Matthew Lewis Broods Inside FAULT Issue 23


Matthew Lewis has played one of our favourite characters for ten years as Neville Longbottom in the Harry Potter film series. It’s been a while since the series has ended and his evolution as a performer is undeniable. We caught up with Matthew on his upcoming projects, working opposite Alan Rickman and the awkwardness of becoming a teen heartthrob in this FAULT Magazine photo-shoot and interview.


Can you tell me a bit about your life after Harry Potter? How did your career play out after wrapping 10 years of wizarding?

I decided to do a play, for 192 times haha. When it came down to it, I didn’t really know what I was doing. It was such a different school of acting than what I was prepared for. Getting up on stage, everything has to be bigger. You can’t internalize, as much as you can on camera, it has to be all big for the audience to experience it.  And I just didn’t get that and I think I was shouting for most of it. Someone described my voice as being ‘excruciating’ and I remember reading that review and going like ‘ohhh shiiiiit, 191 more shows to go’.  And I think I just had to really knuckle down and watch the other actors and directors. Before the end of it, about 3-4 months into it, I just clicked. By the end of the run, the reviews were the complete opposite. I learned how to project my voice instead of just screaming at eye-level.


Did you find it difficult breaking the Harry Potter mold?

Not really. The first thing after Harry Potter, I played a guy who was not very nice. He wasn’t exactly a desirable character. And then I did a film where I was rough and ready; I was capable of throwing my muscle and weight around a little, completely unlike Neville. I don’t really get offered those types of roles anymore. The lovable, vulnerable, cheeky, Neville-type roles. They just never come up, it’s not like I’m getting them and turning them down. Maybe I’m just really good at being a dickhead haha.  Neville was quite complex in his character, with his history and things like that, but I am more drawn towards characters that are shades of grey. I don’t like the idea of black and white. I’m drawn to characters that make me question things. What made him this way? Why does he want this? Why is he behaving in this manner? That’s what I find interesting. And you can only get that from complex interesting characters.




 Alan Rickman must have been a pillar for both yourself and your career. How did you react when the news came through of his passing?

I was at Leavesden Studios the other day, visiting the set of Fantastic Beasts and I was with the producer who did all the Harry Potter films. He was taking me around the studio when the news came through. We were both just completely stunned. But also, to be in the studio when that came through, suddenly every room that I went into, every corridor that I walked down on, I suddenly remembered a story or an image of Alan. It got a bit odd. It was quite surreal. But also, powerfully moving as well. It was quite nice to be there. All those happy memories came flooding back and I got quite nostalgic actually. I went back home last night and just watched loads of interviews with him. It’s hard to describe. On his last day, I had a cup of tea with him in his trailer and we just sat and chatted about the future of my career and what I should do. He just offered me advice in where I should go and he said some things to me that filled me with a lot of confidence. And when you hear those sorts of things from someone of his stature, his ability, it means a lot



What do you make of people calling you a sex symbol now?

Oh come on, that’s just a lot of make-up and good lighting. I’m not a sex symbol, Jesus, no.


Teen heartthrob?

No, come on, no, oh God.


I’ve completely embarrassed you at this point.

Yeah! Cause I can never see myself as that. When I grew up, my sister was obsessed with Take That. So people like Gary Barlow or Robbie Williams, they were like sex symbols. David Beckham and you’ve got your Ryan Goslings. They’re the heartthrobs. I’m not; I’m just a weird looking bloke from Leeds who keeps getting jobs on telly for some reason.


What’s your FAULT?

I’m very stubborn. To the point of almost childish immaturities. On the flipside, I do stick to my guns.






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Reliving the 90’s at Hot Since ’91 Karaoke Event


Chokers, VHS tapes, TLC, Clueless, the 90’s replay in our minds over and over again, but one night in London is offering the chance for partiers to once again relive the glory days. Equipped with our tie dye tees and chokers, we took a trip down memory lane to Hot Since 91’s Karaoke to experience the magic.

