Posted on August 5th, 2016 by admin

Harry Treadaway tells us you’ll relate to horror Honeymoon before it terrifies you.

Leigh Janiak’s Honeymoon was one of our favourite films at FrightFest (read our review here): a beautifully acted, deeply creepy and suprisingly affecting relationship horror that stars Rose Leslie (Game Of Thrones) and Harry Treadaway (Penny Dreadful) as a just-married couple who are suddenly forced to confront the question of how well they really know each other. As Bea’s (Leslie) behaviour becomes erratic, Paul (Treadaway) wonders if he knows her at all…

“I started reading the script and I was really taken in by this loving happy couple from New York and it’s actually quite rare to read a couple in love that doesn’t seem like a couple in love in a movie,” remembers Treadaway.  “The fact that it was laced with all this history and detail of what seemed like a real relationship really drew me in, and then as it started to turn and the film started to explore this horrible paranoid fear of the unknown, what happens if the person that you’ve given everything to, that you love and feel like you know each other’s souls backwards, what happens if that person starts to shift and that person starts to become not who you know as them…I suppose it asks the question how well do any of us know who we’re living with.”

“It’s a micro-version of it that anybody in a relationship can relate to. Sometimes you get out of bed and the person seems unknown for some reason, there are those moments, and I thought it tapped into that and the twist towards the end completely pulled the rug from out underneath my feet.”

Honeymoon is essentially a two-hander and relies heavily on the performances of its two leads to keep the audience gripped. Treadaway tells us that the challenge was one of the things that drew him to the project.

“Definitely, yes, and [doing that] with someone as extraordinary and wonderful and brilliant as Rose,” he tells us. “And being helmed by someone as amazing as Leigh, so between us three it felt like we had a really close bond. We only had maybe 10 days out in North Carolina before shooting, so me and Rose spent as much time together as possible and talking about all of the backstory and the history and fleshing out all the details. It was really fantastic, we just connected really well and it was brilliant, the momentum with which you can gather when it’s basically one location and one other actor. And this really kind of intimate story was a real appeal of the film and I think it’s quite rare.”

Harry-Treadaway
 

The confident and skilful direction of Janiak is all the more impressive given that it’s her feature debut, and Treadaway remembers that her abilities were very clear from the very start.

“From the get go,” he enthuses. “She will say this herself, she’d turn up to the production meetings and members of the crew would assume she was someone’s assistant because she’s a very young looking female and you’re not expecting her to be so assured and for her first film she was incredibly…she was all over it in terms of the shots, in terms of the tone and the pacing, and also a joy to collaborate with as well. So we felt like she had a really strong vision of it and yet was able to…what’s the word…marinade [laughs]! We were all able to work together on it as well, she was brilliant. And it was sensitive stuff; there were lots of really intimate things that were going on so to have her strength and her vision behind it was really essential to be honest.”

That intimacy makes the subsequent horror all the more traumatic. As Paul struggles to understand what’s happening to Bea, the audience is just as much in the dark. “I really liked that part of the script because when I was reading it, when it starts to shift I felt that I was as a reader unsure as to who was losing what.”

“Really there are themes in it which you could pick up and translate to a film about someone who had a car crash and suffered amnesia or someone who was suffering mental illness or someone who had a stroke. You are questioning just what is going on and that was what excited me about reading it, was that constant unsurety until the end. What I felt really drawn is how strong it can be if you have a real drama, a genuine drama going on and you just sort of flick it with a twinge of the other.”

 

Harry Treadaway as Dr Victor Frankenstein in Penny Dreadful 

 

Treadaway is hardly a stranger to the genre after his excellent work in Sky Atlantic series Penny Dreadful, in which he plays Dr Victor Frankenstein. “I’m absolutely having the time of my life playing Dr Frankenstein. He’s such a layered, complex strong vulnerable poetic scientific punk rock and roll genius doctor of the Victorian age that you just it’s a constant delight to go and work on that set. And with the other actors and with John’s writing, it’s really brilliant; I’m absolutely loving it.”

However, despite our pressing, Treadaway tells us that he can’t tell us anything about Season 2. “My lips are stitched shut,” he laughs. “I couldn’t tell you, I’d have to kill you. But it’s very exciting and like all of John’s writing you never know where it’s going to go and it’s very exciting. Just started filming last week and yes, I wish I could tell you more but I won’t, I can’t! They’ll shoot me!”

Penny Dreadful Season 2 might be a long way off but Honeymoon is in cinemas now and Treadaway couldn’t be prouder of it. “It’s a gamble that everyone takes involved in creating a fictional world that hopefully people will believe in and be moved by in some way so when it does, if you feel like in some way that’s happened then that’s a really good feeling, and with a small film to get made without any distribution on a very low budget in a very small space of time, when that happens that’s something to be proud of.”

Source: Scifinow

 


Posted on May 9th, 2015 by admin

Harry Treadaway stars as the fabled Mary Shelley character Dr. Victor Frankenstein in Showtime’s Penny Dreadful, alongside big Black Hawk heartthrob Josh Hartnett as the Victorian-American Ethan Chandler.

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Classicalites, surely you’ve heard that famous shriek by Dr. Frankenstein when his masterpiece comes to life, but what you may not know is that the actor who plays the young doctor on premium cable, Britain’s own Mr. Treadaway, likes to compile playlists of classical music to help him get into character. Treadaway says, “If I need to connect with the conversations I had initially, I can go back and listen to the music. It helps.”

For all the monster mashups that make up the Penny Dreadful universe, Treadaway finds it helpful to listen to the classics. Particularly, he (like Apple Corp. in Cupertino) finds pianist Glenn Gould’s work “so inspiring,” especially since he’s playing someone “who’s a genius.”

In addition to listening to Gould’s legendary keyboard stylings–to say nothing of his equally important radio plays–Treadaway did a few other things to bring a new, fresh perspective to the iconic role. While he read Shelley’s original text, upon whichDreadful writer John Logan bases many of his own story lines, Treadaway says he remains focused on Logan’s screenplay, avoiding most other iterations as rendered throughout the decades.

