![]() ![]() And then, when I was offered, I got the whole thing and it all started to make sense. When I was auditioning for it, I got just my segment, so I had no concept of what the whole thing was, apart from a collection of six small stories. Did you get the script for the whole film or just your segment? But as long as I’m doing interesting interesting roles and I’m happy really. And then these past two years has just been screen work, so you think ‘Oooh, it’d be nice get some theatre work. I remember I had a year in the theatre that was pretty solid back-to-back theatre and by the end I was thinking ‘I could really do with some screen work! Because I am knackered!’ I’m not saying the screen work is any less. No, I mean, what I find is that often when you’re doing more of the one medium you want to do the other. Are you at a point where you’ve got a preference between theatre or film or TV? And I’m just trying to make sure that is always the yardstick, so to speak, in the work that I do. But I’ve always wanted to do the parts that I find most interesting and the projects I find most interesting and that’s always been my measure for what work I do next. I’ve always wanted to do interesting work, not necessarily the sort of role that’s the biggest or whatever you’d like to call it, in terms of the game of playing within the industry that I think some people quite rightly choose to navigate through. How much thought goes into the variety of work when choosing roles?Ī lot of thought. ![]() You’ve done some excellent work in The Hothouse and King Lear on stage. So it was a very conventional sort of audition stage thing. And I met them again and then was offered it after that. So yeah, I started off with a tape that I sent to Ellen Chenoweth, who was casting it, and then Joel and Ethan were in London, so I went to meet them and then pretty much as I was leaving leaving the room, I got a call saying they’d like to see me again tomorrow. The Coens are always very good finding just the right person for each role. I mean, you look at all that body of work and all the people they’ve worked with and the films they produced and the sort of variety of films, you know, the fact that they dip in and out of different genres, they’re not ever stuck in one form, they’re truly geniuses in that respect. Just to get the opportunity to go in and meet them in the auditions stages was wonderful and then to be offered to be in it was just a brilliant happening. Did you ever expect to see your name in a Coen brothers film? ![]() Jeff Bridges, Frances McDormand… Harry Melling. We catch up with Harry as the film premieres at the London Film Festival, to talk Netflix, Liam Neeson’s relationship with horses and how a young British character actor got a starring role in a Coen brothers picture. Now, he’s about to do the same in the Coen brothers’ latest film, The Ballad of Buster Scruggs – not bad for an actor that some may best know for playing Dudley Dursley as a child.Ī six-part Western film, Melling stars in Meal Ticket opposite Liam Neeson, playing a quadriplegic actor who recites famous literary speeches for Neeson’s near-silent impresario – but despite his eloquent delivery, the crowds begin to dwindle, testing the relationship between the two men. Capable of unpredictably switching from menacing to silly and from quirky to tragic, he’s impressed repeatedly over the years alongside Jon Simm and Simon Russell Beale in Harold Pinter’s The Hothouse, Frank Langella in King Lear, and Robert Pattinson in The Lost City of Z. Harry Melling is one of the most interesting rising stars of Britain’s stage and screen. ![]()
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