Actress Charlotte Spencer gives us an insight into her new BBC1 series ‘THE LIVING AND THE DEAD’

Charlotte Spencer, Screen International’s Star of Tomorrow 2015, is heading back to yesteryear in new BBC One drama The Living and The Dead, set in Somerset at the end of the 19th century. She stars as Charlotte alongside Colin Morgan as her husband, Nathan Appleby – a young couple, whose new life in the isolated English countryside is threatened by strange, unsettling, and dangerous supernatural forces. FAULT sat down with Charlotte to talk corsets, elephants and spooky on-set happenings ahead of the new six-part drama, airing on BBC 1 this June.

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White Shirt – Di Liborio / Black jacket – Di Liborio

What was it that drew you to the role of Charlotte Appleby?

Well, since I was a child, I’ve always wanted to do a period drama; my parents would always ask “Why are you putting on Lark Rise to Candleford? Why do you like this?” and I just was like, “I love it! I want to be in it!” So it’s a dream being fulfilled, really. Also the character, Charlotte, is so cool – she’s quite a modern woman for her time, and that’s what drew me to her.

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Top & Shoes – Topshop / Pink long floral skirt – Michaela Frankova

What sort of research and preparation is involved in getting ready to star in a period drama?

Colin and I had a lot of rehearsals before shooting, and we would go through things like the way we stood, little etiquette things, like you had to make sure you didn’t slouch or anything – it’s very hard to slouch in a corset anyway, believe me! And you want it to be realistic so, as much as they’re quite a modern couple for their time, they still have very Victorian values. Even though we wanted to stay true to our characters, we had to remember that they are living in Victorian times.

Are supernatural or horror shows something that you enjoy watching?

Yeah, I love anything that’s a bit out there and original, and I’m pretty into supernatural stuff – I’ve been watching American Horror Story and things like that for a while now. I’m watching a lot of documentaries at the minute, like Life and Death Row, which is really interesting and kind of insane.

I love all the dramas that are out as well, I think TV is in a really good place right now; Peaky Blinders is great and I’ve really loved Undercover, it’s amazing. Basically, the BBC is smashing it at the minute!

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Black & white Polka Dot Mesh dress – Jayne Pierson

After wanting it for so long, what was it like to be part of a costume drama at last?

I’ve loved every minute of it, I really have! Learning how to be in a corset on set was the hardest thing, but everything else I’ve absolutely loved. The costumes were amazing, so beautifully made and really well put together, they were just fantastic. Our designer also made sure that, because Charlotte Appleby is quite a practical woman, all my costumes were practical – but the beauty of them was well maintained. Our characters are living on a farm, so all of the costumes had to be farm-ready.

So, now that you’ve fulfilled one dream, what’s the next thing you’d like to check off?

For me, the main thing that attracts me to a project is good characters. I’d love to do a Western, or something with swords or gun slinging; a cowgirl kind of thing, that’s what I’d like.

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You’ve previously starred in the West End, in Andrew Lloyd Webber’s Stephen Ward, is that something you’d like to do again?

Definitely, I love it all – musical theatre, theatre, film, TV, all of the genres. Musical theatre is where I started so I hope that, if the right part came up, they would have me back!

Outside of acting, is there anything on your bucket list to do?

I love animals, so some way of helping animals would be on the list – I love elephants, and I really, really want to go and help at an elephant sanctuary. But, at the same time, you have to make sure you’re around for work opportunities that might come up, so we’ll have to see.

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Off-shoulder pearl dress – Zuria Dor

What was it like behind the scenes of a show that’s so full of spooky goings-on?

It was great, genuinely! There were odd things that happened in the house now and then, because we were actually filming in a very old house; we’d hear noises and footsteps, and sometimes you thought someone was behind you, but they weren’t.

At one point the sound department decided to keep recording equipment in the kitchen overnight, and when we listened to it back you could hear these vibrations, and what sounded really strongly like someone clapping. When I was listening to it I thought someone was standing behind me and clapping, so I turned around but there was nobody there, it was all on the recording. But we never felt scared. We would scare each other more than anything else!

