she’s especially sceptical of the men around her!

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And of course, working opposite John was a masterclass in presence. He has that rare ability to make a scene feel alive through timing and stillness, and it raises your game instantly. John often improvised scenes, and we all just ran with it! Quite a lot of the takes in the film were the ones where we improvised, actually.

The crossroads of film, TV, and next-gen voice acting and performance capture

Your career sits at the crossroads of film, TV, and next-gen voice acting and performance capture. How do you adapt your acting process for each medium, and what unique challenges do they each present?

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I adapt by keeping the same core truth, but changing the scale. On screen, it’s about restraint and specificity; in TV, it’s about consistency and speed; and in voice and performance capture, it’s about clarity – making the inner life audible and physical, even when you’re working in a booth or in a suit with no environment around you. I often say the microphone is like a film camera: it picks up nuance in exactly the same way.

The unique challenge across every medium is balancing technique with freedom. You have to be disciplined enough to meet the technical requirements, but free enough to stay alive and human in the moment.

Misconception

Performance capture and voice acting are rapidly evolving fields. What’s one misconception about this work that you’d love to set straight?

A common misconception is that performance capture and voice work are solitary or mechanical — that it’s “just voice,” or somehow lesser than on-camera acting. In reality, the tech only records what you give it. You’re doing full acting: intention, relationship, rhythm, breath, and emotional truth and often without the usual supports of set, costume, or even scene partners. It’s highly technical, but it’s still fundamentally human work.

And while you’re often in a booth or in a suit, frequently working alone, it’s deeply collaborative. You’re building a living character with writers, directors, animators, and designers — it’s acting that lives across an entire team, and then carries into new technology.

Technology and Storytelling

With technology and storytelling more intertwined than ever, where do you see the future of performance capture heading, and what excites you most about it?

I think games are becoming ever more cinematic – and the appetite for that kind of storytelling is only growing. What excites me is where performance capture is heading: more nuanced, actor-led work that feels as intimate as film, but inside immersive worlds audiences can actually step into, interact with, and actually alter narrative. That blend of emotional truth and interactive storytelling feels very current, and I believe it is paving the way for an exciting future in our creative industry!

The Entertainment World 

The entertainment world often expects individuals to fit into certain “boxes.” How have you navigated the industry while staying true to yourself and your passions?

It can be frustrating, because the industry often prefers shorthand — it wants to understand you quickly, and that can turn into typecasting. For me, the answer has been clarity and consistency: choosing roles that genuinely excite me, staying focused on craft, and making sure my materials and public work reflect the breadth of what I can do. I’ve learned you can’t control the boxes people try to put you in, but you can control the story your work is telling.

Sophia Eleni – Advice

You’ve built momentum in your career outside of traditional routes. What advice would you give to other actors looking to carve their own path in the industry?

I’d say: focus on craft and creating momentum you can control. That means having materials that truly represent you, making work where you can (quality work – you at your best) and being strategic about how you’re seen. Keep your message clear: what you do, what you’re best at, and what lane you’re building.

And don’t underestimate consistency. One good performance helps, sure, but a pattern of strong work is what changes how the industry responds to you. Be patient with the timeline and ruthless about the quality!

Credits

Website cover photography – Jasper Quinn ©

Photography permissions obtained by Sophia Eleni ©

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“Training_set is an absolute must-see for anyone intrigued by the evolving dynamics between AI and human relationships, this narrative bravely ventures into the complexities of love and intimacy in the digital age.” – Networking Magazine

Sitting comfortably at home, I was relaxing in my chair and watching the news when my phone pinged. At first glance, I thought it was just a text, but upon closer inspection, it turned out to be a Google Drive link.

I’m going to watch a play! It felt like my little way of helping to reduce a carbon footprint, but more on that later. The link led me to an exclusive sneak peek of the play “Training_set.” I absolutely love theatre; there’s something almost therapeutic about soaking up the atmosphere and ambience that comes with it.

Even though I was watching on a screen rather than in person, I still appreciated the experience. So, here’s my take on a play that carries a powerful message and explores the complex relationship between AI and humans.

In a world where technology seeps into every aspect of our lives—often getting in the way—Sonny Marwah’s “Training_set,” produced by Jenilyn N. Rodriguez, Chelsea LeSage, and Sonny Marwah (Golden X Productions), offers a captivating look at the delicate balance between artificial intelligence and our human experiences. Luckily, I got to catch this thought-provoking play thanks to that Google Drive link popping up on my phone—a real treat for a theatre lover, even if I was settled in my living room.