All the same, Treadaway claims he interviewed several professors who specialize in late 19th-century medicine, considering that’s the era from which the proto-Frankenstein character originates.

The 30-year-old actor was initially drawn to music by his twin brother Luke–who, as it happens, won an Olivier Award for his role in the literal house-brought-down The Curious Incident of the Dog in the Night-Time. And together, they formed a Pearl Jam-esque quartet called Lizardsun with Matt Conyngham and Seth Campbell. Which may (or may not?) explain why their “joint” mockumentary, Brothers of the Head, was something of an, err, flop.

Of course, post-punks of a certain vintage will remember his filmic redemption behind the throne as Stephen Paul David Morris in Anton Corbijn’s Control.

According to Madison, in order to play the most foward-thinking doctor, Treadaway needed to listen to music that was even older. And he claims Gould’s music allowed him to, well, create life. “I’m stitching together characters,” he says, much in the same way Gould, himself, would splice tape later on.

In the new season of Penny Dreadful, which premieres this Sunday on Showtime at 9:00 p.m., Dr. Frankenstein’s mission is to make sure his new creation has the opportunity to love, as that is what his creation demands of him.

Source: Classicalite


Posted on September 30th, 2014 by admin

Harry Treadaway is amongst the up-and-coming Brit boy pack that look set to storm blockbusters and theatre sell-outs in the next couple of years. Whilst a handful of them (namely the likes of Douglas Booth, Maz Irons, Sam Claflin and Freddy Fox) have recently been gathered together for The Riot Club, Harry has turning his attention to a psychological thriller.

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He is best known for his cowboy role in the big-budget Lone Ranger, and for his portrayal of the young Dr. Frankenstein in hit TV series Penny Dreadful. His latest venture sees him star opposite Rose Leslie, the titian-haired beauty of Game of Thrones fame in new release Honeymoon.

The film brings us to a young couple, bright-eyed and still glowing from their wedding day, as they arrive at their modest honeymoon destination. Whilst the rickety log cabin screams horror movie stereotype, an endearing scene-setting of the love between the newlyweds sets this apart from any Blare-Witch-esque productions we might have had to sit through before.

Honeymoon is the movie baby of first-time director and co-writer Leigh Janiak, and her fresh eyes are evident in both the raw visuals and the sensitive dialogue between the young couple. Leigh ensures the audience grows attached to the characters and their relationship, before altering their situation irrevocably.

I spoke to Harry Treadaway ahead of the film’s release. His passion for the project is clear as he describes how he, Rose and Leigh prepared for filming. ‘We went into the history of our characters as a couple, we talked about their lives before the honeymoon, where they had lived, their first dates, where they worked, their favourite food. We made them real people with real lives. It makes what happens to them, and the movie as a whole more effecting. They’re a normal couple. We went over all the details of their history together so that when in the film, Rose’s character starts to change, the way my mine behaves is real.’

It’s that reality and grounded-ness that encapsulates the thriller. There is only one location, and for the majority of the time only two characters. To Harry this must have stood in stark contrast to the grandiose sets of Lone Ranger. He spent five weeks training for the role at ‘cowboy camp’, learning to ride and twirl pistols. ‘I was asked to play a cowboy’, Harry laughs ‘I’ve ticked that off, I couldn’t say no could I?’.

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‘I relish working on all different scales’ Says Harry ‘For this movie it as all about the dynamic between two people. Working on  it was intense and refreshing at the same time. We were able to keep the momentum going throughout each scene. Rose is a great actress, seriously talented and I was lucky enough to be working with her.’

‘There were moments when it felt there was no world outside of that cottage. Everything was so highly charged, and when the scene finished you’d have to really step out of it and regroup. Yet together we’d continue to talk about what was happening in the film. We spoke so much about it. We had a very short timeframe, just four weeks, so we couldn’t afford to lose sight of what was happening in each scene too much. There were days when we would have to get through eight pages of dialogue, there was no way round it, we couldn’t lose our feel for it.’

Harry is typically modest about his role in Honeymoon, yet his affection for it is clear.  ’With humility I’d say that the film is something to celebrate. It’s not big budget, it doesn’t boast high scale effects, it brings a first-time director together with two kids from London’. That might be a slight understatement, but it is true that Honeymoon‘s minimalism is one if its big draws.

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So what’s next for Mr Treadaway? Although his looks mark him as a Burberry poster boy in the making, it’s fair to say his passions don’t lie smack bang in the middle of the world of fashion. Nevertheless he has Topman campaigns under his belt and has been spied sitting alongside the likes of Tinie Tempah at Burberry Prorsum’s AW13 menswear show. I ask him whether he’s graced any front rows at fashion week this womenswear season, ‘When is fashion week again?’ he replies. That’s that answered then.

‘I would love to direct. I’ve already done a short and a music video. It’s something I’d love to look into.’ When I ask him what he’s listening to at the moment,  his enthusiasm is evident. ‘The amazing Johnny Lloyd, check him and his solo demos out. Arcade Fire’s new album is really floating my boat.’ There you go, music recs from the man himself.

And it’s all about home comforts for Harry this summer. ‘Right now I’ve just bought a new bed, mattress and a blind. I’m enjoying nesting at the moment. When I’m away I miss things like the Italian in Highgate – Fabrizio’s, and Hampstead Heath. I’m a Devon boy too, and that’s where my heart really lies, doing things like running through the fields and swimming in the river.’ Yep, it’s fair to say that sounds pretty wonderful right now.

Source: Beauty and the Dirt


Posted on September 25th, 2014 by admin

Harry Treadaway (Penny Dreadful) is currently starring alongside Rose Leslie (Game of Thrones) in the horror movie Honeymoon.

Harry-Treadaway
 

In the film Treadaway plays Paul, and has recently married Rose Leslie’s character Bea. The pair retreat to a secluded lakeside cabin for their honeymoon. Bea goes missing one night and then reappears a changed woman. She is acting very strangely and falling apart mentally and physically. What happened out there in the woods? Paul attempts to get to the bottom of things, and won’t like what he finds out.

