NOV 2025
WEARING VICTORIA BECKHAM
PHOTOGRAPHY DAVID REISS
STYLING ANNA HUGHES-CHAMBERLAIN
INTERVIEW DAVID GARGIULO
It crackles, it flares, it flickers. Spark. A small, sudden flash of light, alive and impossible to ignore. Aggy K. Adams carries that spark: energetic, passionate, and deeply engaged in the connections she creates with her fellow actors.
In The Witcher, she plays Iskra, an elf whose name, fittingly, means “spark” in Polish. Beyond the swords and sorcery, Aggy sees the world of The Witcher as something deeply human: a reflection of fear, prejudice, and survival. “It’s a stark mirror,” she says, referencing the political and cultural undertones in Andrzej Sapkowski’s original Polish novels. For her, fantasy isn’t escapism; it’s translation. Through magic and myth, fantasy lets us speak truths we otherwise couldn’t.
This instinct to search for meaning beneath the surface defines her work. Whether in psychological thrillers like The Couple Next Door or her upcoming folk horror Deepest Darkest, Aggy’s performances are never about genre. They’re about feeling. About what it means to exist honestly within chaos.
Even outside film, Aggy sees storytelling everywhere, particularly in fashion, which she views as another form of creative language. What once felt superficial now feels narrative: each piece, each show, a story about identity, history, and emotion. And perhaps that’s the thread that ties all of Aggy K. Adams’s worlds together. Connection. Between actor and character, art and audience, human and human. “We’re creatures of connection,” she reflects. “Even small moments like a smile, a shared gesture, a human interaction, those are what bring meaning. That’s where happiness lives.” For Aggy, the spark is not just energy; it’s empathy, reflection, joy, and the light that travels between artist and audience.
Dress ZIMMERMANN, boots KHAITE.
David Gargiulo __ You started out in carpentry. Can you tell us a bit about your origins and how you eventually found your way to acting?
Boyd Holbrook __ I quit college, and I had a chance encounter with Michael Shannon at a department store. In our conversation he told me I should get into theater. After that, I started asking around, and my sister got me a job through a friend who was running the lights at a theater company in Kentucky. I didn’t do any acting there. I was just building sets and running lights and audio during shows. But that summer, it kind of exploded for me. I realized, “this is where I want to be, these are the people I want to be around, this is my pride.” Shortly after, I made my way to New York to chase it. I knew I had to be in New York to study, so after a couple of years there, I went to film school and then trained at an acting conservatory for about three and a half years.
DG __ When people say a life changing encounter!
BH __ Yeah. And, you know, when people ask me what it takes to make it in this business, I always say “there’s no advice you can give.” It comes down to the person. You can’t stop someone from doing it, they’re gonna find a way. You just keep going until you figure it out. There’s no playbook.
DG __ So you were already thinking about acting even before meeting Michael Shannon?
Total look EMPORIO ARMANI,sunglasses PRADA.
David Gargiulo __ You were raised between England and Poland. How do you think those cultural contrasts shaped your sense of identity?
Aggy K. Adams __ I think I have a bit of both. I’m sometimes very European as I’ve spent quite a lot of time in France, living between Paris and London. So I really feel that at heart I’m European. But having been in London for so long, this city feels like home now. All my cultural references really come from London, not Poland. I’m always a bit torn about where I should be living, somewhere in Europe or London. But I think London feels more like home because my friends are here, and this is where my creative and cultural roots are. There are significant differences though. Europeans tend to be a bit more direct in how they communicate. When I come back to London, my friends sometimes tease me and say, “You don’t sound very English right now,” because I can be very straightforward. I’ll just say things as they are, and they’ll say, “Oh, that’s so European.” [laughs]
DG __ You’ve worked across a wide range of genres, from psychological thrillers to fantasy and dark comedies. Which role and genre has challenged you the most so far?
AKA __ I was thinking about that, because I really have done a bit of everything: comedy, drama, thrillers. The Couple Next Door is a great example of a psychological thriller. I love working across different genres because I don’t like being boxed into one specific thing. Variety keeps it interesting. It’s funny though that I’ve ended up doing quite a bit of fantasy and sci-fi, even though I wouldn’t say that’s the genre I feel closest to. The one I find most challenging is probably horror. I just finished a psychological folk horror film, and while it’s mainly a drama with psychological layers, there are horror elements in it. I found those moments difficult. It’s not easy for me to feel scared on set. When someone’s supposed to be coming after you or something terrifying happens, I sometimes just find it funny because I know it’s not real. It takes me longer to really sink into that kind of fear.