With my feet up, popcorn in hand, and the show cast onto my large screen, I did my best to recreate some of that theatre magic—well, I tried, anyway.

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Training_set – Narrative

The narrative introduces us to two millennial women—a spirited divorce lawyer and an innovative figure in the art world—who navigate the thrilling, complicated waters of their friendship while tackling the challenges of love in this tech-driven age. When a Gen-Z man enters the picture, it ignites a whirlwind of desires, revelations, and confrontations, raising important questions about what connection truly means in a world where privacy seems to vanish by the second.

Interactions

As the algorithm quietly observes their interactions, it learns to pick up on even the unspoken feelings between them. This clever twist (no spoilers) adds a fascinating layer to their relationship, urging the characters to examine what it means to love when every moment is under the watchful eye of technology. The story delves into the effects of tech on our emotions and connections, pushing the women to rethink what it means to open up their hearts when they know they’re being scrutinised.

“An audacious exploration of intimacy in the digital age, this narrative blends emotional depth with sharp societal commentary. The characters are vividly drawn, making their journey both relatable and thought-provoking—a must-read for anyone trying to navigate love in a time of constant observation.” — Networking Magazine

Chelsea LeSage and Jenilyn N. Rodriguez delivered standout performances in “Training_set,” each bringing depth and nuance to their characters. Chelsea, portraying the spirited divorce lawyer, infused her role with a mix of fierce determination and vulnerability, skillfully capturing the balancing act of professional ambition and personal relationships.

Jenilyn, an innovative figure in the art world, presented a layered performance that revealed her character’s complexity and emotional struggles. Her ability to convey the challenges of navigating friendships and love in a tech-saturated environment resonated deeply with the audience. Together, their chemistry and contrasting personalities created a dynamic interplay that underscored the play’s themes, making their performances both compelling and memorable.

The chemistry between them was indeed clever casting and personally lived up to the screenwriter’s creation.

Against a backdrop where friendships and romances unfold under the watchful gaze of AI, this narrative highlights the challenges of intimacy and the intricacies of modern love. Audiences will be drawn into an engaging exploration of desire, jealousy, and the lengths we go to for connection.

An innovative tale, where friendship and technology collide, creating a narrative that feels both timely and strikingly relevant. Although I didn’t get the chance to fly over and soak up all this play had to offer, I did get the next best thing!

Podcast

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Credits

Poster & Stills

Tamar Shemesh

Juliette Cochet

Portrait photo for Jenilyn – Cara D’Adamo

Portrait photo for Chelsea – Juan Carlos Espinoza Abrigo

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Kamba Entertainment’s portfolio is as diverse as it is impressive. From suspenseful short films and cinematic feature productions to sleek corporate videos and eye-catching showreels.

Masaku’s journey is a testament to the power of resilience and creativity. Kamba Entertainment, the independent film and production company he founded, has become synonymous with high-impact, visually stunning projects that resonate with diverse audiences. The company’s work spans genres and formats, consistently elevating the narrative power of independent cinema.

Stories that matter

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At Kamba Entertainment, every project begins with a mission: to tell stories that matter. The team is a close-knit collective of filmmakers, writers, and visual artists who approach each production with a blend of technical expertise and creative vision. From the earliest planning stages to the final edit, the company upholds the highest standards of quality and originality, ensuring every film, video, or showreel leaves a meaningful impression.

Kamba Entertainment’s portfolio is as diverse as it is impressive. From suspenseful short films and cinematic feature productions to sleek corporate videos and eye-catching showreels, their body of work demonstrates the full breadth of their creative vision. 

Simba Masaku – Adversity

Masaku’s personal story is as remarkable as his professional achievements. Raised in a challenging environment, he found solace in creativity at just eight years old, using filmmaking and writing to overcome adversity. This formative experience continues to drive his passion for authentic storytelling.

“It wasn’t easy to get started,” Masaku recalls. “I always thought I wasn’t good enough, that I was cut from another cloth.” Despite these doubts, his determination and work ethic propelled him forward, allowing him to transform obstacles into creative opportunities.

Passion

Nothing could deter Masaku from pursuing his passion. He persevered through setbacks, channelling his energy into the creative pursuits that would ultimately define his career and inspire others.