HS91 isn’t just another flimsy 90’s themed night where they’ll play the Fresh Prince soundtrack before returning to the usual “Pitbull Clubchoonz Megamix” playlist. No, Hot Since 91 takes the 90s very seriously. This isn’t a karaoke event in the sense that you get in a private booth and drunkenly croon along to ‘Angels’ in a sweaty huddle. This is a ‘Live at the Apollo Amateur Night’, where you either turn up ready to snatch wigs with your beat-perfect rendition of Left Eye’s verse of Waterfalls or you unceremoniously get booed off of stage like a 13-year-old Lauryn Hill did back in 1987. We’re not lying, check out the video below…

We chose not to get on stage but the performances were indeed fire, so much so, we’re pretty sure some of those on stage had rehearsed before hand. Along with the singing, the night also featured free chicken, free candy floss and a host of nostalgic entertainment in their 90’s games room which is kitted out with a SNES, Connect Four, Operation and many other games.

Themed karaoke events are nothing new to London. Hip-hop karaoke has been a well-known event for a couple of years however they don’t take the theme nearly as far as HS91. Even the photo booth on the upper floor had a prop-box full of nostalgic items to pose with.

All in all the night was fun and a different way to spend a Friday evening. They do however need to work on a few things. The karaoke continues past 2am, that’s far too late. It’s fun and quirky but there is a point when you just want to dance to the 90’s music as opposed to watching Destiny’s less talented children perform them.

Suddenly after the karaoke portion of the night ended, the music made a complete shift. The 90’s tracks which partiers performed all night suddenly became a full on Grime mix which was strange and out of place for a night which was previously based on everything 90’s. We might love Stormzy, but I don’t recall running into HMV in 1995 to buy his latest cd.

If you’re after a fun and unique night, we would definitely recommend HS91. It’s a rather lively night so don’t wear your finest heels as they will be trampled and there is very limited seating. This is a night to relive youth, if you’re after a calm bar for your Friday night then steer well clear but if you want something fun, quirky and new, HS91 has you covered!

Find out more on their website

Get your tickets on YPlan

All photos: HS91

We talk to the breakout star of indie film CHICKEN: Scott Chambers

Sir Ian McKellen has called his performance “an astonishing debut: intriguing, enchanting, moving”. So enthralled by director Joe Stephenson’s indie film was he, that Sir Ian got on board as a financial backer. Here, we get an insight into the film by its lead breakout star – and British Independent Film Award-nominated actor – Scott Chambers.


Fault: Your character, Richard, has learning difficulties. TV shows and films that address such issues are often scrutinized – how did you prepare for the sensitivity of the role? Did you do much research?

Scott: For the role a lot of preparation went into it, especially with Joe the director. We would speak endlessly about exactly happened to him directly from birth all the way up until the present moments in the film. I felt very cautious about stepping into playing a character who is mentally challenged , so I avoided watching other actors performances because I wanted Richard to be my own. Prior to the shoot I was lucky enough  to have some rehearsal time where myself and Morgan Watkins (who plays Polly) developed the entire background for the characters. Morgan Watkins who plays Polly is truly incredible to act opposite. We worked very closely prior to the shoot together writing our character biographies, but from our own characters perspectives. Morgan’s would be a lot darker then Richard’s, possibly because Polly knows the truth and was exposed to things Richard wasn’t, which was interesting. There’s a few areas that are answered in the film, but some that leave the audience to decide for themselves. Ultimately, it was for me and Morgan to really clarify every question, so that we knew exactly what had what had happened since birth to the present circumstances.

Fault: Sir Ian McKellen is a big fan – and a backer – of the film. How are you finding all the attention and support from such an iconic actor?

Scott: The generosity of Ian McKellen is mindblowing… for him to support the film how he has done. For a film like ours, it really truly needs any help it can get and with the following Ian McKellen has, he really can bring people that may not usually see the film into the cinema.

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Fault: What was it like working with ‘Chicken’ director Joe Stephenson? How did the two of you come to meet?

Scott: Working with Joe was genuinely incredible – he is basically Richard too. He was always there for me and supported every decision or idea. I think it was slightly easier in a way for us working together because we already had a strong bond and we both trusted each other completely, which I think with this project, if the trust wasn’t there that it could have turned into something else.

Fault: They say never to work with animals, but of course your best friend in the film is exactly that. What was it like working with chickens?!

Scott: I was definitely cautious about the chicken at first, and thought it would be a bit of a problem but she really wasn’t. We had two on set, I named one ‘Shy’ and one ‘Confident’. When I would have a scene that involved running, I would want Shy as she stays still. If I had a scene with a monologue to the chicken, or a bit of dialogue, I’d get Confident because she would always give me something back.


