5. What’s the creative community like in Copen - hagen? Have you found it supportive for inde - pendent filmmakers? JOE: It depends on who you are and what you’re making. If you fit within the existing structures, it’s incredibly supportive. There’s money, infrastruc- ture, and mentorship if you speak the language, literally and creatively. But for indie filmmakers who are carving their own space, it can be isolating. That said, there’s a quiet rebellion brewing. More people are experiment- ing, collaborating across genres, pulling in global influences. I’ve been lucky to find some allies in that pocket, a mix of local and international voices pushing the limits of what Danish storytelling can be.where the magic is. At the end of the day, if I make a film that she wants to watch ‘twice’,
3. What is it like to create films with your spouse?
JOE: Working with Helena is one of the most grounding parts of my cre- ative process. She’s got a sharp eye for truth and tone, she’ll catch things I miss because I’m deep in the weeds. Where I might be chasing emotion and concept, she’s laser-focused on clarity and intention. We complement each other because we don’t let each other settle. It’s also ver vulnerable, you’re not just collaborating, you’re sharing the parts of your creative self you usually hide. But that’s where the magic is. At the end of the day, if I make a film that she wants to watch ‘twice’, then I have succeeded. yo u usu- ally hide. But that’s where the magic is. At the end of the day, if I make a film that she the creative space from the very beginning and in a much more involved way than I usu- ally am with other directors. There’s also a real “us against the world” energy that kicks in during production, especial- ly when things inevitably go sideways. Lastly he’s one of the most talented storytellers that I’ve met, and his dedication. 4. What’re some hurdles you’ve had when forming your production company in Copenhagen? HELENA: It can definitely be challenging at times, especial- ly since, as the producer, I can never fully escape my direc- tor and his crazy ideas haha! But working with Joe is also one of most rewarding expe- riences I get. I’m allowed in to
HELENA: That’s actually a really interesting question. The indus- try is mostly made up of independent filmmakers, but there’s still a strong hierarchy. It can be hard to break in, and once peo- ple are in, they’re often hesitant to let others in which creates a bit of a closed circle. That said, under the right circumstances, the community can be very supportive. It just takes time and persistence to find the right collaborators.
6. Are there any unique challenges or advantages to running a film business in a European city like Copenhagen? JOE: The advantage is that there’s institutional support for art. You’re not just chasing clients or commercial work there’s room to slow down, reflect, and make something meaningful. The challenge is that gatekeeping is real, especially in such a curated culture. It can be hard to break through with new ideas if they don’t fit the usual mold. I’ve been lucky to find some allies in that pocket, a mix of local and international voices pushing the limits of what Danish storytelling can be.
JOE: The biggest hurdle has been representation finding my place as a storyteller of mixed heritage in a country that still leans toward one dominant cultural voice. Den- mark loves order, and I tend to live in chaos and contradiction. Anoth- er challenge was navigating the admin side funding models, local bureaucracy, even things like tax categories when you work across art and commerce. But also: trust. It takes time here for people to trust someone doing something different. You have to build credi- bility through consistency.
HELENA: Securing funding for films in Denmark is a challenge, even for the larger production companies. Since Danish is only spoken in our country, most of our films don’t travel outside of our borders, which makes the indus- try largely non-profitable from a commercial standpoint. We rely heavily on government-supported art funds and a few private grants, but the competition is intense, and the resources are limited. As a result, many production compa- nies here are essentially treading water, especially those focused primarily on fiction.
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