Paramount Pictures presents Ghost In The Shell immersive pop-up at Lights of Soho

On Thursday 23rd March, in order to celebrate the launch of their latest blockbuster movie, Ghost In The Shell, starring Scarlett Johansson, Paramount Pictures transformed neon art gallery and member’s club, Lights of Soho into a completely interactive and high-tech immersive pop-up experience.

LONDON, ENGLAND – MARCH 23: Lights of Soho set up for the “Ghost in The Shell” London Gala Screening After Party on March 23, 2017 in London, United Kingdom. (Photo by Tabatha Fireman/Getty Images)

LONDON, ENGLAND – MARCH 23: Lights of Soho set up for the “Ghost in The Shell” London Gala Screening After Party on March 23, 2017 in London, United Kingdom. (Photo by Tabatha Fireman/Getty Images)

Based on the internationally acclaimed Japanese Manga series of the same name, written and illustrated by Masamune Shirow, Ghost in the Shell tells the story of the fictional counter-cyberterrorist organization Public Security Section 9, led by protagonist Major Motoko Kusanagi in mid-21st Century Japan.

LONDON, ENGLAND – MARCH 23: Lights of Soho set up for the “Ghost in The Shell” London Gala Screening After Party on March 23, 2017 in London, United Kingdom. (Photo by Tabatha Fireman/Getty Images)

LONDON, ENGLAND – MARCH 23: Lights of Soho set up for the “Ghost in The Shell” London Gala Screening After Party on March 23, 2017 in London, United Kingdom. (Photo by Tabatha Fireman/Getty Images)


Bringing the film to life, the Soho gallery space has been transformed into a completely immersive and interactive environment using the very latest modern technology. From a 360° holographic Geisha mask and interactive windows to exclusive memorabilia from the film, guests from the world of film and music were transported to a fictional cyber world with the help of London trio, Sälen who hit the decks with a mixture of electro and trip hop beats to set the futuristic tone and keep guests dancing into the night.

LONDON, ENGLAND – MARCH 23: Lights of Soho set up for the “Ghost in The Shell” London Gala Screening After Party on March 23, 2017 in London, United Kingdom. (Photo by Tabatha Fireman/Getty Images)

LONDON, ENGLAND – MARCH 23: Lights of Soho set up for the “Ghost in The Shell” London Gala Screening After Party on March 23, 2017 in London, United Kingdom. (Photo by Tabatha Fireman/Getty Images)

HTGAWM’s Jack Falahee discusses lessons learnt from the LGBTQ community in FAULT Issue 25


Photography by Joseph Sinclair
Styling by Angel Terrazas
Grooming by Mishelle Parry at Celestine Agency

Jack Falahee ‘Playing Connor | Finding Jack’

Words: Miles Holder

How To Get Away With Murder first appeared on our screens in 2014 and is to this day one of America’s most progressive and expertly written television dramas. Oscar award winning actress, Viola Davis stars as the powerful, female, African-American lawyer without a defined sexuality nor reason to explain one. As an African American female actress, she will no-doubt have faced similar prejudices to that of the character she plays; however the same can not be said for the whole cast. Enter, Jack Falahee. Despite years of training at prestigious acting schools, it was the role of a homosexual college student, Connor Walsh that would provide Jack with a clear and untilfiltered glimpse into the LGBTQ community. It’s a credit to Jack’s skills as an actor, that Connor’s character and his sometimes turbulent relationship with his HIV-positive boyfriend have created strong discussions within and outside of the LGBTQ community. With that in mind, I sat down with Jack to find out what the character that means so much to so many different people – means to him.

You’ve got an impressive resume – you’ve studied so many different acting methods, what is it about television and the screen that mean you’ve gone down that route?

When I was at NYU I was originally admitted to study musical theatre but when I started hanging out with kids who had grown up with ballet classes and vocal coaches, I quickly realised I was a bit out of my depths. If I felt that way in a class of forty students, then going to an open audition for a broadway show was going to be a nightmare; and it was and I was cut very quickly.

I went to Amsterdam and studied the experimental theatre and then Shakespeare in the States but when I got into television acting, I was really inspired by the technical side of it. I grew up enjoying movies but when I started studying it I became aware of angles, what “the shot” was and just everything that is done to make a screenplay come to life. That really fascinated me and will likely lead to me producing and directing in my future.

What period of Connor’s character resonated with you the most?

Fundamentally he and I are very competitive and also very jealous people – it’s something which I’m personally working on but I don’t think Connor is! I grew up with 3 siblings and 2 brothers who are all wildly brilliant and whilst it was a house full of love, it was also incredibly competitive so I definitely relate to Connor in that way.

When you first got the role, did you think the show would have such an impact?

Frankly, you’re not thinking about that when you’re a struggling actor; you’re thinking about getting a job so you can pay rent and survive so I never really sat down and considered I’d be spending years of my life on the project.

I’m still not over how the much of an impact the show has made and a lot of that is Connor’s character and his importance to fans. It’s emblematic of my straight privilege, but I never thought his character would be so important to the LGBTQ community. When the finale came out and Oliver proposed to Connor, seeing the Twitter reaction was so overwhelming and I was just overjoyed at how meaningful the character is to people.

What are the best lessons you’ve learnt from your fans?

100% opening my eyes to the LGBTQ struggle and I can’t stress that enough. Going into this, it was never written on the page that “Connor Walsh is a homosexual”; so when it came to the first love scene I just thought, “wow this guy is willing to do whatever it takes to get ahead” and now I know that was the heteronormativity in my mind back then that was rationalising this whole aspect of his character. It wasn’t until Pete Nowalk was like “oh no, Connor is gay” that I’ve been really trying to become a student of the history of LGBTQ rights and learning more about the struggle of those in the past and in the present day.  I asked Pete and my friends for a reading list on LGBTQ history because one of my favourite aspects about being an actor is that I’m continually having to learn about things I’ve been very uneducated on in the past. I’ve grown up with friends and family who aren’t straight white males so it was important for me  to do Connor’s character justice. The outpouring of love from the fans was so gratifying and humbling for me. Receiving messages from fans saying “Connor & Oliver helped me come out to my parents” is deeply rewarding and to be any small part of the courage needed to come out will forever be a blessing to me.