Fault: What’s next for Scott Chambers?

Scott: Next up I have ‘The Hippopotamus’ coming out, which is a film based on the Stephen Fry novel where I play Roger Alam’s gothic son (think Green Day x10). I am currently filming ‘Hush’ in Glasgow which also stars Celia Imrie and Florence Pugh. After that I am about to reunite on something with Joe Stephenson too.

Fault: Finally – what is your fault?

Scott: I am complete over-thinker! I always look into things and tend to get anxious about the stupidest of things. Currently working on calming myself down.

Chicken is in selected cinemas now. You can watch the trailer below, and find Scott on Twitter.

Photography Jack Alexander

‘SING STREET’ star Lucy Boynton shines in her exclusive Fault shoot

At only 22 years old, it seems like Lucy Boynton has been in everything—music videos, horror movies, BBC mini-series, World War II period pieces, you name it.

Her extensive filmography has culminated in her performance starring in Sing Street, which comes out today, as the mysterious Raphina. Her next endeavor will be Rebel in the Rye, a biopic of iconic author J.D. Salinger, in which Boynton will play Claire Douglas, Salinger’ second wife.

Lucy and I spoke about character development, Irish accents, performing across genres, and what it means to be an actor.

Dress: Claudie Pierlot

Dress: Claudie Pierlot

FAULT: How did you first get into acting?

Lucy: I very much had an interest in it from the age of 10, when we had this fantastic drama teacher who introduced the idea of acting as more of an investigation into how people work—how people function, and why they function that way. And how to emulate that rather than just, you know, playing pretend. Then at the age of 12, I was very lucky to be in the right place at the right time; a casting director watched over a drama at my school, and she chose me to audition to play a young Beatrix Potter in this film called Miss Potter. I got the role, and the casting director, Priscilla John, then introduced me to my U.K. agent, Olivia Homan, who I’m still with.

FAULT: In Sing Street, Raphina is such an interesting character. Can you explain the process that brought her to life?

Lucy: Sing Street was actually really unique because the director, John Carney, wrote the script based loosely on his own experiences and people he knew growing up. I approached it wanting to honor that, and wanting to honor Raphina exactly how he had written her. But John was very keen for all of us to contribute so much more to our characters. On the first day of rehearsal, he kind of said, “What do you want to do with her. Where do you want to take her?” It was slightly unnerving at first, but as soon as I worked with John, we kind of decided on her story and her background. We decided the way that I was going to play her and the way we wanted the audience to receive her.

Dress: Claudie Pierlot

Dress: Claudie Pierlot

FAULT: How was doing an Irish accent?

Lucy: It was extremely intimidating. I had never had to do an Irish accent for a project before. So in preparation for the audition, I watched lots of Irish films and interviews with Irish accents to try and get that rhythm that is so unique to the accent. I didn’t actually work with a dialect coach while we were filming, which was rather daunting. But for the reason that John didn’t want the accent to be identifiable to a certain region. The whole point of Raphina is you can’t pinpoint her. You don’t really know her story or where she’s from. So that was definitely a daunting part of the process, but I think it worked out well.

FAULT: What does Raphina need in life, and what is she willing to go through to get it?

Lucy: Because of the life Raphina has had, she has learned to exist in a very specific way, which is to keep everyone at a safe proximity. She hides behind this façade of confidence and presents herself in a way that she is happy to be viewed. So at the beginning of the film, I think she just wants to be wanted. She wants to be close to someone, but she is also very much afraid of that. Connor is the first person who really pushes through her barriers and stays with her. So I think her motivation changes throughout the film; you see her go from a very lonely and hurt person, to wanting to let him in. You see that throughout the film, how she challenges him and throws him pieces of information about herself in very plain language. So things like jumping in the water and revealing shocking pieces of information about herself do challenge him to see if he can handle that.



Top & Shorts: Markus Lupfer

FAULT: You’ve also done a lot of horror movies. How is acting in a horror flick different from acting in a drama?

Lucy: I think in a horror film, you still want to maintain the naturalism that you do in a drama film, and you want to make the situations as true as possible. But you’re much more conscious of the audience’s response while you’re filming a horror film. Whereas with something like Sing Street, you’re just trying to make the character and the situation as pure and real as possible. With a horror film, you’re still trying to do that, but with a motive to inject fear into the audience.