I was lucky enough to get some time to ask Harry about the making of the film as well as his other current project: the amazing bit of telly that is Penny Dreadful. Fair warning – there’s a series 1 spoiler in there.

Hiya Harry. I’m Alan from Live for Films. How are you doing today?

I’m good, mate. How are you?

Cool, cool. I’m alright, yeah. So, what drew you to Honeymoon?

Well… it was a really, uh… fresh, uh… raw, surprising, intimate little film. It felt very real, when I read it. They felt like people that you would know, you know? It had all the quirks and little details of a real relationship.

It was about having someone to know and love, and what you would do if that person starts to shift and no longer be the person they were. I think there are many ways that can come about in life: whether someone’s been in an accident, or having an affair and lying, or becoming delusional, or suffering amnesia… So it taps into that, and I didn’t know where it was going to go when I was reading it.

The combination of the script, Rose and Leigh, the director, made me believe it was going to be a really fun twenty-four days shooting it.

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How difficult was portraying a character constantly being pushed to the edge?

It’s that idea of care. For someone that you love. He’s grappling with… initially… trying to keep the honeymoon sweet and smooth and keep everyone happy. Then it comes to a point where he’s trying to deal with something completely out of his control.

So it’s really looking at the way we would behave when a loved one becomes… not the loved one that they once were.

And what was it like working with Rose?

An absolute joy. She’s an incredible, wonderful human being, and an amazing actor. We’d met before, but through other actors… through other people. We met up a few times before we went out to North Carolina and spoke about our characters. Then we had about ten days in North Carolina before we started and spoke at length, and in depth, about their history and background to flesh out that history.

Was it embarrassing doing your love scenes? It must be very strange…

I mean, it… the whole process of the film relied on total respect and trust between me, and Rose and Leigh, and that wouldn’t have been possible without jumping into it head first. I just felt lucky to be working with someone as  incredible as Rose.

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I don’t get a reason to ask anyone this very often, but as there’s an extraterrestrial element to the film – do you believe in aliens?

Ummm… I watched Melancholia last night, so was asking myself that very question last night. Ummm… I don’t know… It’s hard to say there’s nothing else out there, but it’s not impossible – I don’t know… I haven’t made my mind up on that yet! All I know is that where we are on planet Earth is an incredibly special, amazing place and [laughing] we should all cherish where we are right now.

Lovely. How was it working with the gore effects?

Yeah, yeah. We had an amazing guy called… Nielsen, someone Nielsen – he was an amazing effects guy. He came and created something that, on not a massive budget, really worked. Yeah, it’s… it was pretty gruesome, it was pretty graphic. Not the funnest moment of the day, to be honest, but, equally, it’s kind of fun because it’s more make believe, innit?

Do you think with smaller, more intimate, chancier films like this that you have to have more faith in your director than usual?

It’s definitely a good thing, and I think the faith more than paid off in this one. I think Leigh (Janiak) is brilliant. She had such a strong vision for the film and a great way of working with actors that I’m sure she’s going to go on and make loads of amazing films.

But, yeah, totally. On a small film, well, on any film, what you’ve got is the writing, the other actors and who’s shooting it. They’re the fundamentals, but even if they’re good it’s still hard – there are so many variables.

Are you a fan of the horror genre in general?

To be honest, I wouldn’t use the horror genre term for Honeymoon. I feel that it’s more of a psychological thriller, but I concede that there are total horror elements to it, and that does come into it. To be honest, it’s the story and character and the people. If they’re good, then you wanna do it regardless of genre.

Do you mind if we talk about Penny Dreadful a little? I loved the first series.

Thank you very much! Go for it.

Is there anything you can say about the second series? What stage is it at?

We’ve got the majority of the scripts for the second season now, and just started shooting last week. There were eight episodes in the first season, but are ten for the second season. It just goes deeper and darker and is constantly surprising… Beyond that, I’d better not divulge!

 Talking of surprises, your character was involved in probably the biggest of the first series. How did you react when you first found out about the death of your poor Mr. Proteus?

Oh, yeah! Yeahhh, I know! Well I didn’t see it coming! I just thought that it was a truly great twist, you know? And such a fascinating prospect to play Victor Frankenstein a year on from where you are used to seeing him. It was such a rich character that Shelley wrote, and getting to get him to where he needs to go is a joy.

That was a Game of Thrones level shocker! Do you think that post-Thrones people are starting to expect that kind of “event TV”, where huge moments that previously may have only happened in season finales are now expected weekly?

Yeah. I mean there’s a lot of ummm… It’s getting you to watch the next episode isn’t it? Knowing that people are reacting to it and questioning what’s going to happen next – that’s what you want really. The quality of series’ that are out there is so high, and the fact that you get to spend more time with the characters, rather than just an hour and a half in the cinema, means that when things happen to them it affects you more.

 You co-star with Timothy Dalton in the show. How exciting is it to work alongside a Bond?

Oh! You know… I love him! I think he’s a fantastic man, and it’s been a pleasure.

 Brilliant. My time with you is nearly up, but I have one final question: If you could be killed by any movie monster, which one would it be, and what would your last words be?

By any movie monster?! [thinking] I would say E.T. And my last words would be “Go home!”

[both laugh]

 Awesome! That’s a good one! Thank you very much for taking the time to talk to me. I hope Honeymoon does really well, and I can’t wait to see series 2 of Penny Dreadful.

 Thank you! You have yourself a lovely day!

 Bye-bye!

 Cheerio! Thanks! Bye!

 Harry Treadaway is a thoroughly lovely fellow and I would like to again thank him for his time, as well as the rad Ryan at Fetch PR for sorting this interview out for me.

Source: Liveforfilms


Posted on September 24th, 2014 by admin

Harry Treadaway has had a terrific 2014, with success on both the big and small screen as he continues to show his versatility as an actor.

After TV series Penny Dreadful was a big hit, the actor is back on the big screen this weekend with new film Honeymoon: a horror film that sees him team up with actress Rose Leslie for the first time.

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We caught up with the actor to chat about Honeymoon, what drew him to the project, and working with Leslie and first time feature filmmaker Leigh Janiak. – Honeymoon has hit the big screen this weekend, so can you tell me a bit about the film?

