Georgi Staykov: From Bulgarian Stardom to Swedish Cinema Icon / Bo Blogg

Georgi Staykov is a name that resonates with generations of Bulgarian movie fans, celebrated for his unforgettable roles in classics like Yesterday and Without a Scratch. However, Staykov’s story extends far beyond the borders of Bulgaria. From his early days as a rising star in Sofia to his transformation into a prominent actor in Swedish cinema, Staykov has lived a life as interesting as the roles he portrays on screen.

In this compelling interview, he recounts his journey with honesty and humor, revealing what it was like to leave a successful career in Bulgaria for the unknowns of Western Europe. He delves into his transition to playing “bad guy” roles in Swedish and British films, his near-death experiences on set, and the challenges of navigating life and work in a foreign country. Staykov also reflects on fame, envy in the creative world, and the stark contrasts between Bulgarian and Swedish filmmaking.

Join us for an intimate look into the life and career of Georgi Staykov, an actor whose talents and determination have made him a bridge between cultures and a cinematic icon in his own right.

Georgi Staykov – The Bulgarian charm of Swedish cinema

"I play the main villain because that's the kind of roles they give to Eastern European actors."

Georgi Staykov is a Bulgarian actor, born in Veliko Tarnovo on August 10, 1964. In 1989, he graduated from the Bulgarian Acting Academy, where his mentor was Encho Halachev, and then moved to Sweden. In Swedish films, he often portrays Eastern European characters, many of whom are antagonists, or, as he himself states, "all the bad boys who eventually die." His greatest success is the role of Alexander Zalachenko, a former Soviet spy, in the Swedish film trilogy "Millennium," based on Stieg Larsson's books. In Bulgaria, Staykov is known for his roles in films such as Yesterday, Without a Scratch, Reservation, Mission London, Tilt, Omnipresent, Incognita, and Knockout or Everything She Wrote. He has also appeared in series such as Where is Maggie, Seven Hours Difference, and Undercover.

For your Swedish audience, it must be interesting to know who you were before you entered their cinema scene?

In 1989, I graduated from NATFIZ – the Academy of Theater and Cinema here, under Professor Encho Halachev. By that time, I had already won one cinema award for Best Male Lead in the movie Without a Scratch. I had 11 films behind me, including the iconic Yesterday. We filmed it when I was in my second year, and it came out when I was in my third year at academy. Those were good times, with lots of beautiful women around (smiles). After that, I left the National Theater, part of which I was, and went to England.

You graduated as a star; you were nationally famous?

Yes, and I graduated with straights A's (top grades). Including in the history of the Bulgarian Communist Party (BCP). Others studied for a week for that exam, but I needed three hours to learn it – a habit from the classical high school, which I also graduated from with excellent grades. It was very difficult to graduate with all sixes at that time.

Share a story from the set of Yesterday.

Although it’s not a famous film in Sweden, it is so beloved movie here, and your leading role is remembered to this day.I remember from the filming how I almost drowned. I was secured with a rope by a diver who was supposed to keep me safe because the current was leading toward a channel, which was 150 meters away. I dived, and the current was very strong, pulling me. They had promised to place a barrier made of metal rods with a net. It turned out they had made it from wooden stakes with wire. There was a clamp I held onto, trying not to stick too far above the water to avoid being in the frame. I felt the rope pulling me because the diver had already passed and was heading down the channel. I managed to hold on, and he came back along the rope to me. Ivan Andonov (the director) yelled, "Stop, stop!" And I asked, "Ivan, are we doing more takes?" to which he replied, "No more takes!" Later, the diver explained to me that we wouldn’t have survived and would have really perished.

With actress Sofia Kuzeva, with whom they play in "Yesterday"

Bulgarian actor of the previous generation, Stefan Danailov, in "Incognita"

What made you decide to leave Bulgaria?

I was in the National Theater, filming a lot of movies, and I had awards. It was the time of when people exchange levs for dollars, illegally, doing frauds, near the "Magurata" restaurant - there is also such a cave in Bulgaria. And once there a phone technician, who exchanged money near Magurata (as we said popular spot for such dealings in Sofia – Ed.) told me, "Come, actor boy, let me treat you a drink." And then I thought to myself that things weren’t going well. He was making more money as a technician, and I, the rising star, was often left with empty pockets.

