Kerstin Schulze is a force of nature—an actor, elite fitness trainer, and founder of a performance-focused wellness company whose approach to movement is as intentional as it is powerful. Best known for her role as Sola, the mysterious German nanny with a surprising kung fu twist on HBO comedy The Righteous Gemstones, Schulze brings a unique blend of physical discipline and grounded presence to every role she inhabits—from her turn as “Workout Tina” Fey for Booking.com to her intense performance on American Horror Story: Roanoke.
In this conversation, we explore how mindfulness manifests in her training, acting process, and daily life and what it takes to stay centered while navigating high-performance environments both on screen and off.
Angela Stubbs: You play Sola, a German nanny and kung-fu practitioner on the most recent season of The Righteous Gemstones. Can you discuss what initially drew you to the character Sola, which characteristics you share with her, and how your day-to-day personality differs from hers?
Kerstin Schulze: When I first received the script and audition notice for Sola, the description called for a tall, German or Scandinavian woman who could do kung fu and was very centered. And immediately, I thought—this is me. I felt such a strong connection to the character; I didn’t have to imagine how she might feel because, in so many ways, I’ve lived her experience. I’ve always been a caretaker and a nurturer at heart. Physically, I’m strong, and with over 30 years spent helping people feel better about themselves, I understood Sola’s mission on a deep level. She’s all about helping others—and that resonated with me completely.
What I loved about Sola is that she’s grounded and nurturing, yet tough. When I built her backstory, I imagined she came from a wealthy European family where, despite having everything, she felt emotionally neglected. That gave her a purpose: to work with families, not for money, but to help children find stability and bring broken homes back together. That motivation shaped how I played her.
I understood Sola’s mission on a deep level. She’s all about helping others—and that resonated with me completely.
I also had a very specific vision for her look. I drew inspiration from Mrs. Bower in Frankenstein—very German, very stern, always put together. The show actually used that exact look in the final version, which I loved.
The range they gave her made the role special—from the intense fight scenes to her emotional connection with Baby Billy in the end. That moment where she tells him, “They need you,” was so powerful. And her bond with Tiffany, this sweet, pure soul, felt incredibly meaningful. Tiffany’s innocence and sincerity brought out the protector in Sola, and I connected to the purity and depth of that relationship.
Sola feels like such a grounded and self-aware character, and it struck me that to portray someone like her convincingly, an actor has to bring a real depth of presence and awareness. That kind of groundedness can come from life experience, mindfulness, or even physical practices like kung fu, which plays a key role in who Sola is.
This has me wondering about the duality of preparing for the physical demands of kung fu while cultivating the inner awareness and emotional depth needed to embody Sola on set, especially amid the chaos and energy of filming.
Even before I got the role, I was deeply involved in martial arts and mindfulness practices like meditation. I meditate daily—it’s a non-negotiable part of my life. I use it to ground myself, and I really believe in the power of positive affirmations. When my mind starts drifting into negative thoughts, I try to redirect them. That daily practice of mindfulness helped me stay centered not just in life, but especially on set, where there’s so much chaos happening around you.
When you’re filming, there are hundreds of people on set—cameras, directors, crew—so having those tools came in handy. I could focus, block out all the distractions, and just be present in Sola’s world. It allowed me to connect deeply with who she is and to respond authentically, especially in scenes with Baby Billy. The groundedness people see in Sola on screen is the groundedness I’ve worked hard to cultivate in myself.
That daily practice of mindfulness helped me stay centered not just in life, but especially on set, where there’s so much chaos happening around you.
But I didn’t always have that. It started after my divorce, when I was 40. That was a turning point for me. I went to therapy, I committed to meditation, and I did a lot of inner work to understand myself more clearly. I had to ask hard questions, like why I chose a relationship that was so negative. That journey toward self-awareness changed everything for me. And now, 10 years later, I feel like the universe brought me this role because it reflects precisely where I am in life. Sola is grounded, purposeful, and strong—and so am I.
