Written by Alina Rose Armstrong
LSTFI alumnus Martin Drop had quite a unique upbringing. His father, from South Africa, and his mother, from a small Norwegian village, met while on holiday in Portugal. His parents decided to raise him by splitting their time between their two countries to foster a better understanding of each other’s cultures. As a result, Martin was constantly uprooted throughout his childhood, even spending three years in Uruguay. He grew up speaking English, Spanish, and Norwegian, which exposed him to different educational systems in various languages. Martin’s academic experience varied depending on each school’s curriculum, excelling in some subjects while falling behind in others.
On average, Martin transferred schools every 1.3 years. This experience left him with an awareness of the universality of human nature. Martin says that, in every class, “there was always a mean kid, a nerd, and an outcast.” He came to the profound realization that people share fundamental similarities, regardless of their culture or background. This acquired insight intrigued Martin, sparking his interest in portraying the intricacies of humanity through acting and filmmaking.
The Path to Acting
One constant in Martin’s life was his dream of becoming an actor. He spent summers watching three films daily, drawing inspiration from a diverse array of cinematic and cultural sources, ranging from Korean revenge dramas to esteemed German and Danish films. However, he quickly realized he would have to forge his own path to achieve his dreams. Swaziland and Uruguay weren’t exactly the acting hubs of the world, and neither was his tiny Norwegian village with a population of thirteen – “including two cats.”
Martin’s first exposure to performing came when his father mistakenly signed him up for Norway’s Got Talent when he was eleven years old. He performed a stand-up routine that humorously addressed the misunderstandings between his parents, who spoke different languages and came from different cultures. His performance was met with acclaim and, between the ages of 13 to 19, he performed stand-up regularly, first in Norway and eventually in London.
“It’s terrifying,” Martin confesses. “One day you go on stage and feel like a king, and then the next, you bomb with the same material and feel like a useless loser.” Martin continued to write about his experiences growing up in a bilingual household and drawing inspiration from his immediate home life. Each performance further fueled his growing passion for acting.
Strasberg Bound
Upon graduating high school, Martin was admitted to NYU’s Tisch School of the Arts, where he studied at The Lee Strasberg Theatre & Film Institute. He described his experience as “truly phenomenal,” finding the teaching styles incredibly thorough and compassionate. Martin seized every opportunity to participate in productions and perform in class. Each teacher and acting class brought out unique aspects of his talent.
Martin embraced the Method Acting approach, learning to quickly tap into his character. “Acting isn’t a precious thing; it’s something you grab and make your own,” he remarked. Interestingly, it was at LSTFI that he also developed an interest in directing. He diligently took notes during classes about his classmates’ performances, observing mannerisms and aspects he found inspiring. Martin appreciated working with a variety of directors and their unique perspectives, which fueled his inspiration for a directorial career.
Diving into Screenwriting
In his final years in New York, Martin began writing scripts. One screenplay, notably titled Black Death, was set in the devastating mid-14th century pandemic. Unfortunately, completion of the Black Death script coincided with the COVID-19 pandemic. Interest in the project waned as people were reluctant to engage with a story that reminded them of the current dire state of the world. Shortly after, Martin’s visa expired, forcing him to relocate to his Norwegian hometown.
Back home, Martin felt revitalized and inspired by the natural beauty surrounding him. He began to wonder how he could use the influences of his home – and extremely limited resources – to create a new project. With help from a friend with military equipment and a distant acquaintance who had expressed interest in becoming an actor, Martin wrote and directed No Tomorrow, an anti-war film that examines relationships in the wake of major life events and upheaval.
No Tomorrow
Set 20 years in the future, No Tomorrow addresses a climate crisis and the ensuing war. Along with directing, Martin stars in the film as a military captain in charge of a small band of soldiers. Despite its political backdrop, the film focuses on the human condition and analyzes how people interact with one another. In addition to exploring the relationships between the soldiers, the film also tells a unusual love story. Martin uses the voiceover work of fellow NYU Tisch graduate Maria Müller to capture a romance that unfolds over radio, incorporating elements of cabin fever and the impact of prolonged isolation.
Reflecting on the experience, Martin admits that he’s glad he wasn’t aware of the enormous undertaking that is making and acting in his own film. He’s relieved he took it one step at a time so he could truly enjoy the process. He considers No Tomorrow a significant learning experience and was grateful to connect with his cast, many of whom had never acted before.
Looking Forward
No Tomorrow is now making its way through the international film festival circuit. Already met with accolades and acclaim, the film won Best of the Fest and Best Director of a Narrative Feature at the Queens World Film Festival earlier this spring. Martin hopes that No Tomorrow will receive recognition and funding that will enable him to continue pursuing his love of acting and filmmaking. He aims to connect with people through film, including his family and friends, and to continue exploring the universal human experience on screen.
