Q&A

GN. Your journey from being born in Chile, growing up in Wales and finding your identity in London’s vibrant queer scene is incredibly inspiring. How have those early life experiences shaped the artist and woman you are today?

TG: It’s been quite a journey and I’ve seen some things, let me tell you darling! Being born in Chile gave me a deep sense of resilience. My family’s move to Wales taught me about adaptation, learning a new language and way of life. I mean you couldn’t find two places that were more different! It was quite isolating at times, but that sense of being “between worlds” helped me understand people and emotions on a deeper level, which naturally fed into my acting. But I bloody love Wales, the Welsh people are angels.London was where everything came together. The city’s queer scene gave me permission to be fully myself, unapologetically, joyfully. It’s where I found my community and my confidence. All those layers, the displacement, the discovery, the celebration, have shaped me into an artist who tells stories with heart and truth, and into a woman who values authenticity above all else. God knows what would have happened to me if I hadn’t got to London.

GN: You’ve spoken about finding community and acceptance within London’s queer scene in the 1980s. How did that period influence your confidence and creative expression as a performer?

TG: That time was literally transformative for me, it’s where Talisa was born. London in the 1980s was electric, a bit gritty, a bit dangerous, but so alive! The queer scene then was more than just nightlife; it was my lifeline. It was where I met people who didn’t just tolerate difference, they celebrated it. Being surrounded by that kind of unapologetic authenticity gave me permission to explore who I was, both personally and artistically. As a performer, it taught me that vulnerability is power, that telling your truth, even when it scares you, connects you to others in the most profound way. The courage and creativity I witnessed in that community still fuel everything I do today. I will carry the backroom of the 2Brewers in my heart wherever I go!

GN: What changes have you noticed in the industry’s representation and opportunities for trans talent over the years?

TG: There’s definitely been progress, slow, uneven, but progress nonetheless. When I started, there were virtually no visible trans actors, and if a trans character appeared at all, they were often written through stereotypes or tragedy and rarely played by a trans actor. Now, there’s a growing recognition that trans people belong at the centre of storytelling, not as symbols, but as complex, human beings. We’re seeing more trans actors being cast as trans characters, and, increasingly, just as characters, fullstop. That’s a huge step. What’s also changed is the conversation behind the camera, writers, directors, and casting teams are far more aware of the importance of authenticity and consultation. There’s still a long way to go, of course, but the difference now is that trans talent isn’t just being talked about; we’re being listened to, and that changes everything. It’s definitely positive, but we’ve got a long way to go, baby.

GN: Many viewers first discovered you through your compelling performances in Baptiste. What did that role teach you about emotional nuance and screen presence?

TG: Baptiste was such an important moment for me because that role demanded a kind of quiet intensity, the sort of performance where everything is happening just beneath the surface. As a Latina, my instinct is to want to express everything and loudly! It taught me that sometimes the most powerful emotions don’t need to be shouted; they can live in a glance or a hesitation. Working on that series also reminded me how much presence comes from truth. When you fully understand your character’s pain, hope, and motivation, you don’t have to “act” it, it simply exists through you. That’s something I carried forward from Baptiste: the idea that restraint can be just as expressive as release. Ooh get me, I sound like Stanislavsky!

GN: In Frauds, you play Miss Take a witty and complex trans woman caught between routine and risk. What drew you to this character, and how did you approach bringing her to life?

TG: What drew me to Miss Take was her contradictions, she’s sharp and funny, but there’s a real vulnerability under the surface. She’s someone who’s built this careful routine, almost as armour, and then life throws her into situations that challenge everything she’s used to. I found that incredibly relatable, the idea of balancing self-protection with the need to take emotional risks. In approaching her, I didn’t want to play her as a “type” or lean into her being trans as the defining thing about her. I wanted her to feel lived-in, someone with habits, fears, humour, and warmth. I worked a lot on her rhythm, her stillness, her little moments of hesitation, those subtle beats where her inner world shows through. Ultimately, I wanted audiences to see her not just a trans woman, but a fully realised human being who happens to be trans, messy, brave, and beautifully flawed. She’s a part of me now and I love her!

GN: The series features powerhouse talents like Jodie Whittaker and Suranne Jones. What was it like collaborating with them, and how did their energy shape the dynamic on set?

