Photography by Valeria Mitelman.
SLEEK We’ve taken a closer look at your career path. From Timișoara via Tübingen to London, New York and Los Angeles, you have an impressive international education behind you. What has shaped you most on this artistic journey?
Anne-Marie Waldeck It was meeting so many different people and being exposed to so many different styles. I’m incredibly grateful for all these teachers and the magical encounters along the way. They shaped me not just as an actress but as a person who always tries to stay open and curious. In New York, I actually wanted to move there immediately. It felt like the city was breathing in ten different languages at once, and I loved that energy. I studied with Bill Esper and Terry Knickerbocker, and their words still come back to me on set. They encouraged me to pay attention to people – to listen, really listen. Sitting on the subway in New York, just observing. And then there was this mask class with Balinese masks – you couldn’t see which mask you were getting. You just put it on, had to move and speak gibberish, and slowly you started behaving like the mask itself, without even knowing which one it was. It was a truly magical experience.
Traveling gave me the same thing: meeting people at festivals like Cannes, seeing the industry from a different angle, collecting little snippets of life everywhere. These encounters – sometimes hilarious, sometimes profound – are what shaped me the most. Growing up between cultures gave me both freedom and resilience. Together they formed a global perspective. You learn to navigate different worlds, and you realize every world has something to teach you. But honestly? Life itself is the biggest teacher. The rejections, the setbacks, the moments where you’ve got to stand back up – those made me braver. And I’ve learned something really important: you can’t wait for someone to hand you your life. You create it.
S You combine acting with dance, singing and language talent. To what extent does this versatility influence your work in front of the camera and on stage?
AW I love bringing all the arts together – Well, for me it’s always been natural to combine those things. I grew up dancing, I sing, and acting ties it all together. When you’ve trained in movement and music, you carry that into every role – whether it’s on stage in Cabaret or on a film set. It changes the way you use your body, your rhythm, even your timing.
And languages – that’s another wonderful tool. Every language has its own music, its own attitude, and that opens up entirely new ways of playing a character, bringing more depth to it. I think versatility is what keeps me excited as a performer.
Image Courtesy of Marcell Piti/Paramount+.
S You appear in the series “NCIS: TONY & ZIVA” and portray Fruzsi, a funny, brave, unpredictable personality. How did you prepare to embody this character?
AW First of all, the writing was such a gift – so sharp, funny and full of brilliant one-liners that it already gave me a strong rhythm to play with. From there, I had about two weeks of preparation before shooting, which included costume fittings, hair and make-up tests – Even small details, like the long glitter nails, completely changed how I moved – suddenly Fruzsi had this elegant, slightly dramatic way of using her hands. Being half-Hungarian, I could also bring my own temperament into her – including speaking Hungarian for the first time on screen.
S The series combines action, emotions and humor. How do you manage to find this balance, and in which moments does Fruzsi feel strongest to you?
AW What exites me about NCIS: Tony & Ziva is exactly that balance – it feels almost Shakespearean. In the middle of drama or tension, there’s always a spark of humor, and that contrast makes the emotional beats even stronger. For me as an actress, it’s a gift to be able to play in that full spectrum.
Fruzsi feels strongest in the moments when she surprises people. On the surface, she’s glamorous, playful, sometimes even larger than life – and that makes it easy for others to underestimate her. But that underestimation becomes her weapon. She’s highly intelligent, deeply resourceful, and often the one who finds the solution when no one else can.
That’s what fascinates me about her: she refuses to be defined by appearances. She can be stylish, funny, unpredictable – and still the person who saves the day. To me, that makes her not just comic relief but a kind of feminist figure – one who embodies the idea that women don’t have to choose between being bold, elegant, or brilliant. They can be all of it at once.
S We noticed that in episode 4, Fruzsi wears designer pieces and in episode 2 even a dressing gown by Balmain. To what extent is fashion more than just costume for you – a part of the story that conveys personality and mood?
AW Fashion is something I’ve always loved – I enjoy experimenting with different looks, playing around with styles, and even at fittings I often bring in ideas of my own. Sometimes I even bring pieces from my own wardrobe, because I find that what a character wears can completely transform the way she’s perceived and even the way I play her. Costumes aren’t just clothes – they can make a character iconic, they can inspire, they can shift energy in a scene instantly.
That’s why Fruzsi’s looks were so much fun to inhabit – they tell you so much about her boldness, her playfulness, and her refusal to be put into a box. And then there was Balmain. Wearing a Balmain piece on set felt like a full-circle moment for me. A few years ago, I had my first big Paris Fashion Week experience at Balmain – it was in a stadium, with Cher appearing as a surprise guest, and at the afterparty I was introduced to Olivier Rousteing. That night was my real initiation into the world of high fashion. And now, stepping into my first American series and finding myself in Balmain on screen – it felt like all those worlds suddenly connected.
Image Courtesy Marcell Piti/Paramount+.
S You’re a German-speaking actress, but you’re filming in a US production in Budapest. How does this international environment influence your way of working and your perspective on acting? Were there any complications on set as well?
AW For me, filming in Budapest really felt like a homecoming. I’m half-Hungarian and I had actually filmed there two years earlier for the BBC production Vienna Blood with the Oscar-nominated director Robert Dornhelm. So coming back with this U.S. production was a beautiful mix of familiarity and something completely new. What struck me most was the scale. The American way of working had such a different dimension – everything felt bigger, from a table read that was streamed live to Los Angeles to the meticulous preparation and the sets.
On set, I found myself switching between English, Hungarian, and even German – and that multilingual flow gave the whole project a global heartbeat. It made the experience feel truly international, deeply connected. And then, of course, working with Michael Weatherly and Cote de Pablo was such a joy. Even on those mornings that began before sunrise – hours in hair and makeup before stepping onto set – the anticipation of being part of something so special carried me through.
S What was your biggest challenge while filming NCIS: Tony & Ziva and why does this one stand out particularly?
AW I’d always dreamt of being in a Hollywood production – and suddenly, there I was. Naturally, you put a bit of pressure on yourself at the start, but honestly, everyone was so wonderfully welcoming that it all turned into sheer delight rather quickly.
S If you had the freedom to further develop a story about Fruzsi in the future, which direction would it take? Are there themes you’d like to see more strongly represented in the series?
AW I love how Fruzsi keeps surprising everyone – I’d happily see more of those unexpected twists and explore her independence. Maybe she comes back in disguise, maybe she reinvents herself completely. And of course, more fashion! I think she still has a lot of outfits – and secrets – up her sleeve.
Fruzsi is the kind of character who shows that you can laugh, sparkle and still be brave – and I think we need more of that on screen.