Are you comfortable with your sex symbol status?

No! Well, it depends [laughs]. I go back and forth on this, on one hand, it’s a great boost to my confidence but on the other hand, it’s a very vulnerable thing to be. Women live their lives being objectified and reduced to just their bodies every day and it is awful so I’ve been discussing it with the women close to me. I obviously can never understand how women can go through life that way but I can see a glimpse of what that experience might feel like and it’s not a nice one.

Nine times out of ten, it’s all good fun and nice things are being said but that 10% of the time when people disregard my space or my wellbeing is not okay. People tell me “that’s what you signed up for” and I really don’t think it is! I was this chubby, awkward kid and now I’m a sex symbol with the help of great makeup and lighting experts making me look a certain way on tv and magazines.

What is FAULT?

I think that there is a part of me which is always seeking validation which is very informative of why I’ve become an actor; regardless of what might happen, I think I’ll always be seeking approval.

Read Jack’s full interview and see more exclusive photographs only in FAULT’s Special #25


FAULT Focus: Further Reading with the Editors of Ladybeard Magazine

Starting at the beginning, where did the idea for Ladybeard come from?

Ladybeard was borne out of a frustration with the mainstream – we take underrepresented and misrepresented topics and open them up to fresh feminist perspectives.

Launching a magazine (especially a print magazine) in the past decade has been risky business. What drives and inspires you to keep creating?

Ladybeard is purely driven by passion – we make it in and around our full-time jobs. Sometimes it’s hard to see the sense, but it always feels worth it once the magazine is made. We are driven by the need for thoughtful, interrogating, inclusive reportage that stimulates people – while there is still a need for this, we are inspired to carry on with the magazine.

Ladybeard is a glossy magazine however you’re a far cry from the “How to keep your man” “how to be thin and nothing else” titles on newsstands. What thought process in particular led to you choosing the glossy format for Ladybeard?

We love the way a glossy feels, looks, its weight, its texture. The abstract qualities of a glossy – its luxuriant, covetable, personal qualities – very much inform the format of Ladybeard. We don’t, however, like the harmful and narrow messages it so often perpetuates.

What would you say was the main goal of Ladybeard?

To reimagine topics that so define us, but that have been reduced to simple, white, cis, exclusionary forms, like ‘sex’ and the ‘mind’ and in this way offer something exciting and interesting to readers. Something that better reflects their world and their experience of the world.

Can you talk us through your thought process when choosing your issue themes? 

In some ways sex was obvious: it permeates all media, in particular the pages of women’s glossies, and dominates feminist discourse. So we started there, with something explicit, controversial, and present. In contrast, there was a distinct lack of discussion surrounding the ‘mind’ when we chose it for our second issue. The move from ‘sex’ to ‘mind’ was a move inward, to something more introspective and intangible.

In late 2016 you released your Mind Issue which (by our interpretation) challenged the notion of binary thinking. However people need to be willing to be enlightened before they can reflect on the issues raised in the magazine – is it hard tackling the “ignorance barrier” many erect when faced with new ways of thinking?

Perhaps it’s a case of preaching to the converted, but we have only received positive messages to the issue. We try, as far as possible to encompass a multitude of voices and experiences, rather than force a particular agenda on our readers. Yes, the magazine as a whole challenges the notion of binary thinking, but we don’t feel that to be the most challenging thing in the magazine – over the recent years, we’ve seen a huge cultural shift in our understanding of the self and gender. Binary thinking is more often rejected, and constantly held up to scrutiny.

With your issues selling out and events receiving rave reviews, it’s easy for an onlooker to say that Ladybeard is enjoying a lot of success. However, on a more personal level, how do you define a successful issue? 

It’s difficult to say, we’ve only made two issues and they each took a year! From the outside it may appear that Ladybeard enjoys traditional standards of success, however we make no money from the issues, and for 6 months of the year work nights and weekends to pack it all in. It sounds clichéd but what really matters is the magazine – as long as we are honestly happy with everything that has gone in, then we feel it’s a success.

What can we expect to see from Ladybeard in the coming months?

Another snail-paced race to make a magazine – this time our theme is beauty.

*What scares you about the year ahead?

Ha! Aside from the disintegration of safe spaces for any marginalised community and the implementation of divisive, repressive policies on a global scale, we feel a little scared about doing the issue all over again, about making it work, about growing up.

…and in contrast, what are you excited for in 2017?

Making another issue, seeing where it takes us.

Could you pin-point a single book, movie, talk that impacted the way you saw the world? 

A lot of people on the team would say Susie Orbach’s ‘Fat is a Feminist Issue’ – reading that while still a teenager was incredible formative.

What are your FAULTs?  

We’re impatient and critical and never satisfied.


Words: Miles Holder

Read more about Ladybeard on 

FAULT Focus Events: Stand Up for EU Nationals

As we gear up for the launch of our ‘Made In America’ issue which chronicles all the popular artists who have managed to excel despite growing racist, homophobic and sexist sentiment in the land they call home, we’ve been keeping our ear to the ground to find more creatives/events who highlight and embody this role. Today that comes in the form of “Stand Up for EU Nationals”, a celebration of, and show of solidarity for, EU nationals who (for now at least) call the UK “home”. 

As Article 50 is triggered with no guarantees for EU citizens in the UK, this event celebrates their contribution to our community.
In the first half Ian Dunt, author of Brexit: What the Hell Happens Now? and the LSE’s Philippe Legrain will reveal the facts about immigration to the UK and how the press fail to report the enormous economic, cultural and social contributions newcomers make to our country.
In the second half, comedians Shazia Mirza, Sindhu Vee and Grainne Maguire will give their hilarious take on what it’s like to live in Brexit Britain.

The event will also feature an EU citizen picked from a crowdsourcing campaign, who will talk about what it is like to live in the UK, both pre- and post-Brexit.


Come for a night of celebration and laughter, as we refuse to despair in the face of Brexit or give up on our friends and neighbours.