Honeymoon is a film about a young couple from New York, called Paul and Bea, and they go on their honeymoon to Canada, to stay in Bea’s grandmother’s cabin. It starts as this ideal and romantic relationship, which, from the writing and the script, was something that I was really drawn to.

It was a relationship that felt real and it felt like they had their own details and it felt like thy had a history. It really did feel real, and not this cliché romantic couple. They go away, they have this beautiful couple of days by the lake, and everything is going wonderfully.

Then one night something happens, and that event starts a domino effect of moments within their relationship that starts to completely unravel the trust and the love that they have for each other. The film really does ask the question, ’how well to we really know the person that we love and live with? And what happens if that person becomes slightly different? How would we react?’ Anyone who is in a long-term relationship can probably relate on a micro-level to the theme that on some days you just think ‘is there something different with that person?’

More often than not, everything is fine and you move on, but sometimes it does shift. This really is a horrifying and terrifying version of that. I was really drawn to the intimate relationship story that then gets turned.

When I was reading this for the first time, the twist towards the end really did take the rug out from under my feet. I thought that if we could get close to that when we made it, it would be a fun film to watch (laughs). – I was actually going to ask you what the appeal of the character of Paul and the script was? As you say, this is as much a love story as it is a horror film.

I see it more of a psychological thriller really. There are very few special effects and there were very few scenes… the appeal of the script when I was reading it was the fact that you are not sure who is loosing… I wasn’t sure if he was becoming delusional, she was being delusional, she was having an affair, or he was just being paranoid.

You thoughts constantly shift on what is going on between the two of them; I thought that was really exciting and fertile territory. I also thought that it was very real as well. It felt real about how he would react of someone starts to become completely different. – Leigh Janiak is in the director’s chair for the film, so how did you find working with her first the first time? This is her directorial debut.

She was wonderful she was amazing. This is her first feature but she had an incredibly strong vision for the film; she was all over it in terms of planning and shots. She really didn’t feel like a first time director.

Leigh, Rose and I really developed a strong triangle, because it was pretty much us for the shoot. We spoke in-depth about the character’s history, who they were, their first date, first arguments, and the holidays that we went on. We felt that the more that we made them believable and grounded as a couple in the first half of the film, the more pronounced and scary the second half would be.

She was great and really wonderful to work with. We had twenty-four days to shoot the film, so it was quick. We also had a great crew in North Carolina and we all worked our arse off for four weeks. It really was great experience and there was a great vibe on set.

– You shot the film just four weeks how challenging a process was that for you as an actor? How much do you enjoy that fast pace?

It is good I like it. There is not too much time sat around waiting. Let’s face it we are actors and we want to be working, so it is more fun to be playing a scene than it is to be sat in a trailer.

Yes, on a very short production schedule you can think ‘I would love another couple of days’ but I think that it did suit this film perfectly; to not have that much time really did keep the energy levels up and it kept the atmosphere of what we were creating up. Especially because there was only one other member of the cast, we were on then we were off and it felt like a good thing that we didn’t have too much time waiting around.

– As you say, the majority of the film is just you and Rose Leslie and shot in one location – which is quite unusual. So how did you find the filming experience?

Yeah. I think that is something that you are drawn to when you read things as you realise that it is different and it is going to be a different challenge; that really is something that you look for. I have never done anything like this and I haven’t seen too many films where there are just two people and one location.

I felt that was going to be a really great challenge, and it was. That is seconded by the fact that I was working with Rose, who is just extraordinary, wonderful, and brilliant human being; as well as being a great actress. I couldn’t have asked for a better person to go on a more horrific journey with (laughs).

– Rose Leslie takes on the role of Bea, so how did you find working with her? The relationship between the pair of you – particularly at the beginning of the film – is so touching and genuine. That’s good to hear. We were lucky as we connected as people and as actors. We spoke a lot about their past history, how they met, their aspirations, their fears, their dreams, as well as their little quirks and quibbles; we spent as much time as we could doing that before and during the shoot.

We wanted to try to make them feel as real possible. What I felt was the strength of the script, was that was in the writing as well; the way they talk and the things they talk about, it doesn’t feel like a couple in love in a movie, it felt real. We felt that we had to bring that out in the playing of that as well. We just really focused on that really (laughs).

– This movie had its premiere at South by Southwest and it has been getting some really good reviews, but how have you personally found responses to the film?

We went to Tribecca Film Festival as well, and it was great. It was the biggest vocal reaction that I have ever experienced for something that I have done. It was the moment towards the end on the bed and people were screaming; it was wonderful to get that kind of vocal reaction from an audience.

I took a bunch of my friends to the premiere in LA a couple of weeks ago, and they were all totally freaked out and surprised by it (laughs). So far so good. It is coming out this weekend in the UK, so I await to see which of my friends I can scare (laugh).

– 2014 has been a year that has seen you juggle TV and film roles, so how do you find the two mediums compare? You do move back and forward quite a lot.

To be honest, the work is the work and the medium can be TV, film, or a series. I love it, I love working in different ways; I like small independent films, big studio movies, and television series as they all bring different challenges and different joys. Working on Penny Dreadful was an incredible step back in time: it really was a wonderfully drawn vision of Victorian London by John Logan. Te character is such a layered, complex, punk, rock and roll, genius doctor from the Victorian era.

He is just so many things that it is brilliant getting the chance to play Doctor Frankenstein. It has been an absolute pleasure working with the other actors and the crew and it has been a privilege to be part of the production.

– Penny Dreadful has been one of the big television successes of this year; you must be thrilled with the way that has been received?

I think it is lovely to be part of something that people enjoy, feel that they relate to and gets under their skin in some way. It definitely feels exciting to have made the first series and it is even more exciting to be one to the next one and carrying on their stories.

– Everyone is already excited for a second season, so how is filming going? And what can we expect from your story arc next year?
I wish I could say something, but I am sworn to total secrecy. It is constantly surprising, terrifying, human, real, and unreal. That is really all I can say (laughs).

– Finally, what’s next for you?

