Posted on September 19th, 2011 by admin

The gorgeous Luke Treadaway, star of Attack The Block and the upcoming You Instead, spilled the beans recently on our GLAMOUR Inquisitor.


GLAMOUR: Last text message you received?

Luke: My mum who’s on holiday just asked how the You instead premier went. I must reply.

G: Your celebrity crush growing up?

Luke: When I was about 7 I fancied Anna Chlumsky; the girl from My Girl.

G: Biggest fashion faux pas?

Luke: I used to go to the supermarket dressed as Peter Pan when I was about five years old. Not really a faux pas in my eyes but a strong look.

G: Last lie you told?

Luke: “I’ll call you straight back mate” then getting distracted by something else.

G: The last time someone made you laugh?

Luke: This morning someone sent me a very funny photo of me holding their puppy. We have matching colour jackets.

G: What’s the one song you can’t stop listening to at the moment?

Luke: Morning Mr Magpie by Radiohead.

G: Sum yourself up in three words?

Luke: Boy from Devon

G: If you could eat anything in the world right now, what would it be?

Luke: Anything on the menu at Mildreds on Lexington street. The most amazing vegetarian food ever.

G: Tell us one thing about yourself that no one knows?

Luke: I can walk on my hands.

G: What’s the last book you read?

Luke: Extremely Loud And Incredibly Close. A beautiful book.

G: If you could go back to one moment in your past, what would it be and why?

Luke: When all my grandparents where still around…

G: If you could write a song about your life, what would it be called?

Luke: Vibe receptor

G: What’s your best festival memory ever?

Luke:  Glastonbury; when I was 14 and crowd-surfing to Bush.

Source: Glamour Magazine

Posted on September 17th, 2011 by admin


Luke Treadaway once spent an entire summer tied to his twin brother, Harry. In 2006, the twins starred in Brothers of the Head, a story of conjoined twin rock stars. “Me and my brother used to tie ourselves together all the time as kids, so we were used to it,” says the 27 year-old actor.

He insists there is no competition between the two, even when they audition for the same roles. 2011 saw Treadaway playing a middle class stoner stuck on a south London estate, in Joe Cornish’s Attack the Block, and a rock star again in You Instead. “I really like getting a part which is nothing at all like me; I like pretending to be someone else.”

Luke demonstrated this with his role as a corrupt soldier in The Whistleblower with Rachel Weisz last year, which uncovered the truth behind sex trafficking. He is soon to appear in Cheerful Weather for the Wedding, a costume drama with Felicity Jones and Mackenzie Crook, and the London-based gangster film, St George’s Day.

Source: Hungertv

Posted on September 16th, 2011 by admin

Luke Treadaway, Natalia Tena and Mat Baynton talk about filming You Instead.

You Instead is the story of two musicians who become attached to each other in more ways than one after an incident with a pair of handcuffs at leading Scottish music festival T in the Park. I met with its stars on a lovely spring day at Glasgow’s Film City building, a sandstone former town hall with views of Glasgow’s famous Science Tower.

I was first greeted by Natalia Tena who stars as Morello, who was bubbling over with festival energy and introduced herself as Nat. After a brief chat about the unusually nice weather and our respective outfits (both fabulous) we were joined by Luke Treadaway, looking cool and stubbly, and nerd- favourite Mat Baynton, who play Adam and Tyko respectively.

“I had a weird omelette for breakfast.” Mat tells me. “It had a bit of soggy asparagus in it.”

After digesting that information, I get started on the questions.

What was it like to shoot a film in such a short time?

Natalia: “Four and a half days! It was amazing!”

Luke: “Yeah, we had about three weeks here in this building working on the script, developing relationships and, you know, in the evenings trying to work out how to be two fictional bands that’d be capable of playing T in the Park. So we were working all hours doing that here for three weeks, then we got up to the festival and just had four and a half days to go through it all. The average call-sheet you’ll see on a film has maybe four scenes up for the day. On this it was like 18.”

Natalia:”Drinking so much Red Bull! And eating fudge bars. The thing is, you drink it and you’re raring to go, then you crash.”

Mat: “After a while though, just like being at a festival, you got into it. And when we stopped for an evening, you would kind of want to be back out there. This insane sort of… death wish.”

Natalia is in a real-life band called Molotov Jukebox. Have Luke or Mat had any involvement in music before?