Pierre Cardin, Vintage 1969 @ William Vintage

FAULT: In Rebel in the Rye, you’ll be playing a real, living person. How does your approach to playing an actual human being compare to your approach to playing a fictional character?

Lucy: I guess you’re more liberated when you have a fictional character in your hands. You have a lot more territory to roam, and you have a lot more freedom with where you want to take her. Whereas when I play someone who was real, or is still alive, there’s definitely a greater pressure to honor the person and do justice to their experience, or whatever you’re doing with the character. When I played Angelica Bell in Life in Squares, I was extremely lucky in that she had written a book called Deceived with Kindness which documented everything we were covering in the episodes. So I very much stayed true to that and didn’t try to add my own experiences or personal interpretations. I just want to stay true to their experience as well as I can.

FAULT: Is there anything else we can look forward to seeing you in?

Lucy: I’ve got The Black Coat’s Daughter coming out late this summer, which is written and directed by Ozgood Perkins. That’s a very exciting horror film with Kiernan Shipka and Emma Roberts. And I’ve just finished filming, in Canada, another film with Ozgood Perkins called I Am the Pretty Thing That Lives in the House. And that’s a ghost story with Ruth Wilson. Also, earlier this year, I filmed a movie in Vienna and London called Let Me Go. That’s based on the book by Helga Schneider. It’s a true account of her mother abandoning her when she was a child to go work as a Nazi soldier in Russia. It’s a beautiful film directed by Polly Steele.

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Pierre Cardin, Vintage 1969 @ William Vintage


FAULT: What is your FAULT?

Lucy: I’m very British in the sense that I apologize for myself probably more than I should. You know, when I go to L.A. and I bump into someone in the street, I’m always saying, “Sorry, sorry, sorry.”


SING STREET is in cinemas from today.

You can find Lucy on Facebook and Instagram.


Words Cody Fitzpatrick

Photography Jack Alexander

Styling Holly Ounstead

Make-Up Justine Jenkins using Green People

Hair Fabio Nogueira @ Frank Agency using Bumble & Bumble

Make-Up Assistant Kat Sunnucks

Field Day 2016 to be the best yet?

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Fied Day 11th & 12th of June, returns to our local Victoria Park in East London. A staple in our festival diary we’re very excited to be joining in the fun with headline spots from James Blake and PJ Harvey. We have high expectations from the return of Gold Panda having recently announced his 3rd album, due for release on May 27th.

Field Day are delighted to reveal the new line-up additions that will be joining headliner PJ Harvey, and previously announced artists including Beach House, Daphni, GOAT, John Grant and Thurston Moore Band on Field Day Sunday 12th June.

Field Day are thrilled to welcome Air, the French outfit whose sound has been influenced by the psychedelic and progressive rock pioneers Pink Floyd. With a string of hits under their belt, Air will treat fans to a special set of their classics, demonstrating their seminal signature sound this Field Day Sunday. Air are perhaps best known for their 1998 debut ‘Moon Safari‘ which went platinum in the UK and for a short while seemed to define the musical zeitgeist. They’ve also composed elegant soundtracks for Sofia Coppola’s Lost in Translation and The Virgin Suicides.

Joining Air will be the hugely successful Australian rock band The Temper Trap. With the band’s third album on the horizon, Field Day are extremely excited to welcome them on Sunday 12th June as they showcase their new material at the Festival.

It’s been ten years since the recently announced Mystery Jets broke surface with their debut album, ‘Making Dens‘. What’s kept Mystery Jets consistently fascinating over the last decade has been an itchy footed desire to keep trying new things. Given the strength of their new album ‘Curve Of The Earth‘, the next ten years looks set to be as exciting for listeners as the last.
Field Day are also excited to announce New York native sing-songwriter and filmmaker Adam Green. With his new hyper-sensory, poetic and humorously subversive ‘Aladdin‘ project currently making waves, Green will perform new tracks from the album at Field Day this June.

Hair-raising and pulse-quickening, indie punk rockers Fat White Family will also be on board this Field Day Sunday 12th June. Formed in a Peckham squat, the band have now released their second album ‘Songs For Our Mothers’, hailed as rich and fascinating both lyrically and musically.
Brooklyn-dwelling singer-producer Empress Of will bring her deconstructed R&B rhythms and skittering, minimalist beats to a Field Day stage. Whilst fresh off the back of his new album ‘Meet The Humans‘, Steve Mason swings musically across dance, pop, folk, dub, and deep house influences, remaining lyrically adept and open.