I am shooting the second of Penny Dreadful at the moment, so that is very much the focus at the moment. That will take me up to March, and then I will be looking for employment (laughs)

Source: Female First


Posted on September 5th, 2014 by admin

Harry Treadaway has “itchy feet.” Come June, the British actor has some free time, and he’s trying to decide what to do next: “I’ve just realized that it’s all out there, and time is of the essence,” he tells us. “Which way do you turn? Do you buy a van and go and explore Europe for the summer, or do you go and make a film?”

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In the meantime, Treadaway is promoting Showtime’s new gothic horror series,Penny Dreadful. Set in Victorian London, the show features a few familiar literary characters including Oscar Wilde’s ageless aristocrat Dorian Gray, Bram Stoker’s vampire victim Mina Murray, and Mary Shelley’s doomed doctor, played by Treadaway, Victor Frankenstein. It also introduces some new ones: Ethan Chandler (Josh Hartnett), an American trickster with an ambiguously privileged past; Brona Croft (Billie Piper), an Irish immigrant with consumption; wealthy explorer Sir Malcolm Murray (Timothy Dalton); and Sir Malcolm’s mysterious companion, Vanessa Ives (Eva Green). Premiering this weekend, Penny Dreadful is Treadaway’s first premium American cable show since the short-livedMeadowlands (2007). “It’s a weird time, just before something comes out. You sort of forget about it,” the actor explains. “When you’re doing it, you’re not aware that it’s ever going to come out. It doesn’t seem like a thing; it’s just this world that you’ve created, and that’s all that matters. Then a few months later, you’re like, ‘Oh, fuck. Someone was recording it…'”

Dr. Frankenstein, who, in the show, is demoted from a wealthy Italian to an ambitious, perilously-open-minded English morgue worker, is easily the most interesting character of the bunch. He is, as Treadaway eloquently summarizes, “this rather tasty combination of the empirical and the ephemeral.” Part-Romantic hero, part Nikola Tesla-style mad scientist. “Philosophy and science supposedly look at the world in different ways, but they are entwined, aren’t they?” comments Treadaway. “Don’t even get me started, ’cause I’ll start, and it won’t come out right.”

Now 29, Treadaway made his film debut alongside his twin brother Luke in 2005’sBrothers of the Head, filmed between his first and second year of drama school. Returning to school was “heavily, heavily strange,” he recalls. “Going into Restoration comedy after doing this naturalistic, very all-consuming role. But it was good,” he adds. “Chalk with the cheese.”

Last month, the actor’s two-hander thriller with Games of Thrones’ Rose Leslie,Honeymoon, debuted at the Tribeca Film Festival and was purchased by Magnet Releasing. “Rose is bloody amazing; a simply extraordinary person and actress,” gushes Treadaway. “The entire film was one location, one other actor, five nights, a honeymoon, a cabin by the lake. Psychological turmoil at the end. It was great.”

AGE: 29

HOMETOWN: Rural Devon, England

CURRENT LOCATION: I’m in Portland, Oregon, with my mate. We went to do a bit of kayaking on the rivers for the last couple of days. Oh, man, it’s so great. They’ve got beautiful rivers here, beautiful coastline. We were in Cape Kiwanda, it’s kind of in the middle of nowhere. We’ve been hiding out in the countryside, but we’ve just come back to Portland today.

DON’T GET ME STARTED ON…: Kayaking. I love it! Don’t you think it’s the best thing? My old drama teacher from secondary school, when I left secondary school, he left and went off to start a whitewater rafting company called Adventure Ardeché, down in the Ardèche region in the south of France. Since I was 20 or so, I would head down there and help out on the river. It would be trips for schools, so you’d help kids get down the river for three days and you’d stop off on the side of the river to camp, and then we’d do rock climbing and cycling. I’ve done it a few times, but I do like to go down there for pure hangouts; [I’m] not always chaperoning. It’s really fun. I’m probably my happiest just paddling down a river, to be honest.

CHILDHOOD HOBBIES: I was just into life. I was into everything; it didn’t really matter, I was into it. I did sports, I did music, I did drama. What did I want to be when I was five? I probably wanted to be 10. [laughs] I was running around in fields, and making dens in hedges. That’s all I was doing.

MY HIGH SCHOOL DRAMA TEACHER: He’s a great man. A friend now. I was down in the middle of rural Devon, in the countryside, and he turned up from London and had been working on the river. When we’d been doing scene studies—when I’d started losing interest in drama—he came down and was like, “Right, get on the floor in fetal”—he put on Massive Attack—”Feel the fucking night in your ankles,” and I was like, “I am off, mate. Let’s go.” [laughs] It was all more physical, instead of just boring, how you say a line, that thing. It made it seem more abstract, I think, in a good way.

DRAMA SCHOOL: Did drama school prepare me for working in the film industry? No, I don’t think so. I think you, yourself, is the only thing that serves you. I don’t think any training helps in any industry, really. I can’t speak to others, but you spend quite a lot of time afterwards trying to forget what you picked up, and a lot of extra baggage comes from that.

MARY SHELLEY’S FRANKENSTEIN: I read up to a point where I felt like it informed what was in front of me, but then it started to not be helpful with the story we were telling. I read two thirds of it. [laughs] The story that John [Logan] was writing, the script was so compelling and detailed, the world was in that. It wasn’t like we bringing in something that was already told. We were trying to do a new thing.

JOHN LOGAN’S FRANKENSTEIN: What an incredible avant-garde, genius Victorian scientist—quite punk in his philosophy. Through John Logan, he has these incredible thoughts and musings on life and death and what it is to be alive. It’s a never-ending stimulating headspace to be in. The research it led to was interesting. I went up to Cambridge University and spoke to a couple of professors who specialize in Victorian medicine and ethics, and had some one-on-one sessions with them. Have you been to Cambridge before? You can feel the scholarly buzz in the air—the synapses crackling around. To be up there and spend some time with those professors and have a crash course in Victorian medicine was just really interesting.

