James Murphy’s Interview Sketchbook
The Actor: Gus Gallagher
Gus Gallagher is an actor to watch. He began his career as a child actor, appearing in ‘Children’s Ward’ and countless plays. And he crafted and grafted at drama, even during ‘A’ Levels at King Edward’s school in Birmingham. I was in a few of Gus’ classes during that Arcadian sixth form era.
I ultimately gave up on acting, and on winning the hearts of the lovely girls from the school’s drama societies (‘Am –Dram, thank you Mam?’). But Gus’ commitment to acting never wavered.
Now 29, Gus shrewdly divides time between television and theatre. You should remember his recent turn as a recurring baddie called Boscard in BBC spy drama, ‘Spooks’. You might even have been lucky enough to catch his recent theatrical turns (notably ‘Journey’s End’).
Gus has the gravitas of James McAvoy, a voice like Russell Crowe and a look of Ewan McGregor with a dash of Chris Pine. In short, he is a rising star and household name in waiting. Quite a nice bloke, too! I was lucky enough to catch up with Gus as he launched his latest project, ‘Partly Political’...
JM: 'Partly Political': what's it all about?
GG:
It's a political satire following the campaigns of the three major candidates vying for a seat on a suburban district council. It's been made for youtube. All episodes are under five minutes long. I think it's definitely worth a look. Find it on http://www.youtube.com/user/PartlyPolitico. All comments gratefully received - so long as they're nice ones.
JM: Are you political yourself? And indeed, do you think that acting has become a more political medium or is it a good escape from such responsibility??
GG:
I'm not sure I understand what it means to be 'political'. Everyone's got an opinion, whether they choose to express it in private, in public or not at all. Personally, I tend to choose all three - but that's one of the beauties of living in a democracy. I think we forget sometimes just what an amazing freedom that is. I don’t go on many marches, or sign many petitions, but I try to stay abreast of what’s going on and I like to think I read and listen enough to form my own opinions.
I actually think acting and the performance media - be it theatre, television, radio, film etc -have become less political than I gather they were twenty or so years ago. But I think this is mostly to do with general apathy, regrettably. I also think it's a wonderful escape from that very responsibility. Half the point of satire is exercising the right to shine a light on dysfunction, without the burden of suggesting a better alternative.
JM: Acting is a precarious trade, even at the top. What are your survival tips?
GG:
I've never been to the top, so I wouldn't know what life is like up there, but I'd be surprised if you ever get really comfortable. It is precarious insofar as you don't always know what's next - and even when you do have things lined up they can always fall through at the last minute - but you get used to it!
I'm not sure I'd be qualified for tip-giving. But I’d like to think that I've acquired some mechanisms to make the whole ride smoother. One is to stay active, whether you're working or not.
It's really easy to nosedive - even when it's all seeming to go well - but people are attracted to positivity and intrinsically repelled by negativity and that becomes pretty important when you're constantly seeking work. Lots of actors write, some paint or play in bands. Anything that allows you to keep your creativity flowing is well worth the effort.
I think another thing to be aware of is that – (contrary to popular belief) - casting directors generally work really hard and are constantly scouring the ranks of lesser-known actors when filling roles. However they often have to stay within very specific parameters and can normally only submit a handful of names so this is a very long-winded way of saying not to take it personally, and they do know who you are - the good ones anyway! -
JM: You do as much theatre as television, if not more so. Conscious decision? Or just a question of taking each job as it comes?
GG:
I do less television than theatre. I'd like to do more TV, but then I'd like to do more of everything, including theatre. It tends to be a case of ‘what comes up’ when you're at my stage!
Occasionally you do have to turn jobs down - either because of a scheduling clash or because it's just not what you want to be doing - and it's important to do that sometimes, if only to remind yourself of the little control you have over your career.
I don't subscribe to the idea that it's better to be doing anything than nothing, but something I have learnt is that it's often the least attractive jobs which yield the greatest results.
It's also not necessarily the worst thing in the world to be reminded once in a while that it's not a linear career path you've chosen - that you can find yourself playing the lead one moment, and a spear-carrier the next. A bit of humility never hurt anyone too much.
JM: You played a recurring baddie in the BBC drama 'Spooks'. Best of both worlds? You get to be in a series and have that sense of family..but not be too tied to it?..
GG:
Yeah, that was a great job. I didn't recur for very long but it was enjoyable to find myself returning a few times to work with a pleasant bunch of people and be paid a decent wage.