TG: Working with Jodie Whittaker and Suranne Jones was truly a dream come true. I’ve been a huge fan of Jodie since Broadchurch and was completely obsessed with Suranne in Doctor Foster, so getting to work with them was incredibly special. Theirenergy on set was amazing and brought such joy to the entire production. It made the whole experience even more enriching and memorable. And they are both such sweethearts in real life, I want to be in their gang forever!

GN: Frauds has been described as a modern, female-driven “Thelma & Louise.” How does the story explore friendship, danger, and reinvention through a uniquely female lens?

TG: I love that comparison because, like Thelma & Louise, Frauds is really about two women who find themselves pushed to the edge, and instead of breaking, they transform. What makes it feel modern is that it’s less about rebellion for its own sake and more about rediscovering who you are after life has boxed you in. Through friendship, the series explores that beautiful, messy process of being seen by another woman, really seen and how that can awaken something fierce and unexpected. The danger in the story isn’t just physical; it’s emotional. It’s the risk of change, of letting go of who you thought you had to be. And that’s where the reinvention comes in. It’s not about becoming someone new, but reclaiming the parts of yourself you’ve buried to survive. That’s what makes it such a distinctly female story, it’s about strength through vulnerability, and the quiet revolution that happens when women step into their own power together. Plus, like Thelma and Louise, it’s just a blooming good story.

GN: Looking ahead to Blurred, what can you tell us about your character Clara and what drew you to this erotic thriller set in the fashion world?

TG: In Blurred, I have a smaller but impactful role as a Latina woman in New York’s nightlife. The film is an erotic thriller set in the fashion world, featuring Guy Pearce and Alex Pettyfer. It delves into themes of desire, deception, and identity, and my character adds an intriguing layer to the narrative, highlighting the complexities of aspiration and identity in this high-stakes world. I loved being in that world, I felt like Sharon Stone or Glenn Close!

GN: With your experiences spanning television, film, and theatre, how do you choose the projects that resonate most deeply with you now?

TG: I think the way I choose projects has changed a lot over time. These days, I’m drawn to roles that feel honest, even if they’re small, and to stories that say something real about identity, connection, or resilience. I’ve learned that it’s not about the size of the part, it’s about whether the character has a heartbeat and whether the world of the story excites me. I also look for teams I can trust. When the director, writers, and cast create a space where you feel safe to take risks, that’s when the best work happens. And after everything I’ve experienced across television, film, and theatre, I value that
environment more than anything. Ultimately, I follow the projects that make something inside me spark, the ones where I read the script and think, yes, I know how to bring this person to life. And of
course the money lol, a girl’s got to eat!

GN: As you look to the future with Frauds, Blurred, and beyond what kind of stories do you hope to tell next, and what message do you hope your career continues to send to audiences?

TG: I hope the stories I tell next continue to centre humanity especially the kind that often gets overlooked. I’m drawn to characters who are layered, imperfect, and searching for something, whether that’s love, belonging, or a sense of self. If a script lets me explore vulnerability and strength in equal measure, that’s where I want to be. Looking ahead, I want to be part of work that reflects the world as it truly is: diverse, messy, funny, painful, beautiful. Stories where trans characters and all underrepresented people aren’t defined by their identity, but enriched by it.
And if my career sends a message, I hope it’s this: that living your truth is not a limitation, it’s a superpower. That it’s never too late to reinvent yourself. And that visibility matters, not as a label, but as an invitation for others to feel seen, too. The way I wish little Talisa was seen.

GN: What does Goodnight mean to you?

TG: “Goodnight” can mean so much more than just the end of a day. To me, it’s a little ritual of softness, a moment where everything finally quiets down, where you let go of whatever you’ve been carrying and give yourself permission to rest. It’s also a gesture of care. When someone says “goodnight,” they’re really saying you’re safe now, you can switch off, you can breathe. There’s something tender and
intimate in that. And sometimes, “goodnight” feels symbolic, like closing a chapter, honouring what’s happened, and trusting that.

Courtesy of Photographer: David Reiss

Stylist: Keeley Dawson

Hair: Sven Bayerbach

Make-up: Maria Asadi