VICTORIAN MEDICINE: Was there anything that disturbed me? My goodness me! The galvanism—the experiments they were doing with silver diodes; placing silver diodes on either side of muscle tissue, either on cadavers or people they deemed “mentally insane.” They would do these experiments with electricity—electric current was in its first stages and they thought it was the stuff of life. They [thought] it would help the paralyzed and stimulate movement and signs of life, but there was little regard for human rights. It was pretty out there. Also, chopping a leg off. How long do you think it took, the first amputation of a leg? [About] 28 seconds. They fucking got that thing off as quickly as possible. With a saw. Telling someone to just bite down on a stick dipped in brandy.

SCIENCE AND THE CITY: The Science Museum had to be one of things you do on the early trips to the “big smoke.” You go to the V&A and the Science Museum. I went to Starlight Express. [laughs]

FIVE FILMS YOU SHOULD WATCH BEFORE YOU DIE: The Shining, Badlands,Pulp Fiction, Cool Hand Luke. Oh, and that fucking crazy one The Holy Mountain.

Source: Interview Magazine


Posted on August 4th, 2014 by admin

A starring role in the summer Blockbuster The Lone Ranger and a front-row seat at the London Collections: Men, the British actor has come a long way. He talks to Tilly Macalister Smith about the importance of challenging and the path to true style.

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Harry Treadaway is elated. He’s just returned to London after an eight-week stint filming in Nottingham in the north of England, and today marks the start of his summer holiday. Well, once this morning’s shoot for The Style Reportwearing five of AW13’s hottest eveningwear looks is out of the way, anyway – but then there’s no rest for one as highly in demand as Treadaway.

His first Hollywood blockbuster The Lone Ranger, starring Johnny Depp, Armie Hammer and Helena Bonham Carter has opened worldwide, and he’s just wrapped Truckers, a five part bittersweet BBC series written by William Ivory (who also penned Burton and Taylor and Made in Dagenham) that will air in October 2013. Treadaway stars alongside Stephen Tompkinson and Ashley Walters as ‘Glen, a simple but incredibly optimistic young lad’. Prior to that, he was in North Carolina filming a two-hander with Game of Thrones star Rose Leslie called Honeymoon, tracking the first days of married life for an American couple ‘which doesn’t exactly go to plan.’ He explains: ‘I accepted the role when I was in Santa Fe filming The Lone Ranger because it’s the complete opposite in terms of length, budget, production.’

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Keeping creatively challenged is something the 29-year-old takes seriously. In 2005, Treadaway spent two months strapped to his twin brother Luke to get into character for their role as conjoined twins for Film4’s Brothers of the Head, and he learned to play the drums for his critically acclaimed portrayal of Joy Division drummer Stephen Morris in Control (2007). Look out for his appearance on the drums again in Mystery White Boy, a Jeff Buckley biopic in the making with the support of the late musician’s mother

‘I think, like most kids, I grew up messing around in the garden inventing scenarios and playing make believe. I realised at about seven or eight that it could be a job and I thought, “That’s the best one!” It was either that or being a policeman or a fireman. At 16, I went to the National Youth Theatre and then went off to the London Academy of Music and Dramatic Art. It was quite intense moving from a small Devon village [in south west England] to living in London. You’re still a kid at 18, aren’t you?

‘Filming The Lone Ranger was a blast. Playing cowboys and indians is a staple of childhood and to find yourself 20 years later with a bunch of adults doing it in the most epic way was just brilliant. We were in New Mexico for the first three months and then we moved around Arizona, Utah and Colorado and California. It was a beautiful experience to see those parts of the world and the breathtaking landscapes.

‘We had to learn to ride and we were trained by real Western cattle runners and Native Americans. We trained for about six weeks, doing three to four hours’ riding a day, and then two to three hours a day roping and learning gun skills. In the 1850s, it was about how fast you could draw and these were the things that could save your life. The cowboys spent their lives on horses and carried everything on their saddles, and it would have been futile trying to play a character like that without understanding it. Also for safety – the first scene we filmed was charging up to a 1,000-foot drop canyon on horseback and if anyone was less than proficient it could have ended in disaster.

‘I think if you’re not being challenged creatively and you’re not kept on your toes, there’s a danger you can become lazy and I would hate that. Mixing genre and scale of production always brings new challenges and opportunities, and that’s what makes me happy.

‘Doing theatre is such a great test of yourself, to put yourself in that position. It’s a rewarding medium to work in, because it’s just you, and you have to take responsibility for it completely. In a film, there’s a lot of different people putting ingredients into the mix so it’s never solely one person’s thing quite so much. The idea of focusing on just one or the other wouldn’t make me particularly satisfied.

‘The personal challenge of this profession is being away from home and the unpredictability of what might come next and where you’re going to be living. Devon is my heartland and where I grew up, but I’m making a home in London so I spend time between the country and Highgate [north London] when I’m in the UK. I want to keep developing and for my work to keep getting better. You need to make sure you are coming from the right place as you approach each thing and to make sure you are not doing it for any reason other than for the character and the story.’

 Quick Fire Questions Round

 

Are you a bad loser?

(Hesitates) No.

Cowboy or Indian?

probably both

Favourite hair product?

Literally salt from the sea, there’s nothing better.

What was your favourite childhood book?

The Hungry Caterpillar, it’s the best.

Do you worry about growing old?

No.

Room service or hotel bar?

Room service probably, depends who you’re with.

 
How many pairs of shoes do you own?

Ah, yes, well that is an issue, far too many.

Can you cook?

Yes, i am a vegetarian so I like to think i can cook like Yotam Ottolenghi, but realistically you would get a cross between that and a pizza express.

The last record you bought or downloaded?

Tribes’ last album’ Wish to scream’.

Who would you play in a film of your life?

My twin brother.

What superpower would you like to have?

To be able to take all the negativity away in the world and turn it into positivity and see what happens with that. A negativity extinguisher.

What is your greatest regret?

 I don’t have any.