Luke: “Yeah, I played in bands when I was a teenager, and I still play guitar and write songs now. One of the songs that I wrote and played for the producers here when I came in for my audition – it’s called You Instead – we ended up playing at the beginning and the end of the film. And bizarrely it became the title.”

Mat: “I’m in a band called Special Benny! But I’m also in a band called Grosvenor who are a bit more accessible. We had just finished touring with Hot Chip when I did the audition. The first day at T in the Park – my character has this yellow mac which I fell in love with – and I looked out the window and saw Alexis from Hot Chip wearing an almost identical mac and glasses, and I just thought ‘Oh God, I hope he doesn’t see me and think I’ve based this character on him.’ He’s nothing like Tyko!”

This film is very different from director David MacKenzie’s previous work. What was it like working with him?Natalia: “It was amazing! Basically, I think he is amazing. He doesn’t mess around. I love that because sometimes you can waste so much time with directors trying to be sensitive with you, and I actually then miss the point of the scene. ‘So what’s your character’s inner..?’ and I’m getting more and more confused until I realise they’re trying to make a point. I loved the directness because of time – I was like ‘This? This?’ and he was like ‘Yes!’ Bang.”

Mat: “I feel like we were lucky to get to work with him on this particular project, because there’s a reason he wanted to do a film that’s impossible to do and so we worked with him on a project that I think was really reinvigorating for him. He was completely wired and passionate and he had this sort of hunter’s look in his eye. You could see he was just constantly looking for opportunities. He had his own camera to shoot extra stuff on and he was always just going ‘Let’s do this! That looks amazing! Run! Run!'”

Luke: “You couldn’t switch off because he wasn’t gonna switch off. Even walking from one scene to another. It became pretty clear after day one, don’t bother thinking you’ve got a five or ten minute break, because David ain’t taking one so why waste the time?”

Natalia: “We barely even had time to go to the loo. I had to get extras to help me because I was handcuffed to Luke.”

Luke: “It’s funny because there’s a scene where we have to use the toilets handcuffed together, obviously you see a scene like that, you think it might have been embarrassing to film, but by that point we’d been handcuffed together so long that boundaries were broken!”

you instead2

Natalia: “Smashed!”

So how did everyone get involved in a film like this?

Natalia: “I got sent the script and I just thought it was absolutely banging. And then I went to the audition, spiked my hair red, took my accordion and played one of my songs from my band. And then I was in Athens seeing one of my mates and having loads of fun, and I got an email from my agent, she was really pissed off I was in another country. She said ‘Nat, you need to learn all these scenes and be in Glasgow in two days!’ It was pretty surreal. I met Luke on the plane.”

Luke laughs:”I was sat at the gate and I had been told I was meeting Natalia here, which is great, because we could run through things on the plane and stuff, and then she comes running in with an accordion on her back, so we had an hour on the plane and then the taxi ride here to try to run through these scenes together. We spent an afternoon with David, and that was like our audition together.”

Natalia: “The audition was a bit like how it was then done. We did the scene over and over again and he filmed from different angles. We met Ruta (Gedmintas) who plays Luke, Adam’s girlfriend, and it was basically…” Good preparation? “Yeah!”

Mat: “David showed me that tape when I arrived. I think he was trying to work out how… how do you possibly make this film in such a short space of time? It was really impressive, that tape, even though there was no crowd. It helped us work out how to deal with the problems.”

Luke: “I think one of the things that helped take the pressure off is that David said he was as much trying to work out how to shoot these scenes quickly and how to cut them together as we were trying to work out how to act them. We were doing like an hour a scene.”

Mat: “Any extra time we did have, we weren’t using to find more in existing scenes, we were adding. It wasn’t ‘Go back and try that moment again,’ it was ‘What else can we come up with while we’re standing in front of the sunset?’ Opportunities would present themselves to David – even when we were travelling between locations he’d come up behind you and say ‘I’m filming!’, so we just kind of wended our way through the festival, jumping and titting about and thinking ‘Who knows? Some of this might get used.'”

“The fairground sequence!” yell Natalia and Luke simultaneously.

“Was that in the script?”

Natalia: “No, it wasn’t.”

Luke: “The script was more a jumping off point. It was like, the ingredients.”

Natalia: “Which we then massively cooked!”

Luke: “I think it was a great way to work. It was a very live environment so we wouldn’t know exactly what we were going to see when we were up there. David said ‘Here’s a fiver, go on some rides.’ So we went on the whirlers and we went and got candyfloss.”