DG __ I guess you’re referring to Deepest Darkest.
AKA __ Yes! We’re so excited. They’re editing it right now, so I really hope we’ll be able to start showing it to people next year. Fingers crossed!
DG __ I can only imagine. How do you get into that character and feel scared when, as you said, you know it’s not real, and it can even feel kind of funny? How do you make it authentically terrifying?
AKA __ There are two ways I approach it. For more psychological fear, I think deeply about the character’s perspective. For example, I had a scene where my character confronts someone very frightening but significant from her life. I really put myself in her mindset: imagining that this person could actually harm me, thinking about who or what I’m truly afraid of, and connecting it to real emotions. When there’s a close-up on the eyes, I go fully for it, trying to channel authentic fear. Other times, the fear is more physical. In those scenes, I might not fully believe the threat, so I rely on my body to convey it. I do one take, and if it doesn’t feel right, I build it up physically until it reads as real. I find that physicality is easier on the mind and emotions, so when I can, I lean on it. It also depends on the shot. If the camera is far away, it’s all about physical expression. If it’s a tight close-up, it’s about showing every thought and emotion in my eyes. So, my approach shifts depending on what the scene requires. I hope it makes sense!
DG __ It does! And it’s a good segue into my next question. You mentioned having two different approaches. Do you tend to work more in a structured way, or do you prefer space to experiment and improvise?
“Extreme circumstances change behavior. From my character’s perspective, it’s about taking fate into
her own hands because no one else will.”
- Aggy K. Adams on The Witcher
Dress ZIMMERMANN, tights HEIST.
AKA __ I tend to spend a long time preparing before filming. I ask myself every question I can think of, and I try to plan certain moments in certain scenes. That gives me a bit of structure. But the truth is, once I’m on set, I have to let go of all of that. If I arrive with a plan and it usually doesn’t work because it’s not in the moment. Luckily, my body remembers what I’ve prepared, so it can come out naturally and organically, without feeling forced. I always want it to come from a real, authentic place, not just “acting.” It’s a bit hit-or-miss. Some scenes work incredibly well. Magic happens and moments we discussed months ago with the director suddenly emerge in ways we didn’t expect. Other times, it doesn’t happen, but the scene can still work because the preparation is there, and you can play it out. I love those magical moments, when things come alive organically, and often that energy comes from the other actor in the scene. We’re just in the moment together: reacting, listening, and building something real.
DG __ Oh do tell. Give me an example from The Witcher. How did that magical moment you mentioned happened?
AKA __ The Witcher was special. My character is an elf. We played a gang, The Rats, and we were part of Ciri’s storyline. I remember a truly magical moment. What made it magical was the way our relationships and camaraderie came together. In the beginning, we didn’t know each other; we came from all sorts of different backgrounds. But suddenly, on set, something just clicked. We would go for drinks together, come up with little quirks and banter that were ours alone, and it started to shine through in our chemistry. It showed up in tiny movements: the way someone would punch someone else, little improvisations, and in the later episodes, we had a lot of room for fun and playful moments. Without spoiling anything, we really began to bring our own personalities into our characters, and that created many magical moments between all of us. We became a total unit, communicating even without words. That was joyful. We were lucky because connecting six people who play a family from all sorts of different backgrounds can sometimes feel flat. But the spark happened. Incidentally, Iskra, the name of my character, means “spark” in Polish.
DG __ I had no idea. That is so appropriate! What was it like immersing yourself in The Witcher’s world, which is so rich in myth, power, and politics?