What is it that makes this show different to other supernatural dramas that have come before?

I think probably that it’s not trying to scare you – well, okay, I suppose it is – but it’s character driven, primarily. The hope is that viewers will love the characters, that you’ll care about them and what happens to them, more than all of the supernatural things that are going on.

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Hat – Mini Tran / Off-shoulder pearl dress – Zuria Dor

Judging by comments across social media, people are very excited about the show – without giving too much away, what can they expect?

Yeah, Colin has a lot of fans and they are all very sweet. I hope people like it and watch it. It’s different, but I think that’s good – you’re going to be shocked! There are some very good cliffhangers after every episode. I think that you’ll get really into it and start to understand the characters and, even by the end of the first episode, people are going to be like, “Oh my god, WHAT?!”

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Hat – Mini Tran / Off-shoulder pearl dress – Zuria Dor

Charlotte, what is your fault?

Oh wow, I have loads, I’m full of them! I suppose I’m quite loud. I sometimes think that everyone is on the same level of loudness as me but, no, they’re not. I can get a bit carried away with things, like I’ll be on a night out and dancing really enthusiastically and my friends are like “Charlotte, nobody else is dancing, just you.” So, I’m not always very aware…

The Living and The Dead is available now on BBC iPlayer, and will air every Tuesday beginning next week, 28th June, on BBC One at 9pm. You can follow Charlotte on Twitter and Instagram.

Words Jenny Parkes

Photography Jack Alexander

Styling Kate Sutton

Make-Up Natalie Viner

Hair Jonathon Eagland using John Frieda

Special thanks Wheatsheaf Tooting Bec

Preview: Caity Lotz Exclusive Photoshoot and Interview for FAULT 23


Caity Lotz has worn many hats in her career as an entertainer. Starting out as a dancer she toured with Avril Lavigne, Lady Gaga and appeared in a whole host of music videos for some of the biggest names in the industry. Caity then joined girl-group Soccx who enjoyed two top ten hit singles in Germany. Despite all of Caity’s success as a dancer and musician, it was her acting performances as Sara Lance on the hit TV shows Arrow and Legends of Tomorrow which finally saw Caity step out of the shadows and into the limelight.

We caught up with Caity to find out about her journey as a performer and just what it takes to play a hardened assassin on screen.



When did you first realize that acting was the dream?

I didn’t start acting until I was 21. Before that I was a dancer and in a singing group. I never pictured myself as an actor or even having a career as a performer. No one I knew had a job like that so I didn’t know that was an option. But I just followed the excitement and worked hard and I ended up being really fucking lucky because now I get paid to pretend to be an assassin.


Comic book fans aren’t the friendliest. They hate any interpretation of characters from comics that don’t exactly match what we think should happen. Is that a conscious pressure for you?

I feel very grateful to be embraced by the community even though my whole character is pretty much nothing like the comics. There was no Sara Lance, there was no “Canary” only “Black Canary”, and the “White Canary” in the comics is totally different. Though Sara Lance does really capture the essence of badassery that is at the heart of these comic book characters, so hopefully that counts for something.

What have your interactions with fans been? 

Amazing, touching, and sometimes weird. I’m super lucky to be able to travel all over the world and meet fans, it blows my mind how universal shows like Arrow and LOT are. Stories people tell me about how they’ve been inspired or empowered by my character melt my heart. A lot of LGBT fans really appreciate Sara representing a bisexual character and I love that I get to be a part of that. Fan interactions can be kind of weird as well. Like when people stare at you or take sly pictures but don’t actually come up to you. It makes me paranoid.


People write about you all the time. Bloggers, twitterers, and reviewers. It must be hard not to lose a sense of yourself when everyone has an opinion of you. How do you remain grounded?

I have a very good crew around me. We’ve all been best friends for over 10 years and they don’t let me forget who I am. I think I’m actually pretty good about not taking it personally. I’ve done a lot of work (and am still working) to raise my self-esteem and that’s like a bulletproof vest. How do you raise your self-esteem? Accept and embrace who you are and how you look. Which is easier said than done I know, but it’s possible and the only person standing in your way is you.