Finnish accordionist Kimmo Pohjonen Skin will also be on board, known for his avant garde and experimental work with his custom-made electrified and modified instrument. Kimmo proudly counted the late David Bowie as one of his fans, who invited the artist to his 2002 Meltdown Festival in London. Finally, Field Day are excited to welcome the astonishing voice, thunderous rhythm and euphoric drone of D.D Dumbo and Italy’s Mind Enterprises who will bring his vibrant take on dance to Field Day Sunday.

Field Day Saturday 11th June 2016

James Blake
Anna Meredith / Ata Kak / Avalon Emerson / Bicep – Live / Champion / Coves
Danny L Harle / Dean Blunt / Deerhunter
Dilly Dally / DJ Koze / Dusky / Floating Points – Live / Fakear / Fickle Friends
Four Tet / Frisco / Gillbanks / Girl Band / Gold Panda / Greco-Roman Soundsystem 
Hattie Whitehead / Holly Herndon – Live / Jackmaster b2b Gerd Janson / Kelela
KiNK – Live / Little Simz / Loyle Carner / LUH / Mabel / Meilyr Jones / Metz
Motor City Drum Ensemble / Moscoman / Mount Kimbie – DJ Set / Mura Masa / Nao 
Nimmo / Novelist / Orchestra Baobab
 Paradise Bangkok Molam International Band /Plastician / Real Lies
Red Axes – Live / Rejjie Snow / Roman Flügel / Roots Manuva
Shock Machine/ Siobhan Bell / Sleaford Mods / Slimzee / Skepta / SOAK
Special Request / Tale Of Us /The Black Madonna
Wild Nothing / Wooden Wisdom & DJ Fitz /Yorkston Thorne Khan Yeasayer
Youth Lagoon

Field Day Sunday 12th June 2016

PJ Harvey
Blossoms / Beach House / Ben Watt Band feat. Bernard Butler
Cass McCombs / Daphni / Declan McKenna
Formation / GOAT / Mbongwana Star / Molly Nilsson / Moon Duo / Optimo
John Grant / Junior Boys / Parquet Courts / Shearwater
Tangerines / The Brian Jonestown Massacre / Thurston Moore Band / Tourist


Tickets are still up for grabs:

The A Game: FAULT talks to one of the UK’s most versatile actors, Lee Ingleby

Typecasting is always the mortal enemy for actors, but that is a problem which Lee Ingleby doesn’t suffer. Lee is the antithesis of typecasting, sashaying from roles such as torturous serial killer in Luther, to a loving father of a five year old boy in BBC1’s The A Word. Lee’s adaptability which underpins his convincing performances in roles worlds apart from one another, has led him in to the position of being one of Britain’s most sought after actors.

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Top – Topman / Trousers – American Apparel / Trainers – Clae

The A Word has been tremendously well received for tackling a sensitive issue that is too often parodied in TV and film: Autism. Written by the author of BAFTA-winning Marvellous Peter Bowker, I wondered if it was purely the writing that attracted Lee to this difficult role, or if the allure was more widespread than that.

Lee: Well, it was the writing entirely really. I got sent the script and I remember the producer telling me it was by Peter Bowker and I knew his work, of course, and I thought that if anything, it would be a good read and it really was. I think I mainly liked it because at its core, it was just about relationships and how they struggle; it is matters of the heart. There are a lot of dramas at the minute – which while great in their own way – are about crime or dragons and I love all of that, but with this, it is one of those dramas that is just about people and how they struggle.


FAULT: Certainly, and in a way, it’s often the simpler concepts that resonate with the viewer.

Lee: Absolutely, and I like that fact the script is so honest. It wasn’t set out to say “oh, look at me, please like me”. This is one story, about one family and one kid with autism. It is about how they deal with it and about how they don’t deal with it. It isn’t pretty, you know, it’s not showing how every family is, but rather how these guys dealt with it.


FAULT: That’s true; it’s as much about their failings as their successes, and that less linear approach rings more true to life.

Lee: Exactly. They aren’t an idyllic family; they struggle to communicate and they’re a product of where they are from, their time and the family circle.