Tickets just £8 (concessions), £12 and £18 for a celebratory night of information and comedy.


Adapted from Maylis de Kerangal’s internationally acclaimed 2014 novel Mend the Living, Katell Quillévéré’s Heal the Living opens with three teenagers deploying their surfboards on a deserted beach at dawn, throwing themselves into the curls of deep blue waves. Pure sensation is the order of the day, and a prelude to a tragedy in their lives. Before long, a fatal car crash takes one of them.

Upon arriving at a hospital in Le Havre, 16-year-old Simon (Gabin Verdet) is pronounced brain-dead. Doctors broach the delicate yet urgent matter of organ donation to his distraught parents Marianne (Emmanuelle Seigner) and Vincent (Kool Shen). Here, Quillévéré steps back—let’s consider the enormity of the situation—and shifts her attention to the peripheral hospital staff: a disheveled surgeon (Bouli Lanners), a mousy organ donation coordinator (Tahar Rahim), and a put-upon new nurse (Monia Chokri). Meanwhile, Simon’s misfortune opens up the possibility for the continuation of life for another. In Paris, middle-aged mother Claire (Anne Dorval), whose degenerative heart condition is worsening, is put on a waiting list to receive a potential transplant.

Heal the Living is a meditation on human suffering, both literally and figuratively embroidered around hearts: the rhythm of our lives and a sound box for our emotions. Quiet human details, like parents’ farewells whispered into the ears of unconscious children, are magnified with soaring visual and sonic acumen—Tom Harari shoots, Alexandre Desplat scores—and it’s life affirming.


The César-nominated filmmaker spoke to FAULT about her big career lessons, discovering newcomer Gabin Verdet, and her dazzling elegy to life Heal the Living.


Could you describe your first encounter with Maylis de Kerangal’s novel?


It was somewhat accidental how I made contact with the material because it was actually David [Thion], one of the producers on the film, who introduced me to the novel. He had already put the idea in his head that it should be made into a film. When I first read the novel, I was already working on an original screenplay, so I wasn’t particularly interested in adapting it. But it was so powerful. I could see that there was something special there, so I made it a point to meet with Maylis. It was over time in the writing process that I really came to understand my intimate connection to the novel. It conjured up my memories of loss in the hospital and it replayed in my mind. Sometimes when you’re making a film, you confront and deal with things like loss, as well as desire. I hope this is the same kind of experience people take away after watching the film.


Was this a very cathartic experience looking back?


Yes, and I think that’s the essence of what cinema is. It should have this cathartic effect, both for the people making the film as well as for the people watching it. If you think back to the start of cinema and the whole fairgrounds thing, it was a way for people to confront fear, laughter, tears and even some danger, but at the same time, with a bit of distance from it all.


The film centers on Simon, then his parents, then the hospital staff, and then Claire and everyone in her orbit. This feels deliberate—underscoring the interconnectedness of us all.


You’re correct in your analysis because the movie is all about the human link. There’s no direct translation for this from French to English, but it’s almost like the film is in a relay where each character passes the torch on to the next person. That’s how this film was conceived. As you said, it begins with an individual, broadens out to include a larger community, and then society as a whole.




The opening moments with the surfers are absolutely breathtaking. I understand it was quite difficult to pull off. Why was it important that we see them at sea before tragedy strikes?


This was the most difficult thing to shoot. The water, the sea—it’s very powerful and something you can’t control. It was important that the film begins in the sea because it’s where all of humanity began. The idea of showing surfers at sea is a way of referencing the start of life and the end of life. It’s a metaphoric image when we see the surfers inside the waves. It’s almost as if they’re inside the mother’s womb. When the sea ejects the surfers, it’s as if a mother ejects the child during birth.


There are moments of fantasy that make scenes explode. The road the surfers are driving on turns into ocean waves, for example. How do you know when to indulge and daydream?


It was a challenge to achieve this kind of subtle balance between dream and reality. I found that, by striking this balance, it provided access into what is very profound in the film. On one level, the film is medical. On another level, the film is very physical. But then we’re also dealing with a film that’s metaphysical. To experience all of them and to have this trajectory from the trivial to the sacred when you’re watching the film, I needed to find the balance that you’re talking about. I think that’s what we’re really striving for in cinema. In life, you have the life you’re living, the life you’re perhaps afraid to live, and the life that you would like to live. I think cinema unites these three different ways of looking at life, which requires that balance between fantasy and reality.


You somehow managed to cobble together many of my favorite French-speaking actors into one ensemble, from Anne Dorval to Finnegan Oldfield. What was your approach to casting?


I can tell you that nobody came first. I really tried to build a team and think about it as an ensemble—something closer to a symphony. This is my first film where the casting felt like roulette. Prior to this, I had always thought about the person who came before and after in the casting process. I considered the physicality of actors, the emotional boundaries of actors, and also diversity. I wanted a diverse cast to reflect society. So I was interested in pulling actors from different kinds of movies and actors of different origins. I really wanted true personalities to encompass this story.


In order to experience the magic of seeing a transplanted heart beat again in a stranger’s body, you need the trivial details as much as the sacred ones.


I’m very curious about Gabin Verdet. Did you find him through street casting?

Yes, Gabin is an actual surfer. He had never acted before this film. It was a long casting process to find him and his friends. We saw like 200 surfers. I was always convinced that the person playing Simon would have to be an actual surfer because I wanted to shoot him at sea. It had to be real. Simon had to have the body of a surfer, which is very specific in its own way. [Surfing is] also a state of mind, so I really needed someone who had that special relationship to the sea. When you’re a passionate surfer, you risk your life. Gabin is a really passionate guy. He really wakes up at five in the morning every day to surf. [Laughs] I think you can feel that on his face, in his smile, and everything. I loved that he had a limitless potential. I didn’t have much time to warm this young guy up to the audience, so it had to be really strong while it lasted. And it had to be really lively.


There are other technical wonders: How did you film the painstaking open-heart surgery?