Source: Matches Fashion

Posted on May 14th, 2014 by admin

The new Showtime drama series Penny Dreadful is a frightening saga that completely reinvents literature’s most iconic and terrifying characters.  Sir Malcolm Murray (Timothy Dalton) and Vanessa Ives (Eva Green) recruit the help of Ethan Chandler (Josh Hartnett), as they cross paths with Dr. Frankenstein (Harry Treadaway), Dorian Gray (Reeve Carney) and other iconic figures, on their quest to uncover what lurks in the darkest corners of Victorian London, in this psychological thriller that weaves together classic horror origin stories.

During this recent exclusive phone interview with Collider, actor Harry Treadaway talked about how he came to be a part of this show, what drew him to the project, how much he knew about his character’s journey, having a writer as talented as John Logan write every episode, why this isn’t a rehash of anything, why the tone and approach to the material was so important, Victor Frankenstein’s obsession with life and death, working with such an amazing cast, exploring the light and shadow of the Victorian era, and how exciting it is to explore a character like this, over a longer period of time.  Check out what he had to say after the jump. 

harry-treadaway-penny-dreadfulCollider:  How did this come about for you?

HARRY TREADAWAY:  It was just the normal hustle and bustle of trying to find a job.  I went in and tried to get it, and it worked out.  John Logan is a wonderful writer, and it was really exciting, the idea of him setting this world in the Victorian era, but having it not be about that.  That’s not the sole premise of it.  To be honest, it didn’t feel like I was playing Frankenstein.  It felt like I was playing this young prodigy, genius doctor who was pushing the boundaries of science and was driven, immeasurably, to the ends of the earth for what he’s trying to achieve.  It just felt like a story.

What were you told about your character’s journey, when you signed on for this?

TREADAWAY:  We just got the first episode or two, and then we were given them, as we went along.  There was a feeling like you couldn’t plan it all out, in a good way.  That keeps it alive, in some ways.  You’re entering into this process and you don’t know where you’re going, but that’s helpful, I think.  I knew the background and where we were coming form, but there were mysteries, as we entered into it.

What’s it like to work with someone like John Logan and have his words to work with?  He not only created this, but also wrote every episode, so does it feel like you’re working with one singular vision?

TREADAWAY:  Yeah, I think it’s amazing to have one writer write every episode of a series.  It’s very rare, I think.  You get a voice that continues.  It’s a story that John’s been concocting for 16 years, or something.  So, to have him on set and to have his mind available, throughout the process, was invaluable.

Is that intimidating at all, knowing that this is such a passion project for him?

TREADAWAY:  You can’t worry about that, otherwise it becomes too precious.  We had an amazing team on this.  They built the sets for three months before we even turned up, and they’re as much a part of this as John’s hand on the paper.  We had amazing designers and amazing actors.  It was a joy to go to work.

penny-dreadful-harry-treadaway-2When you’re taking on a character that is so iconic and whose stories has been told in various mediums, countless times, do you take any of that into consideration, or do you put that all aside? 

TREADAWAY:  I’ve never seenFrankenstein, so I didn’t have anything to compare it to.  I just read what was in the script and went with that.  I read two-thirds of the novel, and then we started shooting.  The world that John has created is so fertile and consuming and detailed that as soon as you turn up on set, you’re involved in something that is not something that you’ve seen before.  It didn’t feel like a rehash of anything. 

This could have been a very different show, if it were approached with a different type of tone and feel.  Was the tone of this show and how this material would be handled important to you as well? 

TREADAWAY:  Sure, of course, yeah.  J.A. Bayona is a really special director.  He had his filmmaking eye on the whole process, for the first two episodes.  And obviously, John has worked in features, wholly, before now.  Tone is always such an important thing, and that’s achieved through a multitude of people.  It comes through the writing, it comes through the way it’s shot, and it comes through the production design and the sound design.  It was a privilege to be a part of it all.

What can you say about your character’s journey, this season? 

TREADAWAY:  He’s obsessed with discovering that fine line between life and death, and what generates that.  He’s playing god.  The sense of ego and the god complex that might come with someone like that is huge.  He clearly has done something that no one else on the planet has done, so there’s a huge arrogance, a huge sense of responsibility, a huge sense of shame and a huge sense of euphoria.  He’s operating on a pretty high level of human existence.  It’s hard to put it into words.

penny-dreadful-harry-treadaway-6Why is Victor Frankenstein so obsessed with life and death, and the flicker that separates them?

TREADAWAY:  Seeing his mother die, at a young age, he flips from being obsessed with literature and poetry and devotes his entire life to science.  He saw his mother’s heart stop and he wants to try to counteract that process.  He literally wants to do be able to start life, as opposed to doing terrible things with it.  He becomes obsessed with that struggle with mortality.  And he has the medical and science brain and drive to try to get inside that process of life and death, and see where it ends and where it begins.  He’s obsessive about that.

There’s something so intimate in the relationship between Victor and Proteus.  What was it like to shoot those scenes, especially with how little dialogue some of them have?  As an actor, do you enjoy the opportunity to express yourself with more than just words?

TREADAWAY:  It was a unique exploration of what it would be like to start to conduct a relationship with someone that you had created from death.  He reforms a man and creates life, and so there are parental elements of that, there are friend elements of the subject, and doctor elements.  There are all sorts of levels to that relationship.  It was very interesting to explore.

When you work on a show like this, with these sets and elaborate costumes, do you really feel like you’ve stepped into another world, in another era? 

penny-dreadful-timothy-dalton-harry-treadaway-eva-greenTREADAWAY:  Yeah, absolutely!  In some ways you have and in some ways you haven’t, but every day, you turn up and walk through Victorian streets with men, women and children, and beggars and shop people.  The world is created for you. 

What’s it like to work with this cast?

TREADAWAY:  They were great!  Really top-notch.  Timothy [Dalton], Eva [Green], Josh [Hartnett], Billie [Piper], Reeve [Carney] and Danny [Sapani] were all great, and then there were wonderful, amazing guest appearances throughout the series.  To be working with such a strong, creative team, be it actors, or designers or whatever, it was a good work environment. 

Just how dark will this show get?

TREADAWAY:  As dark as the night itself.  The Victorian world is extremely dark and extremely bright, as well.  Hopefully, the show takes you through the shadow and the light of that era. 