AKA __ Oh, even just being at the premiere yesterday, I realized you don’t really grasp the scope of it. The world is huge; so many lands, so many cultures, and there’s this huge parallel to our own world. For me, the biggest parallel is the persecution by humans of other creatures, which really stands in for our own prejudices and phobias. We literally mistreat and kill those who are “other.” It's a stark reflection on humanity. I hope viewers see that. A lot of it also comes from the stories themselves. Andrzej Sapkowski wrote The Witcher during the Cold War in Poland, so the political dynamics, the Russian occupation, German occupation, and other complex historical events, inform the story. Even after studying it, I still find it complicated. That complexity translates directly into the relationships in The Witcher: someone can be both your enemy and your ally at the same time. It’s never just good guy and bad guy; it’s layered and morally intricate. There’s also Slavic mythology woven throughout, which I find really cool. And, of course, I loved playing an elf. I got to work on her heightened senses because she hears more than others, is deeply empathetic, and even has visions. That was such a joy to explore.
DG __ I love you mentioned the parallels. A lot of people think fantasy books are purely imagined worlds, but often authors are writing about their own reality in times when they couldn’t speak openly. Otherwise, their work might have been banned, destroyed, or they’d be persecuted.
AKA __ Exactly. I like when people aren’t afraid of that, because art should mirror our culture and reality. Take Nilfgaard, the way they assert superiority, try to conquer, and kill others. That’s happening in the real world, too. The sense of dominance, of seeing oneself as superior, absolutely exists, and it’s reflected in the story.
DG __ So where does Iskra stand in all this? You talked about good and bad blurring together. How do you see Iskra in that gray area? She’s an empath, she wants to be good, but she lives in a harsh reality. She has to steal and make morally difficult choices. How did you find her truth in that space?
“We reflect the times whether we mean to or not [...] Personally, I find it impossible not to reflect the times we’re living in.”
Dress VICTORIA BECKHAM, tights FALKE, shoes MIISTA, cuff DINOSAUR DESIGNS.
AKA __ The Rats are rebels. The continent is in a state of war, turmoil, and social unrest. When that happens, you naturally adapt to survive, and you end up doing things that might be questionable. From the perspective of war, the Nilfgaardians are killing and starving people. Meanwhile, The Rats are living in extreme conditions, so survival sometimes means stealing. If I look at it objectively, stealing isn’t good. But from my character’s perspective, it’s about taking fate into her own hands because no one else will. The continent is in chaos; life is fragile. They steal, they fight, they survive. It’s about necessity. At the same time, Iskra has a good heart. Elves have suffered greatly in wars. Survival instincts push her to do things she wouldn’t normally do. Extreme circumstances change behavior. It’s realistic. And yes, we steal from the rich. Sometimes giving back, sometimes keeping it. We enjoy our treasures, we have fun, and we’re very good at it. It’s part of the gray world she navigates.
DG __ It sounds like you are still in character [laughs] I love it. Do you think actors have a responsibility to reflect the times or simply to tell human stories?
AKA __ I think it’s okay either way. We reflect the times whether we mean to or not. Even if we ignore what’s happening, it still seeps through. I also believe that everyone should be free to choose their own path. If some actors don’t want to get involved in activism, that’s completely fine. Everyone should do what feels right for them and for their heart. Personally, I find it impossible not to reflect the times we’re living in. They’re too complex, too charged. Whether it’s feminism, equality, or the refugee crisis, I like when stories mirror what’s happening in the world, especially the huge social and economic divide that exists today. I love when scripts make those commentaries subtly, not in a preachy way, but in a way that makes us reflect. If a story can make even one person pause and reconsider how they view “the other,” or become more inclusive, I think it’s done its job. So yes, I think it’s important for actors to stay aware of the world, or at least have the curiosity to understand it. way acting can?
AKA __ Yes, I really think so. I’m very new to fashion. I’m only just discovering it. Lately I’ve started looking at fashion in a different way, where I can actually see the creative vision behind it. For example, when I watch a fashion show now, I notice the creative director’s story, the reason behind each collection, how they draw from history or emotion. I’ve started to look at brands more as storytellers. I ask myself, "what story is this collection trying to tell?" Before, I just thought, “Oh, that’s a nice piece of clothing,” or “That’s not my style.” But now I try to see it through a more artistic lens, and that’s been really fun. It helps me play with fashion and enjoy it in a new, creative way.
DG __ Do you think happiness is something we find or something we create?