Kerstin Schulze on Fitness and Being a Kung-Fu Nanny
It sounds like your mindfulness and martial arts practices helped you meet Sola with a deep sense of presence, both physically and emotionally. You mentioned how much focus this role required—not just in the fight scenes but also in staying grounded amid the chaos on set. This reminds me of The Body Keeps the Score by Bessel van der Kolk, which explores how our bodies hold onto experience and how that mind-body connection is key to healing and awareness.
So I’m curious: Do you feel like your ability to stay grounded on set and fully embody Sola came from that long-term mind-body work you’ve done? And how has that awareness shaped the way you approach acting in general?
Our cells hold everything—our thoughts, our emotions—they live our experiences. I’ve always been a tough woman. I had to fight to survive. So the toughness in Sola came naturally to me. What I had to work on more deeply was her softness—that quiet strength. As women, I think we’re still learning how to be both soft and strong, and how to find balance between the two.
With Sola, she didn’t say much, but her presence spoke volumes. Her body language carried the message. I think that’s true for all of us—we can walk into a room and say so much without speaking a word. It all comes down to how grounded, mindful, and self-aware we are. And when you know who you are, you can show up authentically—you can truly listen without being in your head, already preparing your response.
The kung-fu nanny is the brain-child of Danny McBride because, of course it is! But let’s talk about the kung fu. A lot of people meeting you for the first time might not realize you have a long background as an athlete, going all the way back to childhood. Do you feel that background made it easier to step into the physicality of Sola—especially the kung fu aspects? Or were there new challenges that came with learning and embodying that particular discipline?
I’ve been an athlete for as long as I can remember—I competed in the Junior Olympics in Berlin when I was 12—so that background definitely helped. When I got the role, they wanted Sola to know kata (a detailed sequence of movements in karate, performed as an exercise), which I wasn’t trained in. I had done martial arts, kickboxing, weapons work with sticks and knives, but not kata specifically. So I found a kata master and trained every single day. I’m a very visual learner, so I’d study his movements, then drill them until it looked and felt authentic.
Because of my athletic training, I pick things up quickly, and I took this seriously—knowing millions of people would see it, I wanted it to be right. I trained everywhere: in the pool, in hotel rooms, at home. Then, on set, they switched the camera angles last minute, which meant I had to improvise and adjust on the spot. Knowing the purpose behind each kata movement helped me stay grounded and adapt.
I trained everywhere: in the pool, in hotel rooms, at home. Then, on set, they switched the camera angles last minute. Knowing the purpose behind each kata movement helped me stay grounded and adapt.
The fight scenes were intense—we only saw a fraction of what was filmed. I had to pick up and throw someone, smash a vase on a head (fiberglass, thankfully), pull someone off a pool table, slam a head on a piano. It was all very physical. I did about 95% of my own stunts because I wanted it to feel real. All my years of strength and martial arts training really came into play.
How many takes did you do for all of the kung fu scenes?
The kata scene by the water was intense—it was scorching hot, and I probably ran through the routine at least 10 times just for my solo shots. Then we filmed from multiple angles, which took about half a day.
The fight scenes were a full-day shoot. We repeated them over and over. I worked closely with the stunt coordinators—I even had to pick someone up and flip them. The only part I didn’t do myself was the final throw. I asked my stunt double to do that one because I didn’t want to risk injuring anyone. I wasn’t confident I could safely execute that move.
You mentioned training every day for this role, but outside of acting, you also work as a trainer with everyone from actors to older adults, and you’ve developed your own program, Fitness for the Busy Lifestyle. Can you talk about how body awareness shapes the way you design workouts, and what inspired you to create something specifically for people with limited time or unique physical needs?
Fitness for the Busy Lifestyle started from my own life—being a single mom, training clients all day, and still finding time to stay fit. I created efficient 30-minute workouts (or even 5-10 minute routines) that work for busy people, travelers, and those with injuries or stress. It’s all about working smarter, staying consistent, and building strength to support your body long-term.
There’s a saying—everyone should meditate for 10 minutes a day, and if you don’t have 10 minutes, you should meditate for an hour. The point is, the busier or more stressed you are, the more you probably need that pause. And I think the same applies to movement. Sure, there are days when injuries or time constraints make it hard, but that doesn’t mean doing nothing. Even a few minutes of mindful movement—like leg lifts in the kitchen or squats at your desk—can make a difference.