“The whirlers!” says Natalia rapturously.

Luke: “It was brilliant, because as an actor it can become very sterile, shooting and standing on marks on a set doing one scene all day, and you’ve got to re-light and then have lunch and come back to the same scene and it becomes about trying to re-find that first way of doing it. Whereas a lot of this film is us doing it for the first time. It is us getting that candyfloss the first and only time! So it was kind of like, joyously brilliant. You wouldn’t want to shoot every film that way, but for this I think it worked.”So the film captures the atmosphere of a festival like T?

Natalia: “Yeah!”

Did you feel you could absorb any of the atmosphere of T in the Park or was it more like work?

Mat: “I don’t think we had any choice! We were so immersed in it. The amazing thing about it – if you were to try to stage that, in order to set a film at a festival, it would cost the earth and it would be so hard to direct the crowd. It would take days and days to do tiny little sequences. And you would still, after all that, not end up with something that feels as vibrant as the truth. So it was worth occasionally being jumped on by drunk, mad revellers.”

Did anyone recognise any of you? Did you have to fend off autograph hunters in the middle of scenes?

Natalia: “No, but afterwards – after we were on stage in handcuffs – people started saying ‘Oh you’re those weird people security had to remove!'”

Luke “80,000 people had seen that scene so we were bound to then pass people who recognised us walking around handcuffed together.”

Mat: “Also, the beginning of the film is us driving through the festival playing a song in the back of a little car, and if you see people driving through the festival playing in front of a camera you’re going to assume they’re a band. So people just looked a bit curious, thinking we must be someone, they just didn’t know who!”

Luke: “It was quite an ego trip walking around pretending to be a rockstar and things like that really help you, like a camera crew following you.”

Natalia: “They had extras round the tent when Luke was doing the signing, and all the people were to be screaming, and at that point they knew the songs, and they were singing and – who was on stage at that point?”

Luke: “Jay-Z!”

Natalia: “Jay-Z was on stage and people were walking past to get a beer, and I was waiting for them to finish the scene, and they’d say ‘Who’s that?’ and I’d say ‘It’s The Make!’ and people started to queue, wanting to find out.”

Luke: “That’s where it crossed over for me into performance art territory. Like an experiment both in how you can make films, because you would never get 80,000 extras to really do that, and also how make-believing something in an environment like that can sort of start to make it become a bit true. It really helped me to believe in it.”

Mat: “Those extras were particularly wonderful. Because you can encourage people, and say ‘we’d like you to do that’, but that will only get you so far. So in that scene David and Danny told them, you know, ‘you really love this band, and you want an autograph, and maybe you can shout out the names of a few songs’ and they just instantly started singing at the top of their voices and then, it wasn’t directed at all, but they picked us up and crowd-surfed us, they were just caught up in the fantasy of it.”

Luke: “They were with us the whole time, they were camping with us. Some of them knew each other, but it was like a meeting-friends-on-holiday type vibe, and they came with us to be our stock crowd. They would get called out at four in the morning to come over to sit by a campfire. Their committment to it really helped make it what it is.”

I suppose that’s a traditional part of the festival – the cameraderie, the getting to know people?

Natalia: “Through the mud and mayhem, just getting on with it.”

Mat: “The feeling that that time is its own thing.”

Source: Eye for the Film

Posted on May 11th, 2011 by admin

Luke Treadaway could be about to eclipse his twin brother Harry – thanks to his role as a plummy stoner in space invasion movie Attack the Block

Does Luke Treadaway have attachment issues? In his first film, he spent the summer strapped to his identical twin, Harry: they were playing conjoined twins and proto-punk rockers in the disturbingly brilliant Brothers of the Head (2006). Later this summer, he will appear handcuffed to a rival rock star in David Mackenzie’s You Instead. This week sees the opening of Joe Cornish’s eagerly awaited Attack the Block, in which Treadaway plays a plummy stoner whose attachment to weed brings him in close contact with the “big alien gorilla wolf monsters” rampaging through a south London estate.

Off screen, of course, there is the press interest in his relationship with his acting twin, Harry. Both were inspired by their drama teacher while growing up in Devon; both attended the National Youth Theatre when they were 16; both studied at Lamda, the London Academy of Music and Drama; both got their big break in Brothers of the Head. The fact that there are two of them is certainly not dampening the demand for either, and yet Harry, the younger by 20 minutes, is arguably better known (he currently trumps Luke in terms of Google hits): he has had roles in Andrea Arnold’s Fish Tank and Anton Corbijn’s Control, while Luke has toiled in the theatre, appearing in War Horse and Saint Joan, alongside Anne-Marie Duff.