Determined to break the cycle, Simba began writing, filming, and improvising short scenes with his sister and friends. Armed with a Hi8 camcorder—lovingly referred to as ‘Mama’s camera’—he learned the basics of filmmaking by turning everyday moments into creative experiments.

Elevating his art

“Today, I am fortunate to have my own camera and friends who lend their equipment and expertise. Everything we use meets industry standards, with gear that is even Netflix-approved,” Simba says, expressing gratitude for the support network that has helped elevate his art.

Simba Masaku – Ambitious Goals for the Future

Looking ahead, Simba’s goals are both ambitious and inclusive. “I want to keep pushing forward and bring others with me,” he shares. “My hope is to secure funding from someone who believes in my vision so I can see my films on major streaming platforms.”

Ultimately, Simba dreams of becoming a full-time filmmaker, leaving his day job behind to devote himself fully to the art of storytelling. The pinnacle of success, he says, would be to smile at the Golden Globes and the Oscars, celebrating not just his own journey, but the collective achievements of his team.

Simba Masaku – Advice for Aspiring Filmmakers

Masaku offers this advice to aspiring filmmakers: “Make a film, no matter what. Whether it’s on a phone or any camera, just keep creating and never compare yourself to others.” His journey is proof that with resilience and passion, anyone can break barriers and achieve their creative goals.

Currently, Masaku is promoting two exciting projects: “Hope,” an ambitious science fiction series that explores the boundaries of human resilience, and “Enzo,” a gritty London-set thriller that delves into the complexities of urban life and survival. Both projects exemplify the range and depth of storytelling that Kamba Entertainment brings to the independent film scene.

Credits

Editing and production by – Jelly – @jellyfilmworks

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Lampros Kalfuntzos’s credits include some of the industry’s most high-profile productions, such as “Mission: Impossible – Dead Reckoning”, “Hobbs & Shaw”, “No Time to Die”, “Black Panther: Legacy”, “Ted Lasso”, “The Crown”, and Netflix’s “Back in Action”.

A versatile creative whose career seamlessly connects the worlds of film, photography, and design. Based in the UK with roots in Greece, he has carved out a distinctive path as both an actor and visual storyteller, infusing cinematic flair and artistic vision into every project.

As an actor, Lampros’s adaptability and on-screen presence have been showcased in some of the industry’s most high-profile productions, such as “Mission: Impossible – Dead Reckoning”, “Hobbs & Shaw”, “No Time to Die”, “Black Panther: Legacy”, “Ted Lasso”, “The Crown”, and Netflix’s “Back in Action”. He continues to expand his portfolio across film and television, including recent roles in independent shorts and upcoming international features.

Digital Magazine Extract

Photography

In addition to acting, Lampros is an accomplished photographer and visual designer. His work captures raw emotion and striking aesthetics, ranging from editorial fashion shoots to intimate portraits. His keen eye for detail, developed through years in visual design, translates into photography that feels both cinematic and deeply personal.

Balancing performance and imagery, Lampros thrives on storytelling in all its forms—whether through a character’s journey on screen or a single frame captured behind the lens. For him, acting and photography are not separate crafts but interconnected expressions of creativity, fueled by his lifelong passion for art, people, and the power of visual narratives.

Lampros Kalfuntzos – Interview

Creative Crossroads 

How do you see your experiences in acting, photography, and design influencing each other? Can you share a specific project where this interplay was particularly evident?

For me, acting, photography, and design all revolve around the same core principle: storytelling. Acting gives me the ability to inhabit emotions and narratives from the inside. At the same time, photography and design allow me to externalise those stories visually. A great example was the Private Sale campaign I worked on for Ralph Lauren, where my design shaped the overall visual identity. However, my background in film gave me the instinct to treat it cinematically, with motion, almost as if I were directing a scene. That mix helped me craft visuals that weren’t just stylish but emotionally resonant.

Cinematic Influences

Your work spans high-profile films like “Mission: Impossible” and “Murder on the Orient Express.” What aspects of these productions have shaped your understanding of storytelling in both film and photography?

