Before stepping into the screen adaptation of Ollie Winget’s novel Where the Wormwood Blooms, the actor admits he hadn’t read the book. He later learned the script aligns closely with the book’s plot, which helped anchor his performance even without the prior page-turner in hand.
Asked to describe his character, the performer explains a constant pull between two moral poles. The role places him at crossroads where choosing a side matters, sometimes for good, sometimes for ill. It is a compelling dynamic to inhabit, and he accepted the challenge with enthusiasm.
Two years have passed since the series shot, during which the actor has kept busy with a string of projects. He reflects that growth in acting isn’t measured by the clock; it comes from collaborating with different directors and crews and accumulating a broad spectrum of experiences that may surface years later as projects finally reach audiences.
When queried about personal satisfaction with his performances, he admits that lingering self-critique is a familiar companion for many actors. Still, he makes a habit of reviewing his work to learn and improve, aiming to shed the sting of harsh self-judgment over time.
Regarding playing a teenager, the actor notes that age is less important than the character’s energy and arc. He brings his own life experience to the role but avoids letting personal history become the only source; instead, he draws on broader observations of people to keep the portrayal fresh and engaging.
On whether the series targets a particular age group, he believes it resonates with all generations. While it touches on youthful themes, the story follows a cast of characters each confronting sacrifices for family, underscoring that family remains the central priority in life.
The series adopts a kinostoris format, composed of six episodes at about fifteen minutes each. He cites the main advantage as accessibility—people with tight schedules can still experience the story. The flip side is that viewers might form attachment to the characters quickly and then watch the series end before they fully savor the journey. In a fast-paced era, he pauses to consider whether this format signals a broader shift toward shorter episodes and wonders if audiences will always prefer films or longer series.
Asked about his affinity for mystical or horror projects, he admits a personal ambivalence toward horror in daily life; fear from reality often feels more immediate than what fiction offers. Yet he recognizes that a healthy interest in horror can be harmless for some audiences and can coexist with a balanced outlook.
Contemplating the societal impact of horror, he suggests that a healthy hobby should not corrode the soul. If kept in perspective, it can be a form of entertainment rather than a source of lasting fear.
The actor has also appeared on reality formats such as Heirs and Impostors, Challenge, and Fear Factor: Test of the Taiga. These experiences, he says, are character-building—each presenting tough psychological or physical tasks that toughen him and broaden his capabilities.
In terms of international work, he confirms that he has an overseas agent and has attended auditions for projects abroad. A special offer from the United States was on the table, with shooting discussions in Eastern Europe, but global conditions paused the project for now.
Foreign fans often reach out through social channels after his projects, sometimes inviting him to visit. While the influx of messages is flattering, he notes that dedicated fans occasionally recognize him on the street and are happy to take photos, which he enjoys sharing with them when possible. He emphasizes gratitude for the warm reception from fans who connect with his work.
When asked about a dream role, he does not name a single target. He appreciates the chance to work with diverse directors and cites potential collaborations with peers like Stas Ivanov from the series UZZZ or Nigina Sayfulaeva from Fidelity as examples of pathways that excite him.
He rejects the idea of constant comparisons with established celebrities. If such comparisons arise, he would prefer them to be aimed at truly talented, impressive figures rather than anyone less notable.
Returning to Where the Wormwood Blooms, the character’s special ability to predict death prompts a final reflection. The actor feels content with the gifts he already possesses, signaling a sense of fulfillment with the opportunities and talents he has cultivated so far.
[Attribution: Interview conducted for the series press materials, featuring remarks attributed to the actor during discussions about the role and its broader themes.]