Joseph Fiennes reveals secrets of becoming Gareth Southgate: “Dear England is about grappling with ghosts”

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In 1998, Joseph Fiennes was a working actor, just five years after graduating from drama school, when he landed the role of Shakespeare in the film Shakespeare in Love. Producer Ed Zwick noted that every actor in England seemed to try out for the part – including Paul McGann, Hugh Grant, Colin Firth, and even Ralph Fiennes, Joseph’s older brother. To prepare, Joseph Fiennes focused on thorough research.

I love a good bookshop, and apparently so does Ralph Fiennes! He was browsing at this amazing place called John Sandoe’s in Chelsea – it’s just packed with books, all crammed together, like something out of a fairy tale. He was collecting Shakespeare biographies he couldn’t quite justify buying when he looked up and, get this, spotted Tom Stoppard across the room. He actually thought it was a bit strange – and honestly, I would too!

It was a strange, but fortunate, encounter. Tom Stoppard, a highly respected playwright, had co-written the screenplay for Shakespeare in Love. Ralph Fiennes, feeling bold, introduced himself to Stoppard, explained he was preparing to play Shakespeare, and asked for advice. Fiennes remembers Stoppard as being both charming and intellectually sharp, with a playful wit, and Stoppard graciously invited him to his home.

The actor remembers going to the man’s house for tea, where he was advised to forget everything he’d learned from books. The man explained that for every expert opinion, there’s another to contradict it, so it was all pointless. When the actor asked how to find the real truth, the man surprisingly replied, ‘Through fantasy.’

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Ralph Fiennes has consistently followed Tom Stoppard’s guidance to use his imagination to truly understand a character, especially when portraying real people. This was particularly true when he played Richard Ratcliffe in ‘Prisoner 951,’ a story about Nazanin Zaghari-Ratcliffe and her fight for freedom, with Narges Rashidi delivering a recent Bafta-winning performance. The production was written by Stephen Butchard and directed by Philippa Lowthorpe.

He says he’s received a surprising amount of feedback – from people of all ages and walks of life – about ‘Prisoner 951,’ with many saying it resonated with them more deeply than anything else he’s created. He also adds that collaborating with director Philippa was the most rewarding experience of his career.

I’ve always admired how Tom Stoppard guides actors, and it was fascinating to hear how his advice helped Ralph Fiennes tackle the role of Gareth Southgate – first on stage in James Graham’s Dear England, and now in the new BBC One series. Fiennes was quick to point out that research is crucial, but it’s all about how you use it. It shouldn’t hold you back; it should fuel your performance. Graham did the incredibly detailed work – countless hours interviewing Southgate, the FA, everyone involved – and then, as Fiennes explained, it’s the actor’s job to take that foundation and really play with it, to let imagination take over.

This isn’t a documentary; it’s a fictional story offering a glimpse behind the scenes at the Football Association and Gareth Southgate’s work with the England team. We’re using this fictional setting to explore larger themes like what it means to be English, ideas about manhood, and the issue of racism. The combination of creative storytelling and careful research is what makes this project so compelling.

The play ‘Dear England’ has clearly been a success. Beyond its run in theaters, it’s resonated with audiences as a reflection of the English national spirit. Playing Gareth Southgate presented a unique challenge compared to Shakespeare – we can only imagine what Shakespeare was like as a person, but we have a real, living Southgate to compare Ralph Fiennes’s portrayal to. The question is, how did Fiennes achieve such a convincing performance?

Fiennes explains he listened to the audiobook repeatedly because it offered a deep understanding of the subject’s life – his upbringing, experiences as a player and manager, and how he developed his personality. He paid close attention to the nuances of the man’s voice, speech patterns, and grammar, combining this with observations from watching him on Sky Sports. Ultimately, Fiennes then fully immersed himself in James’s written script.

Fiennes explains that getting into character, including using a prosthetic nose and teeth, felt surprisingly natural. He describes Gareth as almost taking over – a presence he could easily access, partly because the character reminded him of someone he’d known growing up, and thanks to the strong writing. While it required focus to add subtle details, Fiennes felt a deep understanding of Gareth’s personality.

After receiving critical acclaim for his stage performance in Dear England – including an Olivier Award nomination – Fiennes closely followed the adaptation for television. He felt the character needed to be adjusted for the screen. According to Fiennes, the play was very lively and comedic, but the TV series takes a more serious and dramatic approach. Some of the play’s funniest lines simply didn’t translate well to the smaller screen.

The story also highlights how Gareth’s work with the England team – building a new team culture, using sports psychology, and focusing on team bonding – felt like a way for him to make amends for missing the crucial penalty at the 1996 European Championship. It suggests he was seeking personal redemption through his role as manager.

Film and TV are captivating because they reveal what isn’t explicitly stated. The ability to zoom in on actors’ expressions and capture the unspoken communication between characters – something you can’t achieve as effectively on stage – was something I particularly enjoyed exploring.

According to Fiennes, ‘Dear England’ explores the idea of confronting past traumas. He explains that everyone has key moments in their lives that need to be addressed, otherwise they continue to cause problems. Gareth Southgate, in particular, is dealing with his own personal issues and finds a way to heal by helping his team.

I tried to get Fiennes to talk about important moments in his life, but he avoided the question each time, saying he didn’t want to be boring. So, like many men who aren’t comfortable being vulnerable, we shifted the conversation to football. He loves going to live games, enjoying the sense of community. Coming from a big family – he’s one of six children – and working in collaborative theater environments, he thrives on the feeling of being part of a group all supporting something bigger than themselves. He appreciates the diverse perspectives but values the shared experience.

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Does he enjoy competing? He explains that it’s not about winning, but about the physical feeling of pushing himself. He loves the challenge and the rush of energy it gives him—he even compares himself to a Jack Russell terrier, always eager to chase after anything and everything.

Ralph Fiennes, known for his compelling role as Commander Waterford in The Handmaid’s Tale, believes focusing on ‘failure’ and ‘success’ isn’t productive. He suggests that aspiring actors and filmmakers learn the ropes by starting with any job available – even assisting with costumes or making tea. He emphasizes the importance of understanding how the entire industry functions, recognizing that many people contribute to making a production happen, not just those on screen.

Even now, at 56, when I visit a movie set or theater, I remember all the hard work – the months of effort, dedication, and struggle – that went into getting to that point. I believe the real achievement lies in being involved, in the creative process itself, and it’s a true honor. Even if a project isn’t considered successful, simply being there and creating something is valuable, and you always learn from the experience. As Samuel Beckett said, failure is a good thing – embrace it, keep trying, and keep learning. For me, as long as I’m working and alive, there’s no real failure.

Now that the England team is competing in the World Cup again in June, it’s a valuable lesson for them to remember.

Authors

Gareth McLean

For almost three decades, Gareth McLean has been a writer and critic focused on television. He’s reviewed countless programs and interviewed a wide range of personalities, including stars like Liza Minnelli and, formerly, Jimmy Savile. He’s also worked as a writer on television shows.

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2026-05-18 19:49