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Jumper – Universal Works / Jacket – Percival

FAULT: Is it difficult to prepare for roles as emotionally charged as this one?

Lee: Well, yes it is in a way as you really want to get it right. Because it is a subject that touches an awful lot of people and even though everybody’s experiences of this sort of thing will be different, you really want to make sure you get it right when dealing with this subject matter. You do have to do a lot of research but also, it was funny: we all started off doing a lot of research but then we realised that perhaps we’re doing too much. We’re playing a family who doesn’t know how to deal with the situation. So we decided to pull back slightly and let ourselves discover it through the script as the characters would because we shot it sequentially.


FAULT: Preparation for roles is a topic I wanted to touch on again. I am a huge Luther fan and your role as a serial killer in that is in one of the most intense episodes there was. Obviously, that role is worlds apart from The A Word and I notice you play roles with enormous disparity between them. Is it difficult to go from one to the other?

Lee: It’s an absolute joy to be honest. To be able to disguise yourself and do something completely different – and in the case of Luther, literally disguise yourself – it’s great. I think as an actor that’s exactly what you want: to be almost unrecognisable. You might have the same face and the same build, but one minute you are a serial killer who is trying to create a myth and folklore and the next playing a Dad who relies on his humour as a defence mechanism and by all accounts is just a normal, Northern Dad. It’s lovely to play bastards and it’s also lovely to play people with real heart and soul.

FAULT: Yes and it really is a testament to you as an actor that you don’t find yourselves in very similar roles continuously. I’m naive when it comes to acting; I’ve never really done it. One thing that I’ve wondered, particularly in regards to your part on Luther, is how you research the part to make it convincing. I mean, I don’t know many serial killers. So how do you ensure you are convincing in that sort of role?

Lee: The thing with all these films and TV shows that people remember is – although you have a great crew and director – it comes back to the same thing: it’s all in the script. Of course, you do your research as much as you can but it’s all there [in the script]. Neil Cross who wrote Luther is so good that he creates these worlds with believability and I think when playing serial killers, you have to find the human behind them. I didn’t want to be the archvillain with the eyebrow raised, because then people will just spot him a mile away. I don’t know many serial killers either, but these people like the Yorkshire Ripper… these are guys you walk past in the street; they’re seemingly normal! People are always saying things like “oh God, I had no idea!” when they lived next door to a serial killer.

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Shirt – Farah / Trousers – Levis / Shoes – Clae

FAULT: Speaking of Luther, you’re currently in a show slightly closer to that at the moment which is called The Five which has its finale this week. The first thing that struck me about it, being the photographer I am, is how incredible the cinematography is!

Lee: It’s great isn’t it? Being a good looking show is quite unique for a British drama I think. They wanted it to have an edge and a different feel to it; it just brings you in. You may notice that a lot of the shots have the camera right in people’s faces; that’s exactly what the director wanted. He wanted the viewer to see exactly what’s going on in the characters’ eyes. There are these sweeping shots in this small British town because he wanted to create this grand piece because each of these characters’ lives is a big deal and that’s what he wanted to push. I think it’s brilliant; Mark [Tonderai] is a great director.


FAULT: The Five is slightly closer to Luther in terms of the type of show it is. Do you particularly enjoy this sort of role or are you happy just taking different roles as they present themselves?

Lee: I like to just see what comes in, really. Of course, I see films and I think that there are parts that are an actor’s dream and I would love to have played it. The classic roles like Hamlet or Richard III represent a challenge to an actor as you have to tackle the dialogue and create these worlds on the stage. However, I think that’s true of any theatrical part to play; you have to inhabit it and bring it to life. I get excited when I’m given a new script and I get to discover what it’s all about.

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Shirt – Farah / Trousers – Levis / Shoes – Clae

FAULT: I imagine it must be exciting jumping from role to role. Is there a type of part which you prefer to play?

Lee: No, I don’t think there is really. All I do try and do is play something completely different to my last role and I do that as much as I can. Obviously you’re limited by what’s out there and what people want you to do. I just like taking on roles and seeing what I can do with them and who I can collaborate with.

FAULT: Yes, I can see how that approach can keep things fresh!

Lee: Absolutely, I suppose it’s that thing where I knew pretty early on I was never going to be James Bond. Those sort of roles that have a chiselled jawed jock… I was never going to be that guy. So I decided I wanted to play the parts that have real character – not to say that they don’t – but instead play parts that I can make my own in a way.