We spent a long, long time working with real surgeons to make it believable. There are many reasons why I wanted it to look exactly like reality. First of all, the science behind transplants always fascinated me and I wanted to do it justice. The idea of getting all the protocols and requirements correct on film excited me. Also, I’m convinced that the more realistic you are about capturing life on film, the more magical things become. In order to experience the magic of seeing a transplanted heart beat again in a stranger’s body, you need the trivial details as much as the sacred ones. Triviality is totally related to scared life. One doesn’t work without the other.


Heal the Living marks your third feature as a director. What are some of the more important things that you’ve picked up over the years about the key to making a very good film?


One of the important things that I learned is that, to have a successful film, you really need to start off with an excellent screenplay. You really have to work on the writing so that it’s really good before you start anything else. Also, once you have the solid foundation of a good screenplay and you’re ready to make the film, you have to be open to whatever might happen. You have to be able to deal with the weather, with suggestions that are made from other people… It’s really this line between mastering and controlling the script, and being open to what might happen once you begin shooting. This is extremely important and difficult. [Laughs] Controlling, and then letting it go.


Can you recall an early memory where you decided you wanted to become a filmmaker?


The earliest image I can recall is watching The Adventures of Tom Sawyer when I was three years old. I remember being fascinated by these two guys playing hooky. They were really unique and left an impression on me. I wasn’t at all programmed in an artistic way. I don’t come from a family of artists. I didn’t know people from the arts. My way of playing hooky became cinema.


Heal the Living was nominated for Best Adapted Screenplay at the César Awards in 2017. The film is set to open across UK cinemas on April 28.


WORDS—Reto Sterchi 

PHOTOGRAPHY—Ilaria Orsini 


FAULT Focus: How Mariatu Turay Overcame Homelessness To Run The Successful Fashion Brand, Gitas Portal.

As we gear up for the launch of our ‘Made In America’ issue which chronicles all the popular artists who have managed to excel despite growing racist, homophobic and sexist sentiment in the land they call home, we’ve been keeping our ear to the ground for more artists to highlight who embody this role. Today that comes in the form of African-Caribbean Fashion Designer Mariatu Tura who is on a mission to help woman stand out with her bold designs and inspirational story

Mariatu Turay is London based fashion designer and owner of Gitas Portal, a brand which wants women to stand out, be bold and win in all areas of their lives. Born in London and raised in Freetown, Mariatu was forced to leave Sierra Leone at age 16 due to the Civil War, her father was a government official and her family was targeted.  She moved to the USA and started working as a hair braider at the age of 16 in a salon to make ends meet for her family. She then learnt secretarial and office skills as a way into corporate America. By the time Mariatu returned to the UK, her entrepreneurial spirit was fully fledged and she used her hairdressing skills to pay her way through university. After brief periods of homelessness in the US and the UK she found her way back on track: “My family life and dreams were interrupted overnight – I went from having a good life to having nothing. No one in their right mind wants to be homeless and face the uncertainty of having nothing. The trauma is on all levels but I never lost my way at the most challenging of times. Always knew with hard work and kindness I’d make it.”

After a successful career as a civil servant in the UK, Mariatu decided to tap into her passion for fashion and creativity. With her dual Sierra Leonean and Barbadian heritage, Mariatu has been able to merge different multicultural influences from fashion, art, culture and feminine attributes into her work giving her brand a broader appeal.

Established in 2011, Gitas Portal is an affordable, mid-market, luxury brand that is known for sophisticated, feminine cuts and a creative use of West African textiles in beautiful elegant styles. The Gitas Portal motto – Be Bold, WIN, Wear Colour – is for the woman who is unapologetic about her beauty and expresses her style with confidence.

Mariatu opened the first Gitas Portal boutique in London in 2016.  As a self-taught designer-maker, Mariatu’s goal is to set a benchmark for African inspired fashion pieces, promoting quality, beautiful and well-made designs that will challenge and balance the sometimes poor perception of ‘brand Africa’.  As a designer and a wearer of her own pieces, Mariatu celebrates fashion and sees it as a unique expression of individual flair and the emancipation of one’s inner beauty. Her journey is indicative of her tenacity and is a testimony that despite any of life’s turmoil’s anyone can make their dreams come true.

FAULT meets rising star Fisayo Akinade

With a number of theatre accolades already under his belt, Fisayo Akinade first graced our screens in C4’s “channel-defining” series “Banana”, “Cucumber” and “Tofu.” After adding a big screen debut to his resume in “The Girl With All The Gifts,” we caught up with Fisayo to delve a little deeper into the life of this rising star.

Jacket by Levi’s

Your breakout role was in “Cucumber” and “Banana.” Can you talk a little bit about what it was like?

I had never really done screen before. I did a tiny role in “Fresh Meat,” which is a Channel 4 comedy. And so I had never really had an opportunity to do screen properly for the first time. When the audition came through for “Cucumber,” I was sort of really baffled, thinking: “I’ve never done screen; I don’t really know any of the producers.” Normally, you know somebody to get a role like that in a drama written by someone as prestigious as Russell T. Davies. I soon discovered that Russell likes to find new talent as does the casting director. And so, I just thought: “I’ll go in, I’ll do my best, and see what happens,” and then I ended up getting the role. Honestly, it changed my life. It changed my entire career path. It changed the agent I was with. It changed the work I was going up for. It was a real baptism by fire, because I had to learn very quickly how to be on a set, but luckily, we had the most wonderful, welcome cast and crew imaginable. You have Vincent Franklin leading the whole thing, and he was just so wonderful with me. Any questions I had, he answered without hesitation or without annoyance and you had Julie Hesmondhalgh; she was just wonderful. Although it was a bit of a baptism by fire, it very quickly became a joy and I was able to understand the inner workings of television drama. It was a real learning experience, but a joy, because I was surrounded by the most generous bunch of people. Also, I got to do a lot of crazy things at that job; I was very, very naked a lot of the time! Once you do that, then you can sort of do anything. It made me much bolder, I think, because you can’t half-do those things; you can’t half-do a sex scene ornude scene. You just have to do it. And so, it really emboldened me — the jobs I took afterward. It was a real eye-opener and a real formative experience for me.


It really kind of rerouted your career path. What were some of the best aspects of that happening?

