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1. What's been the most defining moment in your career so far? I wouldn't call it 'one' defining moment, but there are a few things that make me smile when I look back on them. The first is when I saw my face on Netflix for the first time, when Sniper: GRIT started showing there. My character had this great look with a high bun on the top of my head. I was playing a baddie, and it was a scene in Maltese. I felt quite proud of that moment. Another memorable moment was playing a small part in another Netflix pro- ject called How to Get to Heaven from Belfast. I'm a fan of the writer Lisa McGee who also wrote Derry Girls (watch it if you haven't, it's so funny!), so I was very excited to be part of the project. Another special moment was the premiere of Ciao Ciao, a Maltese feature film in which I also participated in the writing. Seeing the permanent smiles on the audience's faces during the screening at the cinema, hearing the Maltese language on screen, and seeing a collective Maltese project come to life was very gratifying. I'd love to be part of more Maltese film projects as it makes me the happiest to see the indigenous film industry alive. 2. As a creative, how do you navigate the world and speed of social media? When Facebook first emerged, I loved the idea of staying in touch with all my friends around the world, and FB still serves that purpose at times. However, social media has grown into a bit of a monster which is hard to tame and con- trol. A long time ago I took the decision to only share positive things on my social media and I still stand by that rule. I don't have the skills or strength to get into discussions or conflicts, so I try to stay away from negativity for my own sake—it's a coping mechanism for me. However, I am aware that social media can help actors be more visible nowadays, so I do try to use it as a tool and share posts about projects that I am part of to help spread the word and also to tell people "Hey, I'm alive, I'm a working professional, I'm fun and enthusi- astic so let's work together!". I like to share the odd holiday or personal post every now and then, but I don't understand how others feel comfortable sharing so much about their personal lives. I'm not judging, but that's not for me. If we're talking about using social media per se, then I do admit that I spend too much time scrolling. I consume content that is entertain- ing, useful or educational, from acting tips, to voice lessons, impressions, makeup tips, film festivals, new theatre plays, skincare, music suggestions, fashion, house organising, actors' interviews, cleaning hacks, cat videos— everything really! 3. Do you consider artificial intelligence a threat to your career, or an opportunity? A bit of both. I love technology, and I try to stay on top of what's happening around the world, so I'm not against the advancement of tech- nological tools to help us humans. However, I feel that my job as an actor deals with humani- ty, emotions, and creativity so AI can only help to a certain extent. I feel sad seeing AI "actors" on screen and I hope real actors will never be replaced, at least fully. But I do use AI tools to go deeper into ideas about new stories, to research character backgrounds, to check past work of directors or writers that I come across, to compare film reviews and analyses, etc. I use AI a lot in my life in general, including to self-diagnose ailments and illnesses… but please don't tell doctors that I do! 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? As actors, we face rejections on a day-to-day basis, so finding ways to cope with that is essential if you want to stay in the business longer than a day. It's really hard to find the balance between the need to be self-confi- dent—you need to believe you can get the part you're auditioning for, otherwise it will show—and accepting the emotions that come with rejection. I usually give myself a deadline of a day or two when I'm allowed to sulk a little, or a lot, after some kind of disappointing news, but I've also learned to then move on fairly quickly after that. I am lucky that I share my life with a fellow actor, so he understands me perfectly and supports me fully in these circumstances. Keeping up a good social life with family and friends is important, but even more important than that is exercise! I play tennis, I like to move my body, go for walks in the countryside, swim and snorkel, do some stretching exercises. This holds everything together for me. I'm also part of an actors' online community called The Actors Home, where actors from all over Europe share tips, projects, casting advice, seminars and more. When I'm having a tough time, I like to log in. I will always find motivation there in one form or another. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? Creative endeavours almost always involve teamwork in one way or another, so 'negotiat- ing' with your collaborators is part of the job. I always share my ideas and thoughts in a team where I feel comfortable doing so, but I also listen and consider those of others, keeping in mind what's best for the project, rather than for the individuals. Knowing your audience is important when creating or writing a theatre or film project, but less so as an actor as your job is to interpret the character and not think on how the character will be perceived. 