Canadian-German actor and filmmaker Dennis Andres is stepping into the spotlight once again, this time in a dazzling reimagining of a literary classic. In the upcoming ensemble movie musical Juliet and Romeo, Andres takes on the role of Lord Paris—the nobleman betrothed to Juliet—in a bold pop-opera twist on Shakespeare’s most iconic tragedy. The film, featuring a star-studded cast including Rebel Wilson and Jason Isaacs, is set to premiere in the U.S. and Canada on May 9, followed by a UK release on June 11.
Audiences may already recognize Andres from his standout performances in the hit Netflix series Workin’ Moms, the dance drama Feel the Beat with Sofia Carson, and the eerie Apple TV+ series The Changeling, where he shared the screen with LaKeith Stanfield. Now, in Juliet and Romeo, Andres embraces a larger-than-life musical world—one where classic themes of love and fate collide with vibrant music and fresh creative vision.
Beyond the screen, Andres brings a unique background to his roles. A former member of the Canadian Armed Forces, his journey echoes that of fellow actor Adam Driver, who served in the U.S. Marine Corps before turning to acting. Dennis is also a nationally ranked Black Belt martial artist and trained stuntman—skills that lend depth and physicality to his performances.
As Juliet and Romeo prepares to hit theaters, Dennis Andres is a name to watch—bringing heart, grit, and undeniable presence to a tale we thought we already knew.
In *Juliet and Romeo*, you play Lord Paris in a bold pop-opera reimagining of Shakespeare’s classic. What drew you to this role and how did you prepare to portray such a well-known character in a fresh new way?
Same thing that draws everyone to that role… Paul Rudd, obviously!
Honestly, what drew me to the part was that Tim (Bogart) had this idea to sort of reimagine the characters, and I really liked the direction he wanted to go with Paris, as that is sort of what I had in mind for that character as well. A Paris with a bit more bravado than in previous versions. A Paris that leaves a bit more of an impression, I suppose. It was a hard sell beyond that though, as working on set in Italy was just daunting. I don’t wish that sort of torture on anyone.
This film blends Shakespeare with pop music and modern energy—how was it working on a musical set with talents like Rebel Wilson and Jason Isaacs? Any standout moments during production?
Well, besides having to ask them to stop continuously emailing me for acting advice – it was great! I mean, it’s sort of exactly what you hope it would be. They were all cool, calm, collected pros, you know? I really enjoyed sharing the “stage” with all of them. Except Rupert… he made me feel like I was a 10-year-old boy! That man is so tall. He and I had a scene that offered an opportunity to ad lib and improv a bit – I really enjoyed it – but man, that was intimidating. He said a little prayer for me.
You’ve had quite the journey—from martial arts and the Canadian Armed Forces to acting and filmmaking. How have those early disciplines influenced your work as an actor?
I mean the long and short of it is that everything I have done influences my work. Fortunately, I have done enough “life” to bring the necessary minerals to the characters I play. It seems the older I get, the more I understand how vital it is as a performer to experience as much as you can, you know?
You’ve built a reputation for bringing grit and heart to your roles. How do you strike that balance of intensity and vulnerability in your performances?
Well… I would say… acting, mostly!
But if I had to expand, I think, just be honest, right?! Know your material – character, etc. and then execute. I have an easier time with the “grit” – somehow with my background, it is just something I happen to come by a bit more naturally. The vulnerability on the other hand, that takes dropping your guard – that can be harder, as I find myself programmed not to. But letting people see the cracks – and then mixing the two… that’s where the interesting stuff lives. Not just for audiences, but for you as well. It’s a pretty wild feeling when you forget the cameras are there.
As someone fluent in English and German, and comfortable with multiple accents, have you found that your multilingual background opens up more opportunities in the international film world?
Absolutely! It definitely broadens the scope a bit – which is pretty exciting. I just have to get as good as Bradley Cooper at French now. Have you ever heard that man’s French?! It’s exquisite!
With *Juliet and Romeo* premiering in May and more international releases coming, how do you think global audiences will connect with this modern take on a timeless story?
The Music – music is the universal language! It really isn’t even my music of choice and I find myself tapping my foot throughout the film.
Your production company, Half-a-Plan, is all about telling grounded, character-driven stories. What inspired you to start creating your own projects and what can you tell us about *The Ferryman’s Coin*?
I mean, long story short and a short story long – I think at some point, you just get tired of waiting around for someone to “take a chance” on you or have the stories you want to tell just magically land in your lap. Usually there isn’t anyone cheering you on more than you should be cheering you on.
Starting Half-a-Plan was about building a place where I could tell the kinds of stories I love. It was a way for me to take control of my creative output and sort of put foot-to-ass to my career instead of relying on someone else to say yes to me. It’s young but ambitious and the best I have felt building my career.
As for The Ferryman’s Coin—it’s a sharp thriller full of twists, turns, and high stakes – and a few uncomfortable questions about morality, fairness, and chaos. It’s the first story I felt like I had to tell. I suppose you could say it was a way for me to get some of my inner arguments on paper while tipping my hat to some of the songs and stories I love.
From stunt work to black belt kickboxing to captaining football teams—how do you keep up with training, and how do those physical skills help you in performance-heavy or action roles?
Honestly, I’ve been active my whole life, so I am just wired to move. So, it’s mostly good time management and understanding that training is actually something I have to do now, as it makes me much more tolerable to be around and helps the warranty not to expire.
Training has changed a bit over the years, of course – and getting out of bed in the morning takes a few extra minutes, but the ultimate goal is to not end up starring in a different kind of medical drama.
Absolutely, the physical side definitely helps with performance-heavy roles. It’s not just about throwing a punch or taking a hit – it’s about making it look like you’ve lived a few rounds in the real world. People can smell it if you haven’t.
You’ve worked across streaming platforms like Netflix and Apple TV+—how has that experience shaped your perspective on the evolving entertainment industry?
It’s been wild to watch it all shift in real time. When I started, streaming wasn’t even really a thing yet – now it’s the thing, the backup plan, and the next big thing all at once.
Working with platforms like Netflix and Apple TV+ has definitely opened my eyes to how fast everything moves now. There’s more opportunity, sure, but there’s also way more noise. You really have to know who you are and what you’re trying to say, because if you’re just trying to chase the trends, you’ll burn out before you even get started.
Stepping more into writing and directing is probably where I now have seen the biggest shifts. The business portion of this industry is volatile and unpredictable – when you think you understand any part of it – is precisely when it shifts again. It’s a double edged sword – It can be very frustrating to get started, but it’s also why most of us keep going.
At the end of the day, the game keeps changing – but the good stories still rise to the top. They just have a few more algorithms to climb through now.
Looking ahead, what kinds of stories or characters are you most excited to explore—either on screen or behind the camera?
Wow, I mean, how much time do we have?! I feel like I could talk about this forever! I guess if I had to pick only ONE thing – I would love to tell the kind of story that makes the person watching the TV forget they have a phone for a couple hours – from either side of the camera.
Fun, exciting stories like Guy Ritchie’s films. Beautiful, sweeping stories like Christopher Nolan’s. Tarantino’s nail biters! Or one of Dennis Andres’ cheeky white-knuckling adventures… You get the idea. *wink wink*.