Jumper – Scotch & Soda / Jacket – Universal Works / Jeans – Nudie Jeans / Shoes – Clae

FAULT: What is your fault?

Lee: I find decision a hard thing… does that count as a fault? 

FAULT: Absolutely, I suffer from it as well!

Lee: I can’t deal with it! I think the grass is always greener and that’s my Achilles heel.


You can follow Lee on Twitter.


Photography Jack Alexander

Styling Felicity Gray

Grooming Shamirah Sairally

Words Robert Baggs

Sonar Festival: Barcelona

After two years we’re very excited to re-visit this June arguably the best festival in the world, Sonar, in the heart of Barcelona. The festival is split into two parts divided into Sonar by Day and Sonar by Night.

Sónar by Night completes its program with German duo Booka Shade -celebrating the 10th anniversary of their most popular album, “Movements”- and three highly reputed djs from the international clubbing scene: Britain’s Eats Everything and Kode9 (also performing at Sónar by Day with his show “The Nøtel”), and Spain’s Coyu. Red Bull Music Academy adds new names to the SonarDôme stage, combining established artists -like Underground Resistance presents Timeline, Gerd Janson and LiL Jabba – with up and Niño de Elche & Los Voluble – coming talent such as Lafawndah, Sevdaliza, Jacob Korn, Astrolith and Spain’s TalkToMe, JackWasFaster and John Grvy, among others.
El Guincho, one of Spain’s most adventurous musicians, will showcase his third album live, the remarkable, forward thinking “HiperAsia” arriving six years after “Pop Negro”. Three musicians, two samplers, a synthesizer, processed guitars and synth bass will accompany the producer from the Canary Islands onstage. The film “HiperAsia. Animated Lyrical Adventure” directed by the Barcelona studio Manson will also be screened as part of the show.

Global rhythms and folklore revisited take a leading role at this year’s festival with newly added artists Ethiopian Mikael Seifu, Colombian Las Hermanas, joining concerts from Ata Kak (Ghanaian funk), Nicola Cruz (Andean electronica), AcidArab (Maghrebi house), Nozinja (Shangaan electro) and Congo Natty (Jamaican roots dub and jungle).

Also noteworthy among the line-up’s new additions are leading producers and djs from Spain’s national musical spectrum including Alizzz, Strand, NMO, LloretSalvatge, Ilia Mayer, Cauto and the duos bRUNA & Wooky(debuting their new joint project and performing with visual artist Alba G. Corral) and Zero + Chelis, two of Spain’s most respected DJs, playing together for the first time.
After the overwhelming success of last year’s show, Niño de Elche & Los Voluble return to Sónar this year to debut their new experimental flamenco project “In the Name of”. The audiovisual show that highlights the Mediterranean as a hub of cultural exchange, combining today’s European border policy with unpublished texts from feminist thinker Paul B. Preciado and ‘canta de iday vuelta’ flamenco songs.

Sónar 2016 tickets and passes on sale at


Word: LXN Collection

Get The Look In 5: Twiggy

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Twiggy, the ultimate 60s fashion icon, we get her beauty look in 5…

1. Complexion Rescue Tinted Hydrating Gel Cream, bareMinerals
This gel cream is the best of a BB, a CC, and a tinted moisturiser, alleviating the need for a heavy foundation, giving a smooth tint to your face.

2. Longest Lash Thickening and Lengthening Mascara, Jane Iredale
For those who want it all, this mascara gives the look of defined, full and longer looking lashes.

3. Fluidline Eyeliner, MAC Cosmetics

An eyeliner that combines the vivid pigment of Fluidline with the versatility of a pen, it is super easy to apply for the ultimate Twiggy look.

4. Burberry Kisses, Burberry Beauty

For buildable lip colour try Burberry Kisses in nude pink.A rich blend of satin-finish pigments and shiny polymers gives luminous colour brilliance. What’s more the range is infused with Burberry’s signature blend of rosehip, tea and lavender to give continuous hydration.

5. Gloss Drops, Paul Mitchell

Perfect for all hair types, Paul Mitchell Gloss Drops gives a long lasting shine finish for a slick style a la Twiggy. It’s an ideal product for smooth, shiny and frizz-free hair.