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Check out Luke Pasqualino in his exclusive shoot and interview for Fault Online

Luke Pasqualino rose to fame in 2009 for playing teen skaterboy Freddie McClair on Skins. Now, he portrays d’Artagnan, a 17th century French swordsman, on the BBC drama The Musketeers.

In his interview, he discusses resiliency, justice, and what it was like to play a silent assassin who spoke only by pointing at his many tattoos.


FAULT: How did you get your start in acting?

Luke: I got into acting when I was like nine years old. I joined a local drama workshop that was maybe an hour and a half every Monday night after school. I tried everything as a kid—football, ice hockey, tennis—and I got bored of those things very quickly. But the drama workshop was the one thing I never really got bored with, so I knew I was kind of onto something with that. And I really started to enjoy it as I got better at it. Then I left school at 16 and I worked for a couple of years—as a pizza chef in my cousin’s restaurant, and sweeping floors at my dad’s hair salon. And then, at 18, I got an agent and my first acting job, Skins.


Shirt – Levi’s / Jacket – Levi’s / Trousers – Outerknown / Shoes – Timberland

FAULT: But the first time you auditioned for Skins, you actually didn’t get the part, is that right?

Luke: I didn’t. I auditioned for Nick Hoult’s part originally.


FAULT: How did you bounce back from that rejection?

Luke: I think in this industry, you take a lot of knock-backs, especially in the early stages of your career. You get more knock-backs than you do successes. So it really does test your stamina and perseverance—having to push past the failures. You kind of become immune to it; you become conditioned to bring yourself back up. You learn from not getting jobs. I think, in everything really, you have to push through and move forward.


Jacket – Parka / Shirt – Oliver Spencer Loungewear / Trousers – Levi’s


FAULT: In The Musketeers, what’s d’Artagnan’s motivation?

Luke: He’s a very hard worker; he grew up working on a farm, and he’s always had a talent for swordsmanship. But the thing that really drives him is his appetite for justice. He’s always wanting to make sure that people are treated well and have equal rights, and that no one gets what they don’t deserve. You know, he’s a real patriot of France, and he’s just a good man who doesn’t like to see bad things.


Jacket – Parka / Shirt – Oliver Spencer Loungewear

FAULT: What’s the weirdest or most interesting role you’ve ever played?

Luke: The one that really sticks out is from a movie I did called Snowpiercer. I played a character called Grey who was actually a silent assassin. He didn’t say one word in the entire movie. And he was totally tattooed, so he would communicate by pointing to different words on his body. I had to get tattoo makeup for three hours every morning. He was quite a beautiful character.

And I learned so much from Bong Joon-ho, who directed it, as well as my incredible peers from the cast—Chris Evans, Song Jang-ho, Tilda Swinton, and Octavia Spencer. Playing Grey also taught me a lot about myself, so it was a very interesting role, especially because I couldn’t say a word.


FAULT: Did the inability to speak make it difficult for you to communicate the character to the audience?

Luke: My character was very expressive in his movements. Grey was sort of the protector of John Hurt’s character, Gilliam. He was a fighter; he could become this absolute raging monster when Gilliam unleashed him, so a lot of great story could be told with his actions. The character was actually really good for helping me move into the realm of getting a message across without saying anything.


Jumper – John Smedley / Coat – J Lindberg / Trousers – Samson & Samsoe

FAULT: Is there anything you can tell us about what we’ll see in upcoming episodes of The Musketeers?

Luke: Well the whole series this year, there are more adversaries, both physical and emotional, which the musketeers will have to bring to closure in combat. Paris is a very different place at this point. Every character has a good journey, and there are some surprises.


FAULT: Apart from The Musketeers, what are you working on right now?

Luke: I just finished a movie earlier this year called Solar Eclips (spelled like that!). It deals with conspiracies about Gandhi’s life. That comes out next year. And I’m currently shooting a five-part drama for the BBC called Our Girl, which comes out later this year. So yeah, I’m getting around.


Jacket – Folk / Jumper – John Smedley

FAULT: What is your FAULT?