When fame hits you so early, how does that reflect on you? Did it change you?
I knew quite a few languages – English, Russian, Italian, Serbian, French. I felt there wasn’t much else for me here. I went to England, and the William Morris Agency handled my engagements. I sent them a show reel through Sir Attenborough. My first role there was as the main villain in the mini-series Frank Stubbs Promotes. I played an ice skater. I had never been on ice skates before. I trained every day and learned within a month.

Why do you always play the bad guy?
In the West, apart from the main villain or the main prostitute, you can’t get another role as an Eastern European actor.
In America, I went to see the "real big swamp." I lived for nine months in New York, attended castings. That city can be uplifting or depressing, and as they say, "If you make it in New York, you can make it everywhere."
I went back to England for two series. After that, I got into wine importation in England. I was making big money. In 2000, my Swedish wife Marianne and I moved to her homeland. I insisted because I saw that Sweden was developed socialism in action. Both those with and without opportunities were given a chance there.
Within three months, I was already speaking Swedish. There are no agents there; people in the industry know each other. There are 50 people who are always on screen.
I had a leading role in The King of Ping Pong in 2007 – the film won the Sundance Festival award for foreign-language film.
I’ve filmed 46 movies in Sweden.

Were those your most productive years?
Financially, yes. At the time, a lead role in Bulgaria paid 4,000 leva, while in Sweden, I got about 5–6,000 euros for The King of Ping Pong.
Sweden invests 28 million euros in cinema; Bulgaria – 14 million leva. Nobody hears about our films, but theirs become world-famous.

Leading role in "The King of Ping Pong", which won an award

Why?
Because they have good scripts. When Hitchcock was asked what makes a good film, he replied, "Script. Script. Script."
Swedish films are based on good literature. I played the main villain, the father of the lead actress, in the Millennium series. The books have sold 80 million copies, and the films have grossed $210 million worldwide.

Tell a story from a Swedish film set.
We were filming Grandma’s Cars (Babbas bilar in Swedish) in Kiruna, 150 km north of the Arctic Circle. I had to jump into an ice hole and pull a sled with a rope. It was already sunset, and we didn’t have the right aperture, so we hurried to shoot the scene. I put my fingers in, and when they pulled the rope, they broke two of them. They drove me over winter roads to a hospital 50–60 km away. I had blood on my left side because we were imitating an explosion. When they saw me, the doctors shouted in my ear, "What’s happening? Can you hear us?" I said, "No, it’s not that; look at my fingers." They responded, "Let’s cut the jacket." I replied, "No, it’s a prop." They wanted to remove the rings, and I told them they were props too. A nurse slowly and melodically said, "Oh, you have a broken finger here." She opened a thick book and began flipping through it to see what to do. I asked if it was her first time, and she replied, "I was hired to take care of you." I wanted to go to another hospital. "Won’t you give me painkillers?" I asked, as it hurt a lot. She went to check if I was entitled to any. I yelled for another doctor, and the chief came – he was Serbian. He was surprised they hadn’t given me anesthesia. He said, "Comrade, comrade," and fixed my fingers.

What did you like about Sweden?
Everything was precise. You worked from 8 AM to 5 PM, but that was exactly how long you worked – no more, no less. Once, while filming, I was waiting for my Swedish passport and received a letter saying I had to pick it up. It was Friday, a little before 5 PM, and they worked until 5. My colleagues insisted I go, and I got it. The girl at the police station was a bit sour but got the job done.

What about the people and life there?
The Swedish state gives everyone a chance – both those with and without means. For example, now with my Bulgarian pension, it’s tough, but when I turn 64, I’ll receive around 1,500 leva from Sweden because I worked. If you work, you get paid.
Stockholm in the summer is a beautiful city. It’s quite a social country, or at least it was. We lived with Marianne and our son Nikolay in Stockholm and later 35 minutes away from the city. People are different there; they don’t invade your personal space.

A Life Between Two Worlds

As the conversation winds down, Georgi Staykov leaves us with a sense of his unwavering passion for storytelling and his adaptability in the face of life’s challenges. From Bulgaria to Sweden and beyond, his journey is a testament to the power of talent, resilience, and an open mind. Whether portraying complex characters on screen or navigating the nuances of life in different cultures, Staykov’s story is one of continuous reinvention. With a career spanning decades and countries, he reminds us that success is not just about where you start, but about the paths you dare to take.