As we sit here in North Copenhagen, with your new show premiering, I’m fascinated by your extensive experience in both film and theatre, evident from your CV. How do you navigate the differences between these two?

For me, theatre and film are very different beasts. I always aspired to be a stage actor and, given the choice, I’d choose theatre without hesitation, but my journey into film began unexpectedly after 9/11. I was living in New York, studying acting at the Lee Strasberg Theatre Institute on a work permit. During that time, I helped Spanish-speaking relatives of victims navigate the tragedy, assisting with DNA identification and generally helping out. It was an incredibly heavy experience for a young woman. I was working and studying very hard, so I planned a break to Los Angeles to visit family friends, which turned into a much longer stay. After a few days in Hollywood, I was asked if I was an actress and offered a role in a film!

So theatre might have been your first choice and film was more of a stroke of luck?

Yes! The incident was quite a cliché but a stroke of great luck. I ended up staying in LA for a long time. The film was directed by Michael Nash and produced by Justin Hogan. They approached me needing someone to play a Russian spy named ‘Olga’. It was a fabulous opportunity.

And so your training at the Strasberg Institute really paid off. How was the education there? Did it live up to the legend?

Absolutely. I trained there rigorously, and it was absolutely brilliant. What makes it special is that anyone, regardless of age or background, can walk in and learn—not just about acting, but about themselves and the world around them. It’s about truly experiencing, not just pretending. That training gave me tools I still use today—like accessing real emotions on cue.

It must have been quite expensive too, I imagine.

Yes, indeed! I was a full-time student for a year and a half in New York. The dollar was incredibly strong, and I came with very little European money—I think at the time I came from Majorca. I was working full-time shifts at a 24-hour restaurant and then attending school full-time! Somehow I managed, and I was very studious, taking advantage of all the after-school classes. It was marvellous because I was surrounded by students and working actors, which eventually led to jobs and gave me the courage to apply for a work permit—a practical training permit, which was my first working visa as an actor. It was difficult to obtain but proved invaluable.

When I was leading the KFTS film and theatre school here in Copenhagen, you came to speak to the students. They were very inspired. What advice would you give to aspiring actors starting out?

Well, Strasberg’s method is all about deep, sensory work—diving into and understanding your own experiences so you can authentically recreate feelings for the camera or stage. It teaches a young actor to create something so real that both they and the audience believe in it. Whether you use Strasberg’s method or not—though I highly recommend it—my advice would be to dive deep, commit fully, and perform as much as possible. The industry has changed enormously, particularly in its treatment and portrayal of women.

Do you think we’ve gone too far or not far enough with Me Too? What’s your take on the current state of affairs in the industry?

I’ve welcomed this movement. It’s not perfect now, but at least we can discuss it. At least there are some semblances of guardrails now. It’s reassuring to know there will be intimacy coaches on set. The pressures on set are often immense, making it difficult to think clearly and make good choices. When I was in Hollywood in my 20s, well, let’s just say I could write a book about a lot of unpleasant situations.

What would that book be called?

‘The Dark Side of Tinseltown!’ As a woman in my late 40s, I’m deeply moved by the Me Too movement. I’m especially hopeful for the younger generations. Many of us, both women and men, have faced situations where power dynamics blur boundaries, leading to inappropriate advances disguised as compliments or job opportunities. This has caused self-doubt and a sense of failure when refusing such advances meant losing out on opportunities. Despite progress, these challenges persist across all professions, including acting. Intimacy coordinators and workplace guidelines are steps forward, but there’s more to do. As for authenticity in acting post-Me Too, I believe it’s evolving, aiming for a future where work is distinguished from sexual expectations. This must have presented numerous challenging opportunities.

What’s the most demanding role you’ve taken on?

That’s a tough one, but honestly, this current role in the play ‘Grounded’ is one of the toughest—both emotionally and technically. Emotionally, because of the heavy themes it explores; technically, because it’s a one-woman monologue lasting over an hour.

The role of a woman in the military?

Yes, exactly. The role of the fighter pilot in ‘Grounded’ is incredibly demanding. She’s a confident, skilled woman in a male-dominated world, but when she unexpectedly becomes a mother, everything changes. She’s forced to leave the skies, stay home, and later return to a very different military—now operating drones from a dark trailer instead of soaring in the blue.

But this play is about more than just her journey. It sheds light on the unseen casualties of war, especially children. In today’s world, we hear heartbreaking stories—families destroyed, young lives lost. That’s why ‘Grounded’ is so important to me. I want to honour those children and the pilot who, like so many, must confront the moral weight of war.

There’s another facet of your life we haven’t explored: your commitment to supporting underprivileged children in India.

My mother was involved with a non profit charity as a volunteer since the late 1960s until only a few years back, so I grew up with an awareness that one should help, where one can and in 2011 I produced a documentary about her work; ‘A Journey in My Mother’s Footsteps.’ Today we still support some of the projects therein, one of them is, ‘The Vatsalya Foundation’, an NGO for street children in Mumbai.

What do you enjoy outside of acting and social work? How do you like to unwind and relax?

Golf helps me relax and connects me deeply with my late father. It’s a challenging yet beautiful passion where every moment is unique. The psychological aspects before, during, and after each stroke fascinates me. Despite the ups and downs in my handicap since my father passed away five years ago, golf remains a special pastime that grounds me, especially when I miss his guidance in life. It’s my refuge, a form of meditation in a way.

All pictures are by Benny Thaibert, a designer, and photographer who runs the Bitamin Gallery in Østerbro.