7. What’s a project you’ve worked on that really captures your style or philosophy as a filmmaker? JOE: My most recent short film, which
9. Do you collaborate with clients or creatives outside Denmark, and how has that international aspect shaped your business? JOE: I haven’t co-produced anything internationally yet, but I’m ac- tively in talks with teams from Sweden, Germany, and Canada, as well as creatives based here in Denmark who come from all over the world. That global exchange, just being in conversation with different per- spectives has already shaped how I approach story and structure. It’s helped me stay aware of how identity and cultural nuance can shift de- pending on context. Even without a full co-production under my belt yet, those international relationships push me to think bigger, listen HELENA: We haven’t co-produced internationally yet, but our crews are often made up of people from all over the world. That brings a very unique energy and sense of solidarity to set, which I absolutely love. It naturally broadens our perspective and how we tell stories, even when the projects are local. 10. What advice would you give to someone in the U.S. who’s thinking about starting a creative business or even working internationally, like you’ve done? JOE: Don’t wait until it’s perfect, build something small and real, and let it evolve. Understand your “why” deeply, because it’ll get tested when you’re op- erating outside your comfort zone. And find collaborators who challenge you and make you feel less alone. Working internationally is humbling, it teaches you to listen more and speak with purpose. Lean into that. Don’t just bring your voice bring your curiosity, too. HELENA: Choosing to step outside the norm and pursue a creative dream can be terrifying. But something shifts when you push through the fear and do it anyway, despite the anxiety and the self-doubt. Even if things don’t turn out as you want, you’ll still walk away with growth, perspective, and most importantly; the realization that no one is paying as much attention to your failures as you are.
HELENA: Our latest project, which just went into post-pro- duction, really captures the kind of storytelling we’re most passionate about. It’s a bit dif- ferent in both tone and style, which made it tough to get funded through the usual channels. In the end, we said “screw it” and found alterna- tive ways to make it happen, and honestly, it’s the project I’m most proud of. It reflects our belief in taking risks, trust- ing the story, and not waiting around for permission.
comes out this October, probably captures my voice more clearly than anything I’ve done before. It’s inti- mate, unsettling, and satirical but grounded in something real. It plays with contrast: what’s cozy on the sur- face but deeply uncomfortable un- derneath. That tension is where I like to live creatively. I’m drawn to projects that challenge cultural norms in sub- tle ways, that ask the audience to sit with discomfort without giving them easy answers. The process remind- ed me why I’m in this. And why I love
8. How do you navigate funding, grants, or support for creative projects especially as a small business owner?
JOE: With patience and strategy. In Denmark, there’s funding avail- able, but it’s competitive and leans toward traditional narratives. I’ve had to learn to write applications like I’m telling a story because that’s what they are. I also try to build layered projects: something that speaks to audiences on a deeper, emotional, or with a so- cietal message underneath. That way, I’m not reliant on just one source.
HELENA: One unique challenge is the limited funding landscape as most films rely on public support, which can make the industry cau- tious and competitive. But there’s also a real advantage in the strong cultural value placed on storytell- ing. Copenhagen offers a creative, reflective environment that en- courages depth, even on a small budget.
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