Luke: I’m quite impatient. Not all the time, but sometimes. You know, like I kind of get crazy when I get stuck in traffic, stuff like that. I get antsy because I like being on time, and I don’t like waiting for people very much.


You can catch Luke on Facebook, Twitter and Instagram. The Musketeers continues on BBC1, Saturdays at 8.30pm.


Words Cody Fitzpatrick

Photography Jack Alexander

Styling Felicity Gray

Grooming Natalie Viner

Alicia Keys Exclusive Covershoot and interview for FAULT Issue 23

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Editor: Miles Holder + Nancy Lu l Photographer: Zoltan Tombor @ SeenManagement l Stylist: Chaunielle Brown l Make-up: Dotti using SK-II @ Streeters l Hair: Tippi Shorter @Fr8me l Manicurist Michelle Matthews l Styling Assistants: Nyjerah Cunningham, Steven Lasalle, Sphinx Rowe, Catherine Mekondo


We’re happy to finally be able to reveal our FAULT Magazine Issue 23 Front Cover Star, Alicia Keys!

It has been fifteen years since the release of her debut album ‘Songs in A Minor’ which scored the singer/songwriter five Grammy Awards and the name Alicia Keys is still a well-respected household name. Playing the role as Skye Summers on the hit TV drama, ‘Empire’, fans were able to see Keys display her acting skills and this autumn Alicia will return to our television screens for her debut season as a judge on The Voice USA.

FAULT caught up with Alicia Keys to discuss the new music and find out just what it takes to carve a long-term career in the modern music industry.

FAULT: What is different between the Alicia Keys releasing ‘Songs in A Minor’ in 2000 compared to Alicia Keys of 2016 working on her “best music yet”?

Alicia: One thing I appreciate hearing from people who have known me for years, is when they tell me “Alicia, you’re still the same.” Of course I’m not, I’m a woman now and much wiser and I have more understanding of my life, music and art but I am still the same spirit. Fearlessness and becoming more comfortable in my own skin and caring less about what I would say or do, was always at the core of my original work – now with all the life I’ve live and all the things I’ve learnt, I am still the very same.

Being a proven singer and songwriter, did that give you more confidence and flexibility with this LP?

I always feel confident in my ability to explore my vulnerability and to do something that I’ve previously never done in hopes that it was going to take me somewhere. As opposed to being too controlled and forced to make it something that’s not. I definitely created this album with real purpose and intention to talk about things I’ve never talked about before.


FAULT: You’ve always fought for respect through your music with tracks like ‘Superwoman’ or “A Woman’s Worth’, are you also touching on these issues in the album?

I just feel women are the most magnificent species. We are the creators and closest to God. There’s so much to learn about what women go through and what women of colour go through and what womanhood just puts on you. There’s so much to face and learn, so much still to be respected and so much equality still being withheld. The desire to talk about it and discuss the inequality is there, and it’s definitely a theme for me and I have a desire to talk about it on this album and just go further. I just can’t wait for people to hear it.



FAULT: We recently lost Prince and who admired you enough to allow you to release a cover of his song and someone you inducted into the Rock and Roll hall of fame, did it come as a great shock?

It was definitely a great shock and I am still taken aback. I feel like the whole world feels the same. He was definitely an enigma and will always remain that way. He was so fiercely dedicated to the greatness and expanded the level of excellence and that’s what should always be maintained. He pushed himself and I’ll never be as good as Prince but in a positive way. No one can be Prince, he’s the only one but that’s the beauty of him. He set the bar so high that we all have something to strive for.


What is your FAULT?

I’m learning to try and let go of the word “perfection”. It’s not real and it’s a word that tears us down. There is no way to be perfect and no fun in being perfect. You can’t be happy unless you let yourself be vulnerable and make mistakes because we’re always evolving. No one knows it all and I damn sure don’t know it all! I force myself to look in the mirror and own who I am and to own MY beautiful. So what that I have breakouts or so what that my knees are pudgy, there simply is no perfect. Once I can teach myself that there is no perfect and that I am meant to have my FAULTS, that is when I become beautiful.

[We couldn’t have put it better ourselves.]





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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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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

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