AKA __ Oh, I love this question. I genuinely believe happiness is something we can create and choose. It’s not always easy; sometimes you want to feel happy but you just don’t. Still, I think even a tiny step toward it can make a difference. Sometimes it’s as simple as being kind to someone. My day is often made by the smallest interaction, like passing someone sweeping the street, exchanging a smile, or wishing each other a good day. Those little human moments can shift everything. You can choose to stop, take a breath, look around, and connect with the world for just a second. That’s where I think happiness lives.
DG __ I like that, that way you don’t only create happiness for yourself but also share it with others.
AKA __ Exactly. I think we’re creatures of connection. With technology and big cities, we’ve moved further away from that, but humans have always lived in tribes, in communities. Real bonds between people, that’s what brings happiness. And it’s becoming so rare now. Everything in London feels like a QR code and a tap; you hardly interact with anyone anymore. So I think we have to create those real human moments again. Maybe that’s how we find happiness.
DG __ The pendulum always swings, toward individualism, then back toward community.
Dress ZIMMERMANN, boots KHAITE.
AKA __ Yes, history works in circles, doesn’t it? Maybe we’ll all get so fed up with so much technology that we’ll start choosing differently. And I think we already are; people are becoming more conscious, putting down their phones, spending more time together. I think it’s already happening, little by little.
DG __ And what about fashion? Do you think fashion can tell a story in the same way acting can?
AKA __ Yes, I really think so. I’m very new to fashion. I’m only just discovering it. Lately I’ve started looking at fashion in a different way, where I can actually see the creative vision behind it. For example, when I watch a fashion show now, I notice the creative director’s story, the reason behind each collection, how they draw from history or emotion. I’ve started to look at brands more as storytellers. I ask myself, "what story is this collection trying to tell?" Before, I just thought, “Oh, that’s a nice piece of clothing,” or “That’s not my style.” But now I try to see it through a more artistic lens, and that’s been really fun. It helps me play with fashion and enjoy it in a new, creative way.
DG __ Do you think happiness is something we find or something we create?
AKA __ Oh, I love this question. I genuinely believe happiness is something we can create and choose. It’s not always easy; sometimes you want to feel happy but you just don’t. Still, I think even a tiny step toward it can make a difference. Sometimes it’s as simple as being kind to someone. My day is often made by the smallest interaction, like passing someone sweeping the street, exchanging a smile, or wishing each other a good day. Those little human moments can shift everything. You can choose to stop, take a breath, look around, and connect with the world for just a second. That’s where I think happiness lives.
DG __ I like that, that way you don’t only create happiness for yourself but also share it with others.
AKA __ Exactly. I think we’re creatures of connection. With technology and big cities, we’ve moved further away from that, but humans have always lived in tribes, in communities. Real bonds between people, that’s what brings happiness. And it’s becoming so rare now. Everything in London feels like a QR code and a tap; you hardly interact with anyone anymore. So I think we have to create those real human moments again. Maybe that’s how we find happiness.
DG __ The pendulum always swings, toward individualism, then back toward community.
AKA __ Yes, history works in circles, doesn’t it? Maybe we’ll all get so fed up with so much technology that we’ll start choosing differently. And I think we already are; people are becoming more conscious, putting down their phones, spending more time together. I think it’s already happening, little by little.
DG __ So AI could actually increase the value of what actors do?
BH __ Absolutely. Scarcity creates uniqueness, and uniqueness creates value. Real human performance will always be sought after.
DG __ Outside of acting, what keeps you grounded?
BH __ It’s really the simple things. Putting my feet on the ground, sitting in the sunshine. I’ve become quite minimalist in my life, and that clarity keeps me free and focused so I can do this work.
DG __ Has being a father influenced the way you choose roles or think about your career?
BH __ Definitely. For about twelve years, I was on the road almost ten months a year, long before my son came along. You can’t live like that forever. Now I think differently. How long will I be away? Who will I work with? I’m not going to leave my family for a miserable set or to work with people who are difficult. I’ve paid my dues. I just want projects that excite me. I want to work once or twice a year, less is more. Like everyone, I want to work smart and make it count.
Photographer David Reiss, Stylist Anna Hughes-Chamberlain (The Wall Group), Make up Dani Guinsberg (The Only Agency) using SUQQU, Hair Sven Bayerbach (Carol Hayes Management) using Hair by Sam McKnight, Talent Aggy K. Adams (CLD Communications)
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