As a seasoned movie enthusiast with a soft spot for British dramas and their gritty realism, I can wholeheartedly affirm that my life has been a whirlwind of on-set adventures across the globe. From the cobbled streets of Glasgow to the lush landscapes of New Zealand, I’ve witnessed firsthand the transformative power of storytelling in bridging cultures and igniting empathy.
As someone who has been fortunate enough to be part of critically acclaimed British productions such as Mum and popular American shows like Ozark, not to mention wrapping up shooting in stunning New Zealand, I must admit that opportunities like these are hard to resist. The allure of compelling stories and exceptional collaborations often leads me down the path of accepting new projects.
It’s ideal for me to work from home because I don’t enjoy being separated from my four children, but it doesn’t always work out that way. For six months, I was in New Zealand, working on The Rings of Power and After the Party, which took up about five weeks. If the pay is reasonable and the scripts are well-written, I’m willing to go wherever the opportunities may lie!
As a Scot, you’re an outsider in After the Party. What was that like?
I felt incredibly comfortable, as if I belonged there. Since many Pākehā hail from Scotland and Ireland, we share similar senses of humor and perspectives. The team behind The Rings of Power were very accommodating; they allowed me to work on it for six weeks before returning immediately. Unlike other companies who might insist, “You’re ours; you must stay here in case anything alters,” they granted me the freedom to leave.
Have you had the opportunity to collaborate with Robyn Malcolm since your joint appearance on BBC2’s Top of the Lake back in 2013, or was there a desire on either side to team up for another project?
Yes, but when she sent me an early draft of After the Party, I said no!
Why was that?
Initially, I found the potential in your script, but there was lacking depth and complexity. I expressed this to you. However, upon receiving your revised version, I recognized its potential to be extraordinary. Often, productions focusing on heavy themes can grow monotonous, yes, even tedious. But if the message overshadows the drama, no matter how noble the cause, it becomes unappealing. What astounded me was that it managed to sustain my interest for six episodes. It transformed from a typical whodunnit into a did-he-do-it? This shift in intrigue elevated the drama.
Do you like the mix of big-budget projects like Rings of Power and Harry Potter and smaller series?
It seems that one could engage in activities solely for artistic purposes if they have sufficient financial resources. However, I might participate for economic reasons, or perhaps I’m drawn to the storyline, the director, and the cast. In some cases, I may even do it for the children, giving them an opportunity to be on set with me.
On the filming location for The Rings of Power, have you ever found yourself questioning, “Why on earth am I in this place?” while working on the dwarf prosthetics?
The prosthetics is the hardest part for all of us. You’re up at 3am and you’re not on set until 7.30am. You’ve done half a day’s work when the rest of the gang is just starting. You’re only doing maybe an hour’s acting in a day, but it’s mentally and physically demanding. It’s very strange what it does to your head. You get quite claustrophobic.
Is British television tackling the portrayal of the working class in dramas effectively? Have we made significant strides in this regard?
Regrettably, we’re not in a position where we can say yes. Current output, particularly in the realm of Scottish working-class drama, leaves much to be desired. In fact, I can’t recall any notable productions from the last ten years, let alone ones that were well-received. It seems that BBC Scotland is not investing significantly in portraying Scottish history, the Scottish experience, or the lives of Scots. Given the quality of English dramas like Happy Valley, it’s disappointing that the Scots don’t have a similar equivalent.
Is anything changing behind the scenes?
We’re not advancing at the pace we ought to; the drive needs to be present for change to occur. Unfortunately, there are insufficient training opportunities to help working-class youth enter the film and television sector. It often boils down to who you know, or nepotism, which is prevalent but more pronounced in this industry compared to others.
Are you fairly certain that the newly established administration has the ability to address this issue? And do they show a strong intent towards funding and nurturing the creative arts?
I certainly hope that’s the case! I’m leaning towards SNP. Labour has pledged to do so, so I encourage my fellow English citizens to apply pressure on the government to honor their commitment. We’ll also be advocating for the Scottish government to prevent any reductions in film, television, and especially theatre funding.
In your humble beginnings as an up-and-coming, blue-collar thespian, what’s one way you could give back or make a difference with your current standing?
As an actor, there isn’t much you can do aside from voicing your opinion about it. Directing, however, is a different story. My latest directorial work, Neds, was in 2010 and I’m eager to return to it. I am committed to ensuring that working-class characters receive equal representation. While I wouldn’t exclude an actor based on their aristocratic background, I do advocate for more diverse casting.
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2024-11-19 04:06