You’re suddenly being seen for roles that you would never have in your wildest dreams considered. You’re suddenly up for a film that has Glenn Close and Paddy Considine and Gemma Arterton. “This is insane! When have I ever been afforded that opportunity?” You’re suddenly doing plays with Judi Dench and Mark Gatiss and Nina Sosanya and Hadley Fraser. You’re sort of thrust; it takes your career and not only raises it a level, but sort of shoves a rocket up its ass and fires you forward! So, I was suddenly in rooms, meeting and working with people that I never imagined I would work with.


That series explores 21st-century gay life. Obviously, that’s a hugely culturally important issue. How do you feel that’s impacted the prevailing culture?

The trouble with any drama that focuses on homosexuality is that because there are so few of them, all the hopes of the gay community get pinned onto this one drama, and no drama could ever hope to represent 100 percent of a particular community. And so, as true to life as I think it was and as honest a representation of certain types of gay men it was, I also feel that it couldn’t please everybody. I don’t think any show could. But for the character of Dean, I knew [people by the name of] Dean. I had met Deans. I had spoken to Deans. For me, it was very true to life, as was the character that Vincent Franklin played, Henry. I had seen them and I had heard about them and read about them or met these people in real life, so to see them represented was sort of amazing. It was odd, because we split audiences. Some audiences were going: “oh my god, it’s so true! That’s so me. That’s how I am.” And then a lot of people were going: “I’ve never met a gay person that speaks like that or talks that way in my life.” And so, it split audiences. But I think for me personally, I loved it. One, because the strength of the writing was just phenomenal: it was so raw and honest and so fully realized. The characters that were created were so real and vivid and unafraid to express their genuine feelings, whether that was “I’m really scared, but I won’t have another taste of adventure again, so I’m going to go live with a bunch of teenagers.” Or whether that was “I think my life is pretty boring, so I’m going to lie about my life.” All those sort of themes were the best things about it — those truly relatable things that people have, that they feel they are boring, so they fabricate stories, or they lack adventure, or they get intrigued by a slightly dangerous but incredibly sexy younger man, or whatever it is. The strength of the show laid in those universal truths.


Shirt by Natural Selection

You mentioned Glenn Close. What was it like working with her on “The Girl With All the Gifts”?

It was incredible. So, I was in my hotel room, and I got a phone call from the second assistant director. He said: “Glenn would like to run some lines, and she’s asked me. I told her it’d probably be better if she read them with an actor. Would you like to do it?” I said, “yes! Absolutely!” And so they sent the car and I went into her massive trailer and read the scene with her a couple of times, and then we just chatted. It was really lovely. And I said, “I’m so sorry; I have to talk to you about ‘Dangerous Liasions.’” And then she just told me all these stories: how much fun she had working with John Malkovich. It was incredible. The thing that I love about her is that she’s so generous, because she’s had such an extraordinary career, and she’s so generous with stories from all the films she’s worked on. She’s really wonderful in that respect and so much fun! I think you can build up an image of a person in your head, and you may think: “I hope she’s not this Hollywood diva who keeps to herself,” but she was with us the whole time, played backgammon. It was just wonderful. She was really a part of the team.


One thing that intrigues me when it comes to acting is the horror genre. Specifically, it produces by virtue of the genre itself some very surreal scenarios. What’s it like for you as an actor to try to put yourself realistically into these surreal scenarios and adapt to that world around you and act within it?

It’s odd! We all know the tropes of genre movies. And so when I was reading the script and I knew Gallagher is going to die, you know he’s going to die. I think everyone in the audience knows: “well, he’s going to die. He’s going off on his own in a zombie movie, of course.” And I think the thing is to get rid of that analytical part of your brain that says: “this is the bit where Gallagher goes off and dies” and just go: “no, this is the scene in which Gallagher wants to help his friends and find some food and bring it back to prove himself.” And you start to live in the mindset of the character, which then eliminates that second after-brain that’s floating above you, going “I know exactly where this is headed.” If you focus it down to what the character wants, then hopefully what you’re portraying is completely realistic and believable, even though we are adhering to the horror movie trope of “man goes out on his own and dies.” If you bring it into the mindset of the character, it eliminates that bit, and then you try to pour as much belief into the fake scenario that script-writers worked out as possible in order to make that situation hopefully set apart from all the others that have come before. There will be things that are always repeated in every genre movie, things that are staples. But what you hope is that you can put either a unique spin or an emotional spin or just a new beat in there that just slightly tweaks it, so it is the same trope or the thing we’ve seen before, but it’s slightly different. People go: “Oh, the way it happened wasn’t the way I’ve seen it happen before,” I think. I think that comes from rooting it in the reality of your mindset of the character.


So then, in preparing for the role, how does that differ from a normal role?

Honestly, it’s hard because I don’t think it does differ; I just think there are things you’re aware of. You’re aware that you’re in a genre movie and you’re aware that “this is the scene when,” but I think like with any role, you prepare it through the script and the character and his interactions with the other characters in the screenplay. You go: “so, he’s like this. He’s not seen the outside world for ten years and he’s sort of afraid of Melanie, but also is really intrigued by her. There’s a really nice mirror image of her discovering the world for the first time and him being discovered in the world that he’s not known for ten years. There’s a really nice mirror image there, and that could potentially bring them closer.” All that sort of stuff that is exciting less so than the shooting guns and all that stuff. It’s the character stuff that you focus on rather than the genre stuff, because that will happen anyway, but the thing that makes it interesting and the thing that will hopefully keep audiences coming back for more will be the depth at which you play the characters.


You’re starring in “In the Dark.” Tell me a bit about that.

So, that is a four-part drama based off two novels. They’re completely separate stories. The first two episodes are set in a country setting and have nothing to do with the following two episodes. But the thing that links them is our lead actress, played by MyAnna Buring. She’s a pregnant police officer. She’s the thing that links these two separate situations. In my two episodes, I play a young guy who has a new baby and is desperate for money and like a lot of young people, he doesn’t have a lot of options. He’s not particularly well educated, and so decides in order to get money, he will join a local gang and join in their drug operation. What happens is as part of his initiation, he has to shoot a car. That car happens to kill a police officer. Then, slowly but surely, members of the gang start being killed, and they don’t know whether it’s the police getting revenge or somebody else, and then, there’s a big mystery as to who’s killing off these young boys and why that particular car drove into that bus stop at that time, killing that police officer. So, it’s a mystery that deals with gang culture and being a female police officer in a very male-heavy world. That’s where the two characters meet, and what happens happens. It has a really cool conclusion.