This year, however, Luke strikes back. As well as Attack the Block and You Instead, filmed over just four days at the T in the Park festival, he is currently finishing Cheerful Weather for the Wedding, a costume drama with Felicity Jones and Mackenzie Crook. The Whistleblower, in which he played a corrupt soldier alongside Rachel Weisz and Vanessa Redgrave, is now on the US festival circuit; it’s a film he says he is “proud of” for telling the story of sex trafficking in Bosnia.

Are the brothers fiercely competitive? Nothing would be more exciting than if the Treadaways became the Milibands of the acting world. “He is obviously a huge part of my life and I love him dearly,” Luke says of Harry. “I want him to do well, I want him to get great jobs. We have the same job, but I have a lot of mates who are actors, and I want them to do well, too. There’s no bitterness if one of us gets a job and one of us doesn’t.” They have gone for the same jobs in the past. There is a tussle between Treadaway’s perceptible discomfort with personal questions and his scrupulous manners, and he apologises for the “predictably boring” answers about his brother. “It fascinates me,” he says of his relationship with Harry, but then “other actors don’t have to talk about their brother or sister all the time.”

After Brothers of the Head, the Treadaways performed again as twins in Over There by Mark Ravenhill. Harry’s character feasted upon Luke’s dying body, and Luke was quoted afterwards as saying: “When you’re working with other people you have to maintain a certain level of professionalism, which Harry and I don’t.” Would he work with his brother again? “You have to say ‘no’ to a lot of twin parts because you don’t want to be just put in that pigeonhole,” he says coolly. “Maybe it will happen again, maybe it won’t.”

Attack the Block has all the makings of a big hit, with its verve, wit and uncompromising but warm depiction of London gangs and the British class system. Treadaway says he loved working on Cornish’s first feature. The director is best known as one half of 6 Music’s Adam and Joe, though Treadaway describes him as “the most effusive, film-minded person in the world”: “He wanted it to be like La Haine, crossed with Alien, via early-80s B-movies and ET.” Treadaway plays an amusingly uncomfortable upper-middle class student, a character Cornish admits is partly modelled on himself. “Maybe it’s Joe turned up to 12, but it was fun talking to him about his forays on to estates when he was that age and things he might have got up to,” Treadaway says. His character is terrified that the alien invasion will stop him getting to a house party in Fulham on time, particularly after extraterrestrials trash his father’s car. Did anything similar befall the teenage Treadaway? “If we had a party, all the windows would be open for a couple of days before mum and dad got back,” he says. “We were pretty good at cleaning up after ourselves and not getting busted.”

The son of an architect and a teacher, Treadaway enjoyed a bucolic childhood in the village of Sandford in Devon. He always enjoyed getting on stage; his first role was as a daffodil in the village pantomime. “My dad was the big bad wolf, so I remember seeing him with big ears panting his way across the stage. That’s my inspiration from when I was three,” he smiles. A second inspiration was the drama teacher at his local comprehensive, Phil Gasson, who “really pushed the boundaries of what a drama class may be at school”; they remain friends. The Treadaway twins also formed their own band, both of them singing and playing guitar. Was it a bit like the Libertines? “A bit like that but with less heroin,” he pauses, deadpan. “No heroin.”

Not so long ago, the twins were labelled leaders of a “Treadaway Set”, on the strength of Luke and Harry being friends with Doctor Who Matt Smith and other twentysomething actors such as Felicity Jones, Toby Kebbell and Carey Mulligan. “A Treadaway set? God, I don’t want to take responsibility for that,” Luke says, squirming. “A lot of my mates are actors and it’s lovely to be able to work with friends. But I wouldn’t like to do any of them the disservice of claiming them to be part of my ‘set’. They are all their own beings and doing fabulously well.”

The squirming increases when I ask Treadaway if he has a girlfriend. He was photographed at the Attack the Block premiere last week with Ruta Gedmintas, his co-star in Mackenzie’s You Instead. “Should I say? Should I not? I don’t know.” It’s entirely up to him. “There is a lovely lady in my life at the moment, yes.” He blushes again. “I’m not saying any more.”