The same is true for meditation. People often feel that if they don’t have 30 minutes, it’s not worth it. But even one minute of conscious breathing can shift your state. Just paying attention to the breath—how it feels coming in and going out—grounds you.
How you start the day is everything, but most people underestimate it. I always tell my clients to be grateful before they even get out of bed. Be grateful that you woke up, that you can walk, open your fridge, and step outside. Just those small moments of mindfulness can completely shift your mindset.
Starting your day with gratitude grounds you. That’s what meditation is—coming back to what matters. Breathing. Being alive.
Starting your day with gratitude grounds you. That’s what meditation is—coming back to what matters—breathing, being alive. Everything else—goals, money, pressure—is just noise. Life is fragile. We forget that. We chase so much, but real peace comes from connection, presence, and treating our bodies and minds with care.
So why wouldn’t we take five minutes to speak kindly to ourselves? To move? You don’t need a gym. You can do curls sitting down or glute work while folding laundry. It’s all in how you choose to see it.
Choosing Growth Over Fear
On a bigger-picture level, when it comes to memorizing lines, do you have any mindfulness practices or physical habits that help you stay grounded? Are you someone who struggles with memorization, or do you have any go-to tips or tricks for running lines—especially if you’re feeling stuck or under pressure?
The best way I learn lines is through mindful movement—I walk or exercise while running them. On set, you’re never just sitting still delivering a line; you’re always doing something. So learning lines while moving helps make it feel more natural in performance.
Another big part of it is understanding the meaning behind the words. Even if I don’t remember every word exactly, if I know what I’m trying to say and what I’m trying to get from the other person in the scene, it comes through. It’s all about the objective—why am I in this scene, what’s my character trying to accomplish, and how does that move the story forward? When you’re clear on that, and the writing is strong, the lines tend to flow naturally.
That said, I also record my lines and listen to them on repeat, like music—sometimes even while I sleep. And I read the script over and over until it’s just in me. The repetition helps it feel authentic, like second nature.
A big breakthrough for me was realizing it’s not just about learning lines, but truly understanding what I’m saying, just like in meditation, where slowing down forces you to hear yourself, which can be scary for some.
Fear of being alone with our thoughts is real. The mind doesn’t just slow down because we want it to—and we can’t turn it off. But instead of attaching to every thought or emotion, we can observe them, name them, and let them pass like weather, creating distance between us and the story we tell ourselves.
No, the mind never fully shuts off—absolutely. I always say 10% is what happens to us, and 90% is how we respond. Our mind might stay busy, but our awareness—our conscious state—decides what we do with that. So if I feel anxious, I’ll ask myself: Why? Maybe I have too much on my plate. Then I know I need to breathe, talk to someone, or take a step back.
When I created Sola and then found myself on set with all these A-list stars, there were definitely moments of impostor syndrome. But I’ve realized that those feelings tend to come right before growth.
Same with sadness. Instead of labeling it as negative, I allow it. I ask myself: What’s behind this feeling? And I give myself a 10-minute pity party if I need to—but then I move on.
The last thing I want to ask is: If you could share one mindful insight that’s helped you bring Sola to life, or one that’s guiding you in your own life right now, what would it be?
Through Sola, I’ve learned that when we feel that overwhelming imposter syndrome, it often just means we’re leveling up.
When I created Sola and then found myself on set with all these A-list stars, there were definitely moments of impostor syndrome. But I’ve realized that those feelings tend to come right before growth. Every time I’ve felt that doubt, it’s actually been a sign I’m stepping into something bigger.
So now, instead of resisting it, I embrace it. I remind myself: I can do this. I was just offered another role in a feature film, and in the past, I might have second-guessed myself. But now, I approach it with gratitude and without judgment.
I think we grow into our next chapters by stepping into the unknown. And that unknown can be beautiful—because you learn, you stretch, and you evolve.
With Sola, some parts felt familiar, but others were totally new. I’ve never been a nanny or a kung fu master, and I’ve never had to deal with someone like Baby Billy! But I embraced it. And that’s the biggest lesson: Embrace what comes, learn from it, and don’t judge yourself along the way.
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