Jumper and jeans by Uniqlo

I grew up in Cleveland, which has a big gun violence problem, so gun culture is always interesting and relevant to me.

I think what’s sort of amazing about it is actually the reason why you get into it. The co-director and I had a lot of conversations about why people get into it in the first place, and I think a lot of the time, it isn’t about wanting to be the big, tough guy on the street. It’s actually just about survival, and they’ve got no other options. They have seen they have no other options. Even the gang leaders, they become father figures, I think, to a lot of these boys, because a lot of the time, they don’t have fathers in their lives, and so, this guy with all this money not only gives them work and money, but also protects them. I think there can be a sort of genuine love there with those characters.


What are some of your hobbies when you’re not working?

I am very into comic books. I’ve just started the new Batman 52. It’s absolutely stunning. There is a myth, a Gotham myth, about a Court of Owls that have been running Gotham City for centuries. Batman doesn’t believe in it because it’s a myth. He’s never met them, and he thinks it’s just ridiculous and silly. There’s going to be a new mayor of Gotham. Bruce Wayne is helping this new mayor get into power because he thinks he’s the right guy, and they meet at one of the old Wayne buildings, and an assassin from the Court of Owls turns up, almost kills the guy who’s running for mayor and almost kills Batman. It’s incredible, and you go, “whoa! Who are these guys?” So, then they write the very next day on a wall in fire, “Bruce Wayne will die in 24 hours.” That’s before this assassin shows up and attacks Batman. So, you go: “do they know he’s Bruce Wayne?” As the comic goes on, you realize how powerful these guys are and how many people they’ve killed. They seem to always target Waynes, and so, there’s a mystery about whether they were responsible for Bruce’s parents’ deaths. It just gets more complex and complicated and dark. It’s very dark and scary, actually. There’s a point in the comic where he’s in a labyrinth. You have to turn the comic landscape, then upside-down, then the other way around. So, it sort of reflects what’s happening in Batman’s head. It’s absolutely stunning. It’s really beautifully drawn as well. It’s incredible. You have to read it. So, that’s sort of my main hobby, and I’ve started writing. I have a few writer friends, and I’ve spoken to them, and they’ve sort of given me the confidence to put pen to paper and start to write, which is really scary, actually and really daunting. But if you have an idea, I think it’s only best to follow through, so that’s what I’m doing. I’m writing a short film at the moment and I’ve got an idea for a series that I’m hoping to make eventually.


What’s the short film about?

The short film is about bereavement and the lengths a person will go to to achieve their desires, I suppose. I don’t want to say too much.


What’s it like coming from one side of the script to the other?

It’s quite daunting, but one of my friends said to me that if you watch a film and it isn’t a particularly good film and you sit with your friends and say: “oh, what they should have done is this, and they should have taken out that scene and done that” — he says what you’re already doing is editing the script. So, if you can edit a script, then you understand the story structure and narrative structures, which means that you can create your own narrative structure. And then, what it all becomes about is your voice as a writer and how you like to write, rather than whether you can or can’t, because you can, because you understand narrative structures. Then it becomes what your voice is like, how you want to present your story, your narrative to the world, your attitudes about your narrative voice. So, I think it’s quite nice and quite freeing, and it’s really nice to type three pages and see it, and go: “that’s the beginning of something.” And then you write a bit more and go: “actually, I can take out those first three pages and just start here.” And that’s really exciting. You’re building something, sort of like how a carpenter makes a table. It’s just a big hunk of wood, this really ugly thing, then it becomes this beautiful, ornate table or chair. I think it’s sort of the same thing; you just have an idea, you plop it onto the page, then you start chipping away until you’ve made a narrative you’re happy with, I think.


What would your dream role be?

Oh gosh! Theater-wise, I would love to play Belize in “Angels in America” or Levee in “Ma Rainey’s Black Bottom.” Those are two roles that I loved when I first read them and have stuck with me ever since. And then in terms of tele and film, it’s less about roles and more about genre. I’d love to do a big blockbuster film, just because I think it would be fun — like a proper big space odyssey blockbuster would be really fun. I’d really love to also work Paul Thomas Anderson. I think he’s one of the best directors in the world and his films constantly fascinate me. He shoots in a way that is really interesting and he writes in a way that’s really interesting and really dynamic. He really gets into people’s heads and his ideas are always so well-thought. I just think he’s incredible. And then you know, everything else! They’re the sort of main things. Also, I think TV is heading in such an amazing direction; over the last couple of years, we’ve seen some of the most outstanding writing from people and on TV. That’s something I’d love to get involved with, whether it be Netflix or HBO — whomever it is. I’m really interested in complex characters and fine writing.

Shearling jacket and Jeans by Levi’s, shirt by Universal Works.

You’ve worked in stage, TV, and movies. How does it compare, what’s your favorite? Tell me about the contrasts.

It’s hard because I don’t really have a favorite. They all offer merits of their own. Theater is such a great training, and it keeps you so sharp and alert, because you have no choice but to be completely in the moment with a person, because it’s happening live. So, it’s such great training: being in the moment, being spontaneous, because anything could happen. You could forget a prop, a set could fall apart, the actors could forget their lines and instead of saying: “can we go again?”, you’ve got to just improvise something and help your fellow actor. It’s such a collaborative, wonderful thing, theater, and I really love doing it. And then you’ve got film, which again is another medium that challenges you to be honest. You can’t really lie in front of the camera, because it picks it up. As soon as you lie or have a false moment, the whole illusion is shattered, and the audience go: “huh? That was weird.” And so I think the challenge for TV and screen is to be as truthful as you can, which is often about being relaxed. It’s about being relaxed and knowing your lines. I think what you need to do is be so relaxed and confident with your lines that all you are thinking about when you’re acting is what you are doing to the other person and what they are doing to you, so you can just react. So you’re not going: “what am I saying next?” Because all the audience will get is a sort of confused, half-performance, because your brain is occupied with remembering lines rather than being in the moment with your other actor.