In Brothers of the Head, the Treadaways played all the songs, and music remains Treadaway’s passion. He is a big fan of Radiohead, and still writes and jams with friends. “It’s been too many years since I’ve played live as myself as opposed to in a fake band for a film,” says Treadaway, who is acutely aware of the rocky road facing actors who want to be musicians. “I saw Keanu Reeves [and his band] at Glastonbury and he had tangerines thrown at him, which I thought was slightly unnecessary,” he says. “All I’m thinking is, instead of playing guitar in my living room I might say to my mates, ‘I’m playing at Camden tonight.’ I’ve got no major designs on conquering the music industry.” Would he form a band with Harry? “Maybe. I wouldn’t rule him out. He can audition.”

He recently directed a music video for girl band the Boxettes; Bellatrix, the band’s beatboxer, comes from his village. Never mind the Treadaway set, what about the Sandford scene? “There’s a great scene in Sandford,” he enthuses. “Get down the Lamb Inn for open mic night. My dad’s been playing a couple of Bob Dylan songs there recently. He loved it.” I wonder if tiny villages sometimes generate more creativity than cities. Treadaway agrees. “Maybe there’s less oppression growing up in a small village, and fewer rules, and less danger. London is full of creative people – you can never say that it’s not. But certainly my experience growing up was of this great sense of freedom.”

Source: The Guardian

Posted on February 23rd, 2009 by admin

Between them, Luke and Harry Treadaway have got the film and theatre worlds sewn up… Just don’t mention the t-word.


Plucked from their first year of drama school to star in a haunting mockumentary about conjoined punk-rockers, Luke and Harry Treadaway became overnight indie stars. Any young actor would kill for such a launchpad, and the twins, now 24, got stuck into Brothers Of The Head with relish, spending the entire shoot sewn together in a wetsuit and even sharing a bed.

“Since then, though, we’ve been off doing our own things,” chirps Harry, the younger by twenty minutes, at London’s Holborn Studios. Harry has boosted his film CV with the likes of Joy Division biopic Control and Tim Robbins-starrer City Of Ember. Luke, meanwhile, has made a name for himself as one of the Bright Young Things of British theatre, with star turns in the National Theatre’sWar Horse and Philip Ridley’s Piranha at the Soho.

Spend five minutes in their company and it’s clear that Harry, eerily reminiscent of a cocky young Malcolm McDowell, is the more confident of the two. He’s also more restless, eternally making roll-ups or fiddling with his new iPhone. By contrast, Luke seems softer-edged, sweeter, perhaps – and happy to let his brother take the lead.

Four years since their startling debut, the Treadaways are coming together for their second joint professional outing, this time on stage. Mark Shopping and Fucking Ravenhill’s two-hander Over There is part of the Royal Court’s new season Off The Wall, marking twenty years since the Berlin Wall was smashed into tiny, tourist-pocket-sized chunks. Luke and Harry play Franz and Karl, identical twins separated as infants when their mother escapes to the West, taking one son with her and leaving the other behind. “It’s a great idea, I can’t wait to get stuck in,” Harry grins.

But while Ravenhill’s piece probes at the nature of twinhood and the brothers have consented to being interviewed together, their genetic relationship turns out to be a topic neither Luke nor Harry seem keen to discuss…

Wonderland: I see you’ve succumbed to the lure of the iPhone, Harry.

HARRY: I just got it a couple of weeks ago.

LUKE: I’ve hardly spoken to him since. I’m very jealous.

HARRY: I’ve realised that it’s like the temptation of man – it’s like taking a bite of the apple in the Garden of Eden. It’s as close to an identity card as we can have because it’s saying exactly what I’m doing on the internet, what music I’m listening to, and in the Book of Revelations there’s a bit that says when there’s a chip in the eye of man, mankind will fall. This is a chip – a computer chip – and it’s got the apple with a bite mark.

LUKE: It’s weird how you were saying that you can type in where you want to go and it will direct you there.

HARRY: Yeah, it makes you lazy. If you lose a signal, it’s like, ‘What the hell do I do now?’

Wonderland: Are you looking forward to the Royal Court play?

HARRY: Yeah, we haven’t done a play together since college. /I/ haven’t done a play since coming out of college. You’ll have to teach me the ropes.

