Q: How have you arrived where you are today, personally and professionally?
A: I was born to a French father, and an Icelandic mother. I grew up in Iceland and I still live there today, after having received my degree in dramatic arts from the Cours Florent in Paris. I acted in several short films, and in a feature film, Villiljos, where I met up again with Dagur Kári, whom I already knew because we went to high school together. I was also a newscaster on Icelandic television, a theater actor (one show I did was entered in several festivals in Scandinavia), and a member of a group of artists that submitted a number of pieces to the “Reykjavik, Cultural City 2000” event. I am currently studying at the Reykjavik School of Fine Arts, because I think there is a resonance between all the arts, if the creation is honest and sincere. Also, I’ve always been interested in the visual aspects of dramatic art.

Q: What does it mean to be an actor in Iceland?
A: It means that you can easily make a name for yourself and very quickly make contacts in the industry. The drawback is that it’s a small milieu, and you’ve quickly made the rounds. I would like to have a career as a film actor and continue parallel work in the plastic arts, because its very Icelandic to have more than one occupation. But I’ll work wherever the projects are interesting, no matter which country they’re in. Iceland is a country isolated geographically, but also culturally to some extent. That’s why so many Icelanders go abroad. It’s very common to take a long trip overseas after finishing school. But the ties to Iceland generally remain very strong: the majority of Icelanders eventually come home.Q: Nói, as a rebellious adolescent revolting against his father, has but one dream: to leave. Is he like you in this way?
A: I admit to a constant need to travel, to be mentally open to new influences. It’s not good to attach yourself too much to certain places. As to the question of rebellion, I did most of mine as an adolescent, even if you can uncover certain aspects of that in my work. When I first read the script for NÓI , I felt an immediate sympathy for the character. Nói is very human, a good person, but someone terribly misunderstood. A feeling that I know well. I think that Nói and I have lots of things in common. He has a kind of devil-may-care attitude that helps him pursue his own direction and not take life too seriously.Q: What prevents Iris from leaving with Nói?
A: Unlike Nói, she is afraid to follow her path. She’s making her second attempt at building her life, after having failed to make it in Reykjavik. So she’s not ready to take risks. I think she loves Nói, though. I want to believe that at least.

Q: Is Nói in one way or another responsible for the catastrophe that occurs?
A: I don’t think Nói is responsible for it. Nói’s a very mature person, someone who doesn’t attach himself to places or to people. For him, things last as long as they last. He concluded a long time ago that he couldn’t count on anyone but himself. On one hand, that conclusion could facilitate his departure, allowing him to find a place that fits him. I think this is the only possible escape, whether that place has palm trees or not. It’s not a question of whether the catastrophe is good or bad, it’s the fact that life goes on. I tend to see the positive aspects of this otherwise sad story.