Speaking of stage, you’re starring in “Saint Joan” at the Donmar. How did you prepare for that role?

Because it’s all based off historical fact, I read as much as I could about Joan and particularly about King Charles VII. It was fascinating, and the thing is: all that research, the audience won’t see about 90 percent of it. A lot of it isn’t in the script. What it does is color certain lines. If I hadn’t done the research, I wouldn’t have known that his mother and father disowned him, and that has an effect on a person. It’s suggested in the script that he’s a coward, he can’t fight, and he’s not a soldier. He’s not a military leader in the way that a lot of kings were. He was more of a strategist. I wouldn’t have known that if I hadn’t done the research. So, what happens is as you do more research, it props up and fills the text that is already there with another layer of complexity, which is always really interesting to play, because then, rather than just saying the lines, you’re saying the lines with a sense of the history where that line has come from and what that line means. So, when he talks about his father or talks about his great-grandfather, it has a certain weight to it that wouldn’t be there if I hadn’t done the research. Then, you just go into the script and you read it as many times as you can and get those lines in your head and make some choices and then get in the rehearsal room and genuinely just play: “I wonder if I could try it like this. And do that thing there…” And then you slowly, with the director and writers, build something that makes sense and serves the play and the story.


He’s historically such a complex character. I imagine that’s a really rich character to play.

It’s so lovely, because he’s incredibly funny. He’s written incredibly comically. That comes from a sense of wit, which is again George Bernard Shaw highlighting the character as much more brains than brawn, because wit is about a sort of intellectual dexterity, I suppose. So, you’re able, through his wit, to see that he has brains, and his brains ended up winning the Hundred Years War. It wasn’t him going into battle and wearing armor, it was him going: “if we make a treaty with these people, ally ourselves with these people, then we can amass these numbers and go to war with them and prepare ourselves.” He was much more a thinker. So, then at the same time, having that strategic brain, he’s a terrible coward — just likes to stay in bed and eat sweets and cakes and be looked after and not really have to do anything or have any responsibility. And so, you’ve got these two sides of him that are doing battle, I suppose, which it is his birthright that he should be king, but he’s terrified of what that means, which is really lovely and fascinating to play.


What do you want to do in the future then?

I’ve been very, very lucky, I think, actually. I’ve been able to work with some fine people. I mean “fine” from casts, to crews, to directors, to writers, and I just would like that to continue in whichever medium it takes, whether that be screen, stage, or TV. I’m just interested in good, complex, interesting work, work that I can stretch myself in, because sometimes, I think there can be a danger of being typecast, and so you end up playing very similar roles. I feel I’ve been quite lucky in that I’m not really too many parts too similar. I’d like to keep that trend going, because I think it stretches you as an actor and as a person, because you get to learn about a varied range of people and situations. I had no knowledge of the Hundred Years War or of Joan of Arc or of Charles VII at all until I started “Joan.” I’d like to say now I can hold my own in a conversation about them, and I think that’s a real asset. I think it’s one of the big positives of being an actor: you get to explore things you wouldn’t normally choose to look into. On an average day, I wouldn’t decide to pick up a book about Joan of Arc, but I have been — quite a few of them now — and it’s opened my mind to Joan and the Hundred Years War and all of that stuff. I think that’s the one of the best things about being an actor: you get to explore things you wouldn’t normally choose to.

Jacket and t-shirt by Natural Selection

You mentioned that you’re getting into writing. Are you looking to try your hand at anything else like directing or?

I would quite like, because I have a visual brain, to direct. I’ve done a bit of tele and a bit of film, but I don’t know the inner workings of directing yet. I’m getting there, and every time I do a job, I ask everybody: “what’s that you do? How do you do it? How does that feed into this? What’s your role? Ok cool.” And so I’m amassing a knowledge of how to direct and how one would even begin trying to. I would love to direct something, something I’ve written as well, but not star in. I don’t think I have the sort of impartiality to watch me. I think we’d end up doing my scenes for weeks on end until they were perfect. I’d give that to someone else. There are amazing people that can direct and star in their own stuff. I don’t think I could do it. I’ll hand it over to someone else.


Is there anything else you’d like to chat about?

The cast of “Saint Joan” are so collaborative and open. I’ve been so lucky with casts, actually. It genuinely feels fresh every night, because everybody is so on it and so focused that the tiniest little change in intonation is picked up by everyone, and sometimes, entire scenes can feel differently because one person does something slightly different, which then has an effect on everyone on stage. You can only achieve that stuff if you are working with actors that are completely and totally with you. They’re not acting for their own sense of ego, they’re acting to serve the story. So, what happens is a collective “ok, we’re moving in this direction.” It’s really, really wonderful to be a part of and to work with people that intensely connected. I just want to give shout-out to them, because they’re amazing.


That sounds like a wonderful experience.

I’ve been lucky. My “Cucumber” and “Banana” cast were exactly the same. It was just wonderful; it was a joy every day. And the thing is, to me personally, I have to work from a place of joy. I can’t do it otherwise, I don’t think. I think if I’m not happy or there’s just something amiss, I find it really hard to then give the best of myself. I think you’ve got to come from place of joy and warmth. I’ve been very lucky with the casts I’ve had over the years. They’ve all been wonderfully joyous. It just helps.


What is your fault?

I think I’m quite ambitious, which is great, because it means I work hard at the roles I get and the work I get, but it also means that when things aren’t going my way or I feel like they’re not going my way, it can really negatively affect me. I do get a bit down when an opportunity that I’m really excited about passes me by or a job that could lead me close to say my goal of working with Paul Thomas Anderson or HBO — whatever it is — slips through my fingers. I think the fact that I’m so ambitious and the fact that I want those things so badly or to experience those things so badly can sometimes make me get a bit down in the dumps about it. Me being ambitious is a double-edged sword, because it propels me to do well, but also, when things don’t go my way, it makes me a little sad.