LUKE: I’ll show you how it’s done. It’s funny how it can go from us having not worked together for three years to suddenly something cropping up on the Wednesday and by Friday we’re doing it together… although we know that we won’t do many things together in our lives. We’re not going to make a habit of it. But I’m deeply excited about this.

HARRY: It’s like a complete extension into the adult world of playing in your living room with your brother.

LUKE: Which is what you do anyway on any job with other, non-genetically similar people.

Wonderland: Who’s playing which role?

HARRY: We might just decide before we go on every night. Alternate.

LUKE: It would keep it fresh.

HARRY: We haven’t decided yet. I’ve been saying to people that we’re doing it and people go, ‘Did Mark write it for you?’ And what’s weird is that he didn’t at all. It says on the first page that it’s up to every production whether they do it with real twins or not.

Wonderland: Did you avoid working together again after Brothers Of The Head?

LUKE: Yes, there were some things which were proffered but we just felt…

HARRY: …It would have been stupid if we’d gone and done another brother thing straight after drama school.

LUKE: But we haven’t consciously tried to do anything ever. There’s no weird planning. We’ve just gone up for things and either got them or not.

HARRY: We go up for the same stuff sometimes. Sometimes one gets them, sometimes the other one gets them, sometimes neither of us get them. But we never both get them – that’s impossible. So there’s no conscious plan.

Wonderland: Is it awkward when you know you’re going up for the same role?

HARRY: Don’t think about it. Because you have mates who are going up for the same stuff as well. If you start thinking about who else is going up for something, your head is in the wrong place. Whether it’s your twin brother or not.

LUKE: It’s quite funny though when you’re the next one in as you walk out the door. Sometimes they’ll say something: ‘Coming back in for a second go?’

HARRY: Then you have to laugh, as if it’s funny and you’ve never heard it before.

Wonderland: How did you find drama school?

HARRY: It’s good training for theatre but you have to forget a lot of what you learnt to do any film. It’s hard to take on all this shit about identity and the psychologies of other characters when you’re still 18. You’re going, ‘What the fuck, I don’t even know what the Tube does yet.’ I found that quite hard. But I’m getting happier the more time that I’m away from it.

LUKE: I don’t regret having gone through it but I’m glad I’m not going through it now.

Wonderland: What was it like growing up as twins in a tiny village in Devon?

HARRY: I have nothing to compare it to, not having grown up anywhere else as a twin…

LUKE: It was very good for me, I enjoyed it.

HARRY: I loved the countryside. I can’t imagine not having had that. People are happy who grew up in cities and that’s cool but for me I need occasionally to go and walk by the sea or be in the countryside. It keeps me happy; it keeps me sane, I think.

Wonderland: Did your parents encourage you to be individuals?

LUKE: As with any siblings, I think. We were never dressed in the same way.

Wonderland: Some twins are…

HARRY: Some sisters are.

LUKE: I think that’s akin to child abuse, when parents dress their kids identically…

HARRY: They do it because they think it’s cute… and child abuse is never cute.

LUKE: No, but I just think it’s so sad because you think, ‘They’re obviously going to have a harder time than other siblings having an identity anyway. Why the /fuck/ would you want to put them in matching jumpers?’

Wonderland: How close are you now?

LUKE: I’d challenge anyone to spend 98 percent of their life with someone, pretty much in proximity…

HARRY: Well, up to 18.

LUKE: Up to 18… The first few years of our life we probably weren’t apart for more than a day. That’s a lot of days to spend with someone so you’re either going to feel pretty close, or hate or kill that person. It’s hard for there to be a middle ground in that and luckily we haven’t murdered each other and we don’t hate each other so I guess that’s a sign of being close.

HARRY: But the last two and a half years, we’ve seen each other maybe half a year because we’ve both been working so much.

LUKE: Like now, you’ve just come back to London –

HARRY: I’ve been in Nottingham doing a film.

LUKE: And it’s quite nice. It’s kind of like, ‘Yeah, this is fun.’ We’re living together at the moment. We went to the theatre last night together for the first time in years.

Wonderland: In what ways are you different?

LUKE: [sighs] I’m trying to think of the equivalent question if we weren’t twins, which would be, ‘How do you think you’re different from everyone else in the world?’ Which I guess would be highly impossible to answer. I can’t even think of anything specific at all, only inasmuch as we’re as different as…

HARRY: …any brothers are different.

LUKE: Yeah. [gets a text message alert]

Wonderland: You used to have a band – do you still play music together?