You work in film, where you get to explore a character’s full story in a finite amount of time, and you’ve worked in theater, where you get to explore the nuances in the same story, night after night, and in TV, you get to explore a character over the long-term without ever knowing the end until you get there.  Do you enjoy doing all three? 

TREADAWAY:  I like doing all of it.  I think they’re all brilliant, in their own ways.  They have their different challenges, but I love doing it all.  I love playing a character that has more than 90 minutes, and that keeps going.  It can obviously spread out, in a longer way.  It was fun to get to sit inside him for a longer period of time.  It’s exciting.  None of us really know where we’re going, do we?  That’s just how you have to think of it.  In some ways, it feels more real because you don’t know the end.

Source: Collider

 


Posted on March 11th, 2014 by admin

In celebration of the 2014 BAFTA’s, Wonderland has joined in blissful union with their official backstage photographer Jessie Craig to shoot who we imagine to be future award winners.

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There’s not much better than an awards ceremony – exulted triumph, applause, gowns, men in suits, sobbing disappointment, hysterical women stealing hateful glances at each other. Pure theatre. In celebration of the 2014 BAFTA’s, Wonderland has joined in blissful union with their official backstage photographer Jessie Craig to shoot who we imagine to be future award winners. Here they pose resplendent and explain, in bite-sized quote form, their dreams, loves, aspirations and ventures for the rest of 2014.

Harry Treadaway

“Coming up I’m playing Dr Frankenstein in Showtime’s Penny Dreadful with Eva Green, Timothy Dalton and Josh Hartnett. Also, I star in a psychological thriller indie with Rose Leslie called Honeymoon, I’m writing and directing a short film and am shooting a photographic portrait project. Calm, then.”

Source: Wonderland Magazine

 


Posted on July 26th, 2013 by admin

WHILE it is highly unlikely he will ever have to face the problem on the streets of London, Harry Treadaway is reasonably confident he could lasso any runaway calf that crossed his path.

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And don’t ever tell him all horse riding is the same. Such are the educational benefits of having starred in The Lone Ranger and studied at cowboy boot camp.

“Over there it’s all one-handed, no stirrups, western style,” says Treadaway of the cowboy mode of riding. “Here it’s all prim and proper and up high, it’s terrifying. I got on a horse last Christmas after thinking I’d become a cowboy and could ride anything, and I realised it was like going from riding a trail bike, that we’d been riding round in the desert, to going on a road bike.”

The boot camp was the idea of director Gore Verbinski and producer Jerry Bruckheimer, the same team behind Pirates of the Caribbean. Taking place at the Horses Unlimited ranch in Albuquerque, school involved training in throwing lassoes, riding, and, of course, pistol packing.

Treadaway, 28, who plays one of the film’s bad boys, was born five decades after the first Lone Ranger adventure aired on WXYZ radio in Detroit in January 1933. The TV series ran from 1949-57, with the character, and his partner Tonto (played in the film by Armie Hammer and Johnny Depp respectively) riding high again in feature films, comic books, novels, toys, and even video games. “My dad had watched it when he was growing up and loved it,” says Treadaway. “It was a huge show for him and people of his generation.”

This Lone Ranger, however, is different from the one that many might remember, says Verbinski.

“I think if you’re a fan of the original TV series you’re going to be surprised by the movie, because everybody knows that story, and that’s not the story we’re telling. We’re telling the story from Tonto’s perspective, kind of like Don Quixote, told from Sancho Panza’s point of view.”

As in Pirates, the scale of the production – including battalions of extras, several stables-full of horses, vast tracts of railroad being built – was rather different to what Treadaway was used to. Having started out in the low-budget British indie Brothers of the Head, and remained largely within that world, including a role in the Andrea Arnold-directed Fish Tank, the blockbuster world seemed an alien planet at first for the lad born and brought up in Devon.

“A unit on an independent film can be 50 people, this one was 300 people travelling around with all the trailers, the cameras, the equipment, costumes, make-up. It’s huge. But very quickly that becomes normal.”

Nor did working with Depp faze him after a while. “It just felt like working with another actor on another project, apart from the fact you are slightly aware in the beginning that it is a man you have watched as you were growing up delivering incredible performances. That wasn’t the unusual bit. The unusual bit was being in Monument Valley playing a cowboy but coming from Devon.”

Treadaway and his twin Luke, who won an Olivier for his performance in The Curious Incident of the Dog in the Night-Time, trained at the London Academy of Music and Dramatic Art before landing their breakthrough roles in Brothers of the Head, the story of conjoined twins who become rock stars. To get into the part they spent hours bound together.

“It was surprisingly pleasant,” he laughs. “It was our first job so we were just totally up for it.”

The two seem to have taken a vow of silence on their twindom. “I’m not really a spokesman for twins,” he says. On to something he is more comfortable talking about – his love, make that mania, for music.

After Brothers of the Head he was next able to merge his love for music and acting in Control, Anton Corbijn’s biopic of Ian Curtis, the lead singer of Joy Division. Treadaway played the band’s drummer, Stephen Morris, and, as in Brothers, it was all his own work when it came to playing.

“We had 10 days to rehearse about 10 Joy Division songs so we played eight to 10 hours a day. We managed to persuade Anton to let us play it live because it was going to be playback.”

Working and travelling mean he is confined to “bedroom guitar playing” for now but he is hoping his next acting gig will allow him to stay in London for a while and play in a band. For him, music is more than a way of switching off. It’s one of several sources of inspiration for his day job of acting. “If you just try to get your inspiration from one source that might be limiting.”

Now he has made the move into blockbusters, does America beckon? “Spending your life pretending to be other people, living their lives, won’t be much of a life if you don’t also have a home base and something that’s solid.

“I’ll always have a house in London, I’ll always call it my home. There might be moments when I get to go and work in different parts of the world but I’ll always come back here.”

Having got a taste of the big skies of America, he’s keen one day to recreate his own haven in the British countryside.

“I’d rather have Devon. Have some chickens, a little herb garden, and play Pooh sticks.”

There speaks a cowboy who refuses to be fenced in.

Source: Herald Scotland


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