“SAINT JOAN will be broadcast live to cinemas on Thursday, 16th February. For tickets go to:

Words – Alex Cooke

Photography – Stephanie YT

Styling – Plum O’Keeffe

Grooming – Justine Jenkins

Photography Assistant – Erica Fletcher

Styling Assistant – Natalia Schegg

FAULT Magazine Reviews: The Detox Kitchen

The festive season is now a distant memory for most but for those in the fashion industry, we’ve only now gotten over the month long hangover brought on by the early January LFWM. From December’s Christmas parties to glutinous Christmas dinners and champagne filled fashion events, you’d be forgiven for letting your health regimes slide in the past months. However, it’s a new year and now it’s our turn to get back on our health kick with a good old fashion detox.

This is no way my first detox, but in truth, it is the first one I’ve ever kept to. I’ve found that with a hectic lifestyle and the lack of local restaurants offering nutritious selections that I’ve never been able to find the correct food to fit my diet. Whether shooting in studio or out on location with a very unhealthy 9am-9pm work schedule, I’ve never found to time to precook my meals for the days ahead.

Enter, ‘The Detox Kitchen’ – a food delivery service which promises to “take away the stress of planning, shopping and cooking healthy meals.” This certainly isn’t the first product on the market to deliver fresh food to your door but it is however, one of the few who will deliver the food pre-cooked and pre-packaged early each morning. In the past I’ve tried services who deliver fresh food once a week with cooking instructions but as everyone in the creative industry knows, finding time to cook a different meal every day is certainly a luxury we don’t have. In that vein, we imagine The Detox Kitchen will be a much welcome solution to our very common problem.

For my trial, I opted for the Green with Protein package which included three meals a day, three fresh juices as well as snacks, teas and natural wheatgrass, spirulina and ginger shots to keep the immune system and energy levels going strong each day. All in all, the package equalled 1200 calories with 50g of that being lean-protein which fit well into the workout meal plan that I was also conducting at the same time.

Before we continue it’s important that I mention that I like food; I really like food. I like spicy, well seasoned and often mightily unhealthy food so I was not at all expecting to enjoy the meals that came – I’m happy that I was proved wrong.

Starting my morning with a bean pot is rather unusual for me but all things considered, it was rather tasty. Enjoyed alongside a shot of wheatgrass and ginger I was satisfied with the portion size. In truth, a light breakfast was a far better way to start my day than the usual café pastry and overpriced coffee I’d become accustomed to.

Each meal also comes with a paired cold press bottle juice which I packed in my bag with the rest of my meals for the day. This day’s juices consisted of Apple, celery and ginger, Broccoli, kiwi and lime and Pear, celery, mint and lemon – all were pleasant. On other detox programs, I’ve found that their juices were far sweeter and more flavoursome than The Detox Kitchen and after totting up the grammes of sugar in the smoothies provided by other companies, The Detox Kitchen offerings were far healthier. It’s commendable to find a service who truly cares about the wellbeing of their consumers. Instead of supplying a crowd-pleasing sugar-rich smoothie, the Detox Kitchen have done their research and found a blend which is both pleasing to the palette but one that also fits into the dietary requirements of the customers drinking them.

Throughout the day I snacked on the nuts and grains included in the pack as an energy boost which took the place of my standard packet of “healthy” salted popcorn. They were a nice pick me up between appointments and a good addition to help you stick to the detox diet when you’re feeling a little peckish between meals.

The lunch was surprisingly filling, I couldn’t actually finish it in one sitting and as said, I love food! It was a celery and tomato salad which came with a dressing containing hints of lemon and coriander. At this point, I’d only eating salads and drank smoothies and a tea but I was never wanting for more or different foods. I’ve tried many…many diets in my time and always felt that I was forcing myself to stick to them. There’s something in the convenience of a pre-packaged lunch that made this detox so easy to stick to. Also note: you won’t just be eating vegetables for a week long detox! Depending on your selected dietary needs, you can expect to receive burgers and other foods previously thought to be on the detox blacklist.

Arriving home for dinner and it was time to eat the Salmon which as a fussy eater I was a little apprehensive of. The food packages arrive at around 5am (don’t worry they’ll leave it in a convenient predetermined spot of your choosing) and I usually would collect them at 6:30 and pop my dinner in the fridge and pack everything else into my bag. I was expecting the salmon to be dry and not well seasoned but to my surprise it was unbelievably fresh. This might seem like a small feat but remembering that it had been cooked at least 12 hours ago and no indication of when it was caught – the fact the dish tasted anywhere near fresh was an amazing discovery. Well seasoned and accompanied by a hefty salad, I was extremely pleased with the results.

After three days, I had enjoyed a wide variety of meals and juices from the service. It is important to fit the calories into your own daily routine. Be sure to do a personal health check to find out how many calories someone with your lifestyle should be consuming and match the plan to your results. As I was exercising and work an active job which doesn’t tie me to a desk, I did prop up my calories while on the plan to meet my macros.

Depending on your diet, The Detox Kitchen costs between £30-40 which might seem steep but after tallying up all the café bottled juices and sandwiches and snacks which I’d grab between appointments we found that all things considered The Detox Kitchen is in fact rather reasonably priced. The food you receive is of restaurant standard and on the high street alone, a pressed juice can set you back more around £5; we’d go as far as saying the price point is a great deal for the amount you’re receiving.

Would we recommend The Detox Kitchen I hear you ask? If you have an active lifestyle which doesn’t allow you to prepare your meals in advance – then by all means The Detox Kitchen is for you. We found that the times we really depended on the service was during London Fashion Week and other times when our schedules were anything but fixed. With a relatively low-calorie count for myself, it’s not a sustainable diet nor do I believe it’s meant to be. The Detox Kitchen isn’t a service meant to replace the standard ‘once a week food delivery services’. Instead, it’s most effective when you work your food orders around your own lifestyle. On their website, you can move your deliveries for the dates which best work with your schedule. If you’re looking for a short term detox or want to ensure that a day in your diary is filled with the nutrient dense and balanced meal, then look no further than The Detox Kitchen.

For more information, head over to