Bradley James

Photographed by Erica Bergsmeds. Words by Allegra Handelsman

Writer Allegra Handelsman chats with British actor Bradley James to find out more about him and what he is up to now.

You started acting a young age, what was your initial inspiration?

 If you speak to my four-year-old self, he’ll tell you that he watched Labyrinth and wanted to be David Bowie. My seven-year-old self, would tell you he wanted to be James Bond. By the time I reached an age where I had a greater understanding of acting, appreciating more nuanced films and performances, actors like Gary Oldman became a big influence for me.

You’re first big role was playing King Arthur in the BBC show Merlin. What was the biggest lesson you learnt from that whole experience?

 Everything I have encountered in the industry since, I’ve learned or experienced in some way whilst shooting Merlin. It was like going through a second training. Witnessing things on set and off set, in front of and behind the camera. I was in all day, every day for five years, and every job I’ve done since then hasn’t been anywhere near as demanding. Whilst being a roller-coaster ride, it was also a very enjoyable experience. One of the things that came along with the rise of Merlin, was a rise of social media. This meant that we were being exposed to an audience as actors increased very gradually and we were able to learn and adapt to it accordingly. Social media was growing at the same time and now I see how much pressure is put on that element. So, I’m grateful I was able to learn at a steadier trajectory rather than actors being thrown immediately into the boiling cauldron it has become.

Why do you think that the show remains so beloved by its fans?

 It’s a story that people can engage with quickly. They can engage in the relationships. I think the core relationship in the show is Arthur and Merlin. When Colin (Morgan) & I met we spoke about what we wanted for our characters, and the dynamic of the relationship. We had a great time working together, hanging out together, we had aligned senses of humour. It was a bit odd honestly, we had an almost telepathic understanding at times, which was beneficial on and off set. So, I think that camaraderie, as well as the great performances by the other actors, and the discoveries the producers were making along the way, made it exciting for an audience to watch. Then if you take the core of the story, the Arthurian legend has always had a place in the story telling culture of seemingly humanity, let alone Britain. The show is still being streamed and watched, and it’s a great honour to have been a part of it.

You have a new film coming out called “The Fallow Few”, what can you tell me about it?

I think it possibly might be the greatest experience I’ve had on a set so far. The film is set in 1916, during World War One. It’s about a soldier called George, who has been on the front lines for two years and finds out an old school friend of his has been stationed off the front lines in a glasshouse. He contacts his old friend to get him transferred there. Once George arrives, he realises a glasshouse is a prison for their own soldiers set for execution for committing acts of ‘cowardice.’ So, it’s out of the frying pan, into the physiological fire, where he goes from one hell hole to another, without realising it. I think there’s a lot of shock value within the story, the second I read the script, I was in. I believe it comes out in November on Armistice Day.

How does this character differ from the others you have played?

 We’d mentioned King Arthur, who is clearly has an aura of the archetypal hero of the story. In the Fallow Few, you can question the credentials of George, my character, significantly more. You can argue that George is a coward, that he is a hero, or a number of things. The idea is that as an audience watches George, and are confronted with the reality of how we would act in these situations.

You are currently making the jump from TV to film, what prompted this choice?

 I’ve been very lucky with the opportunities I’ve had in television. I now have a team around me, that is ready to take it to the next level, and all of a sudden new opportunities have arisen. One of things I love about acting is the variety, the perverse way you get to look at the psychology of different people. I think film allows you to investigate a personality, bring it to a screen and create a piece of art. Whereas, with TV you can play the same characters for years which limits the variety of characters you can explore.

Last year the SAG-AFTRA strike halted the production of much of the film industry. How did the strike effect you and how do you feel about the outcome?

 I think the strikes had an impact on the industry which served some, but not necessarily the larger pack. I think there is still a fear element which is very much present, which can bring about an inhibiting pressure. I do think there is a danger of limiting creativity, since there is a lot of fear with job security and telling stories which often need to fall into a neat package. As much I’d love to reply that we came out of the strikes with everything being rosy, I cannot in all honesty say that’s the case.

 Are you hopeful at all for the future of the film industry?

 I think you have to be. I think in and amongst everything that’s going on you have the opportunity to focus on what you’re doing and to keep working hard. So, there is hope there but you have to speak to a wiser man than I, to see an efficient way to bring that hope to fruition.

 Were you working on anything separate to acting, during this time?

 There were two things going on during the strike. Firstly, I was producing a movie, which we should get underway with this year. Meanwhile, I was approached to write a book! During the strike, I all of a sudden had the time on my hands to write this book and I’ve had a lot of fun doing it.

 Can you tell me anything about the book?

 What I can tell you is that it’s non-fiction, and the enjoyment I experienced whilst writing it, came from the memories and the stories it evoked. It involves people whom I am very close with and falls along the lines of a comedic non-fiction.

 How has your career as an actor prepared you for writing?

 One of the things I’ve found helpful, is the barriers we face in life are often ones we have put up ourselves. We think we can’t do certain things but sometimes what can unlock this is other people seeing something in you. I’ve luckily had enough people suggest I should explore writing which made me want to properly give it a go and so I did. The most important thing was that I enjoyed it. Whether any of it was any good or not is a different story, but I realised it was a fulfilling process. So, getting over that hurdle, was a moment which really surprised me. The other factor is that I went to a drama school, and the training there brought writing out of one or two actors who I went to the school with. There’s obviously something in there which unlocked some tools when it comes to writing. I’ve also read so many scripts by now and can break them down in such a way, which has helped me figure out the formula.

What is the best piece of advice you’ve ever been given?

 I would say the best advice for anything, is that although there are many things outside of your control, you can always control the capability you have to put the work in. It’s terribly boring advice I know, but I didn’t have that mentality in my high school years. It took me to go to drama school to put that into practice, because since I was passionate about it, it was so easy to fully commit to. At the end of the day, it’s about working hard at something you’re passionate about, because then you’re probably not feeling like you’re working much at all. I don’t know who specifically gave this advice, It just feels like it’s something I’ve received through multiple sources, due to the high degree of truth which exists within it.

Words by Allegra Handelsman