6. How do you approach a new project? Do you have a specific process or routine you follow? As an actor, when you receive a script, it be- comes your bible. You need to become a script detective. First you start by reading the script several times and take notes on first impres- sions. Then you start to research the character and the setting of the story—whether it's set in the past or in a different country. I do try to learn the lines as early as possible as once you know them by heart, that gives you more free- dom to experiment and explore. Learning/say- ing the lines while doing something physical and unrelated helps. I try to listen to what the lines do to my body, and I rehearse different ways of saying the lines, so I don't get stuck in a pattern. This is important as a theatre or film director might want you to interpret the lines/ character in a completely different way, so you have to stay flexible. With each script I go through 12 steps in preparation. It's a process I learned through what's called the Chubbuck Technique detailed in Ivana Chubbuck's book The Power of the Actor, which sets out a prac- tical 12-step process to prepare for a character. The process changes with the needs of each character, but these are the general steps. 7. Can you let us in on some of the future projects, works? Future work for an actor is always a big question mark, and actors are reluctant to talk about forthcoming roles as things change very fast in this industry and you also don't want to 'jinx' it. Having said that, I can share a few things. Work in voiceovers is quite regular especially for commercials, so if you're paying attention, you will probably hear my voice on the radio on any day. For those who follow Turkish TV series L-Iskorpjun, I dub the voice of Frida so tune in to TVM on Mondays to watch the last few episodes of the season. I am excited about continuing some recent projects that I did recording cartoon voices for animation series. This is so much fun for me as it takes me back to my childhood when I lived off animé cartoons dubbed in Italian. I feel so much freedom doing this, as no one is looking and not many will recognise my voice, which I change purposely for each character. I'm also trying to create projects for myself as I feel that in film and theatre there aren't enough roles for women in general, and for women my age in particular. That takes more time and effort of course, but I'm trying to lean into the slow and difficult process. Finally, I hope I get to be part of more local theatre and film projects as I love telling local stories, and to collaborate with other creatives who are as passionate as I am! maltatoday | SUNDAY • 7 JUNE 2026 Culture A Midsummer Dream returns to Mdina Cathedral ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A ANTONELLA AXISA 7 questions for... Extra round What's the most memorable or trans- formative role you've played, and what did you learn from it? Last year I did a play called The Chairs by Eugene Ionesco which was staged in Maltese as Is-Siggijiet at Spazju Kreattiv. The play is written in the absurdist genre, so at the first table-read with the whole team, my mind was blown and riddled with questions and feelings of 'what the hell did we just read?'. This was a normal reaction, because this was the play- wright's exact intention. He wanted the audience to ask questions rather than find answers about life, existence, mor- tality, war, sanity, the passing of time, choices and the past. Preparing for the role of the Old Lady was an arduous task as I had to transform physically into a frail and eccentric person, and yet train to build stamina as it was a very demanding play requiring strong physical and vocal presence on stage for 99% of the play. I had to let go of some actorly instincts to find 'reasons' and 'intentions' in the dialogue, even though I still managed to find some throughlines within the text which guided my performance. My real-life partner interpreted my husband in the play which helped when learning the lines. Basically, our life was taken over and we were studying lines while driving, while cooking and eating, while out for walks... But this also creates challenges in sepa- rating work from life, and can upset the balance, albeit temporarily. The process was intense and demanding in so many ways, but it gave me the confidence to believe that if I was able to get through The Chairs, then I'd be able to interpret any character in life! Antonella Axisa is a Maltese actress, presenter, and voiceover artist with training in Malta, London, Brussels, and Los Angeles, including studies at Goldsmiths College, the Lee Strasberg School, and the Chubbuck Studio. She has performed extensively in theatre, television, and film, with credits including Macbeth, No Exit, Accidental Death of an Anarchist, Il-President, L-Għarusa, Simshar, To Catch A Spy and Ciao Ciao. As well as the Netflix drama How to Get to Heaven from Belfast. Culture Steinway & Sons makes its Maltese debut at Brincat Pianos Ltd PAGE 2 PAGE 3 MaltaToday is supported by Arts Council Malta