What struck me most about those productions was the sets themselves. Walking onto the Murder on the Orient Express train was like stepping back in time. Every detail, from the upholstery to the lighting, was crafted to tell a story before a single line was spoken. On Mission: Impossible, the scale was immense, but again, the set design carried the narrative—every location was built or chosen to heighten tension and energy. Those experiences taught me that sets are more than backdrops; they are characters in their own right. In my photography, I approach locations in the same way—I don’t just see them as a stage, but as part of the narrative fabric. The environment shapes mood, influences performance, and often reveals as much about the subject as the subject itself.

Lampros Kalfuntzos – Cultural Roots

Being based in the UK with Greek roots, how do your cultural background and experiences influence your artistic vision and the creative stories you choose to tell?

My artistic vision is deeply rooted in Greece, and especially in Larissa, the town where I grew up. Larissa lies in the shadow of Mount Olympus, the mythical home of the 12 Gods. That presence was always part of my film imagination. Greek mythology taught me that every story has layers of human struggle, divine influence, and symbolic meaning, and those themes naturally flow into my photography and acting. While the UK has given me opportunities to expand and connect globally, it is my roots in Larissa and the mythology of Olympus that anchor me, inspiring me to create work that carries emotional depth and a sense of timeless storytelling.

Lampros Kalfuntzos – Emotional Connection

In your photography, you aim to capture raw emotion. What techniques do you use to connect with your subjects to produce those feelings in your work?

It always starts with trust. I spend time talking with my models before the camera is even set up. I ask questions that allow them to open up, and I observe their natural gestures and expressions. When we do start shooting, I try to create an environment where they can be themselves—music, humour, or even silence, depending on what brings out authenticity. My goal isn’t to pose, but to capture a fleeting moment that feels genuine and make them feel at ease.

Balancing Acts

How do you manage the balance between your acting, design and photography careers? Do you find that one influences or enhances the other in your creative process?

Balance is a challenge, but acting, design and photography are complementary rather than conflicting. Acting sharpens my empathy and helps me read people, which makes me a better photographer. Photography, on the other hand, strengthens my visual awareness—composition, light, texture—that I then bring into my acting, especially when working on screen. Each discipline feeds the other, so rather than separate them, I let them enrich one another.

Lampros Kalfuntzos – Artistic Vision

Can you describe your artistic vision when approaching a new project, whether it’s a film role or a photography shoot? What key elements do you focus on?

I always start with the question: What is the story here? Once I have that, I focus on three things—emotion, atmosphere, and detail. In acting, it’s about building a believable inner life for a character. In photography, it’s about creating a mood that evokes a feeling beyond the image. In both cases, the goal is to create work that resonates with and lingers in people’s minds, rather than merely being aesthetically pleasing.

Independent Projects

You’ve taken on roles in independent shorts and international features recently. What draws you to these types of projects, and how do they differ from your work in larger productions?

Independent projects often give me more creative freedom and a closer connection to the story. They may not have the enormous budgets of Hollywood films. Still, they allow for experimentation and risk-taking, which I find very rewarding for future productions. On big sets, everything is highly orchestrated. On smaller productions, there’s an authenticity and urgency that reminds me why I fell in love with cinema in the first place. Both are valuable, but in different ways.

Storytelling Techniques

You mention that you thrive on storytelling in all its forms. How do you approach storytelling differently in photography compared to acting?

In acting, storytelling is immersive—I live the story through my character. In photography, it’s observational—I shape the story through framing and light. The difference lies in perspective: acting is from the inside out, while photography is from the outside in. But both come down to truth, timing, and emotion.

Lampros Kalfuntzos – Future Aspirations

Looking ahead, are there any specific genres or themes in film or photography that you’re eager to explore? What excites you about these potential projects?

I’d love to explore more drama and action thrillers in film because they play with tension and nuance—elements I enjoy as an actor. In photography, I’m drawn to fashion editorial styles and underwater projects, which I pursue when I have the equipment, focusing on cultural identity and human resilience. What excites me most is the possibility of blending the two: utilising cinematic storytelling techniques in photography and incorporating photographic sensibilities into film.

Advice for Aspiring Creatives

What advice would you give to aspiring actors or photographers who wish to carve out their own unique path in the creative industry?

Don’t wait for anyone’s permission. Create your own opportunities. The industry is challenging and unpredictable, but your individuality is your strength. Keep experimenting, creating, and telling stories in your own voice, and surround yourself with people who believe in your vision. Most importantly, stay consistent—success often comes to those who keep showing up. Just have a little faith.

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