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.”


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.


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 25th, 2014 by admin

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


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.

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.


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!


 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 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?”


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 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