HARRY: We just play with mates. We had a great jam the other night with our mate. One of us was on the guitar, one was on the violin and one was on the xylophone. What a blend. We just get drunk and play with musical instruments that we’ve procured throughout the world.

LUKE: My friend just texted me saying, ‘I’m gonna give you a hot, oil-filled body massage tonight.’

HARRY: [unimpressed] That’s bizarre…

LUKE: That’s bizarre, isn’t it. Sorry.

Wonderland: How do you look back on Brothers Of The Head now?

HARRY: It was one of the most amazing experiences of my life. But since then, there’s been a lot of stuff so… we could talk about that if you want.
Wonderland: Not keen to talk about Brothers?

HARRY: Think about it: it was our first audition, we went in there with no idea about anything. We went in there smoking and drinking Stella, not in a self-conscious, isn’t-this-clever way, just thinking, ‘They’re punks so they smoke and drink Stella.’ There was such a naïve quality about it. And it was an amazing psychological experiment being strapped to someone – we didn’t want to fake any physicality or work with some choreographer. Why give up the opportunity to actually see what it would be like? For me it’s going to make my career far more interesting if I don’t try and fake it each time. I got into birdwatching for a film I’ve just done called Pelican Blood, in the same way that I learned to take drugs for Control. It’s more interesting if you actually do it.

LUKE: I’d say exactly the same.

Wonderland: Did you learn anything about each other that you didn’t already know?

LUKE: I gained only more respect and more love for you through doing that.

HARRY: Jesus. Right, okay.

LUKE: No. Fuck it. Nothing.

HARRY: Right. Not really.

Wonderland: So, Luke, you starred in your second film, Dogging: A Love Story, recently…

LUKE: Not recently. It seems a while ago. It seemed to be delayed and delayed and I hear now that it’s being released. So, yeah, we’ll see… I’m still yet to see it so I can’t really give it a good mention apart from, ‘Newcastle is very cold in December.’ That’s really all I have to offer on that one.

Wonderland: Doesn’t seem like it’s going to factor in your all-time great experiences…

LUKE: Uh, no… I did kind of enjoy it. Sometimes.

HARRY: [sharply] Leave it there, Luke, just leave it there.

LUKE: Yeah, I know, I’ve left it there.

Wonderland: What are the differences for you between doing film and theatre?

HARRY: Film’s like making an album and theatre’s like doing a live gig. I can’t wait to do a live gig.

LUKE: Are you going to be my roadie?

HARRY: I’m not going to be your roadie, mate, I’m going to be the frontman. And the Royal Court – what an amazing theatre. It’s done so much amazing work over the last fifty years: Never Look Back In Anger…

LUKE: Look Back In Anger.

HARRY: Look Back In Anger, yeah.

LUKE: Never Look Back In Anger – never less than a companion piece.

HARRY: [sarcastically] Thank you. I’m glad you’re here mate.

Wonderland: Do you ever envy the other’s career?

HARRY: I want all of it. In abundance. I’d be unhappy if it was one or the other. Wouldn’t you?

LUKE: Yeah, man. I’ve only just dipped my toe in what this game is, and there’s just plenty more to come of both hopefully.

Wonderland: Together and apart…

LUKE: Working together every five years would be enough. That would be a few things in our lifetime.

Leaving the studio and walking to the Tube, the Treadaways are visibly more relaxed and bantery. As Harry mock-swoons over a buxom fake-blonde taking a fag break from her own photo shoot, Luke admonishes him: “Get real. Going out with someone like that in real life must be an absolute nightmare. It would be like going out with a doll.” “No, the thing is, Luke,” Harry retorts, “it’s no worse than if your girlfriend was an actress or a dancer.”

Harry’s off to finish his Christmas shopping before flying to St. Lucia for two weeks. Luke’s on his way to audition for the big-budget remake of 70s campfest Clash Of The Titans. Little brother gives him some advice: “Be passionate – don’t do that arched-eyebrow thing. Just go for it…” The bristly reactions have vanished, although when I tell them I’m heading straight off to interview Rupert Friend – who happens to be Keira Knightley’s boyfriend but, I’ve been told, doesn’t take kindly to questions about their relationship – Harry play-slaps me on the shoulder: “See? We could have said we didn’t want to talk about being twins.”

“There’s nothing I have less to say about in the world than being a twin,” chimes in Luke. “In a few years time, I think we’re just going to stop talking about it…”





Source: Wonderland