Ukrainian model-turned-actress Sasha Neboga has appeared in NBC’s Chicago Fire, FOX’s New Girl, and CBS’ Blue Bloods. After being accepted into the School of American Ballet, she moved to Greece, where she was scouted as a model for brands that included Gucci, Versace, Maxmara, and Alexander McQueen.
In KNOX GOES AWAY, Sasha plays Ludmilla, who is married to Xavier Crane (Al Pacino). When a contract killer, John Knox (Michael Keaton), is diagnosed with a fast-moving form of dementia, he is presented with the opportunity to redeem himself by saving the life of Miles (James Marsden), his estranged adult son. John must race against the police closing in on him, as well as the ticking clock of his own rapidly deteriorating mind. Originally premiering at the 2023 Toronto International Film Festival, KNOX GOES AWAY was released in US theaters on March 15th. See the trailer here.
What drew you to this film and the role of Ludmilla?
Sasha: Well, I was born in Kyiv. We moved when I was four years old, and when war broke out, I left the industry entirely. I couldn’t rationalize being creative while all these horrific things were happening, but my manager slipped this role into my inbox. I had said no to many projects for that year, but the opportunity to portray someone from Ukraine appealed to me. I wanted to honor my heritage and culture.
Did you audition for the role? If so, what was that like?
Sasha: I put myself on tape and then arranged a call with Michael Keaton. He booked me in, and it was the first time I felt excited about a role. Michael really knew what he wanted. He was very direct, no BS. And he’s incredibly quick-witted and sharp.
What does your mother think of your meteoric rise into modeling and acting?
Sasha: (laughs) My mother keeps me very humble. She still has a very severe Soviet mentality. She reminds me constantly of who I am.
Can you describe your role? How did you prepare for it?
Sasha: I enjoyed reading the script because even though Ludmilla is married to Xavier, she wears the pants in the relationship. She makes him work for it. She’s the boss. She is strong. I feel that, generally, in the industry, Ukrainian women have been portrayed as prostitutes or victims. In preparing for the role, I have a lot of strong women in my family. I’d call my mom to hear her say certain lines in the script just to hear her accent (laughs). I worked with some private coaches who helped ground me in the moment, helping to lay out where Ludmilla came from. She rejected Xavier a couple of times before agreeing to meet him.
You must have a favorite scene. Why do you like it?
Sasha: The most tender space was when I danced with Al Pacino at the end of the movie. It was a magical scene with no dialog.
What did you find most challenging about this film and playing Ludmilla?
Sasha: Not being overwhelmed by the magnitude of talent in the room. And remaining grounded within that.
What was it like transitioning from model to actor?
Sasha: Good question. I did have an in-between period where I did a lot of commercials—almost 50 national campaigns. That definitely got me comfortable in front of the camera. They want to see your personality in commercials, whereas you’re just a mannequin in modeling. It’s fun, but commercials were my stepping stone to having more freedom to be myself. I had more control, and that segued into acting, which I enjoy a lot more. Also, growing up as a dancer, you’re taught not to have a voice. The skills I acquired in dancing have impacted me in a very positive way. But acting, being able to have a voice and capture all these different personalities in all walks of life, has been a natural progression that I really enjoyed.
You studied ballet. Do you still dance? Would you take a role as a dancer?
Sasha: I would take that role. I’ve been up for a couple. There’s a dance studio here in LA that I love because they have a live piano accompanying performances. I’d have to do hard-core training to capture that and get that on tape. But now I’m doing it on my terms, and it’s meditative. Because when you’re younger, there’s so much competition, but now, as an adult and having the training, I can direct myself at my own pace, so I have a lot more love for it. Black Swan is an incredible work of art. But many films about the ballet world tend to villainize it. There’s still that reality that we’re incredibly supportive of one another. We have each other’s back. There are instances of eating disorders and the psychological need to seek perfection. But I don’t think it’s all-consuming because you have such a wonderful community around you. The Russian instructors are very hard-core. They’re going to push you to the limit. They see the best in you and push you even if you don’t want it.
What have you learned about show business that really surprised you?
Sasha: Another excellent question. The higher up you go, the kinder the people are. I don’t know whether it’s because you’re kind and you made it to the top or because you made it to the top and can empathize with everyone around you. From my experience, the most notable people I’ve ever worked with are humble, kind, and charismatic individuals.
What advice do you have for young talent struggling to succeed in this business?
Sasha: Be humble. Don’t chase dreams. And work on your ego. Because as great as you think you are, it will last only a short time if you don’t treat people well.
What were you like in high school?
Sasha: (laughs) Mmmm. I was kind of a rebel and didn’t respond well to authority. I suppose, to get along with everybody. As an immigrant from an immigrant family, I was an A student. In my yearbook, I wrote that I was going to Greece, and no one believed me. But as soon as I graduated and turned 18, I decided to fly over and live in Greece.