JM: Any anecdotes of encounters with famous stars / other personnel in film / tv / theatre that you'd like to share with us?
GG:
So many, I couldn't possibly fit them into this tiny space!
JM: Do you covet any 'name' roles? Doctor Who? James Bond? Or even just a character from a favourite play you'd like to have a go at?
GG:
I would LOVE to play Jimmy B! Aside from him, I'm still chasing the elusive Henry V and I always thought a young Macbeth with an older Lady M would be an interesting dynamic.
Hamlet certainly interests me, but I think slightly more as a play to direct than a part to play. But I've been really lucky and been able to cross off some desirable roles already - namely Stanhope in Journey's End, Mercutio in Romeo and Juliet and Iago in Othello, though I wouldn't mind another stab at him. I've got Romeo coming my way too next year - just in time, before I get too craggy.
JM: It's a world of 'instant celebrity'. Does that annoy you when you craft and graft as a professional actor?
GG:
Not really. Honestly, they're welcome to it, as far as I'm concerned. Being well-known for good work is great but I don't see the upside of total strangers reading what your favourite Chinese takeaway is. Then again, I've just bored your readers with my thoughts on political apathy, so maybe it's just a slippery slope!
JM: How do you prepare for a role? And do you have a basic 'warm up' routine before each performance?
GG:
Each job's different and requires its own preparation. I always make sure I limber up before a show, but I'd be lying if I said I did a thorough warm up of body and soul before every scene. I'm far more interested in being in the right head space and staying focussed. You can still have a cup of tea and a chat, but you just keep the motor running for when you need it.
I don't think it's necessary to exhaust yourself for the sake of it. That said, I do think it's essential - for yourself, your fellow actors, and whoever's watching you - to be utterly ready to perform any stretch the role demands - be it physical, mental or emotional.
I also believe quite fervently in respecting other actors' individual processes, and doing my bit to create an environment in which everyone feels totally safe to explore and take risks, and possibly fail.
JM: Do all actors have to have good physical skills? Hand /eye co-ordination? Action? Song and dance?
GG:
I think it's important to have a good physical awareness. Every single one of us is alarmingly well-tuned to physical signals. We can read from the tiniest outward signal if we think someone is nervous, lying, cold, tired, uncomfortable etc.
I've always found it fascinating how you can tell whether someone standing right the other side of a crowded room is looking at you or the person behind you. So for an actor I think the more they can be aware of what signals they're giving off, the more they can manipulate them.
The same is true of the voice, but then why wouldn't it be, since it's all part of the same instrument? In terms of singing and dancing, I guess that any skill you have, no matter how unusual, may prove useful at some stage. I did a TV job last year that I would never have got if I couldn't drive a truck. Fortunately I could, so I did.
JM: You were brought up in Birmingham. Do you miss Br'm and do you think sentimental attachments can actually impair actors' careers, seeing as they have to 'keep moving'??
GG:
I'm very fond of Birmingham, and I'm proud to be from there, but I’ve been gone nearly ten years and I can't say I miss it too much. I went back a few years ago to work at the Rep and the city had changed so much - mostly for the better - that I barely knew my way around anymore.
But I think it's a great city - though I'd love to see it further embrace its own cultural contribution. It's home to the CBSO, The Rep, The Royal Ballet and so much more, and yet it's still known for the Black Country Museum and Jasper Carrot.
I think it should be the Edinburgh of the Midlands. And the RSC's only just down the road of course. I don't think I am sentimental in that way, so it's difficult to answer but I do think it helps to be ready to pack a bag and live out of it for a couple of months at the drop of a hat.
JM: How do you unwind? I mean, can you just 'watch' a play or film now without dissecting its performances, professionally?
GG:
I think you can watch something with a critical eye and still enjoy it. I like films and plays. I like cooking, and eating - I'm really good at eating. I really like walking - I started walking round London as much as possible about a year ago and it's fascinating.
London's full of little green bits that are sometimes so thin you can barely see them on maps. I can now walk from Wood Green to Peckham (10 miles, north-south) only spending about half the time on roads. I haven't done it yet, but I can. Whenever I like. Maybe tomorrow. Actually, I'm busy tomorrow.
JM: Gus, it's been an education. Thanks.
The Actor: Gus Gallagher
Gus Gallagher is an actor to watch. He began his career as a child actor, appearing in ‘Children’s Ward’ and countless plays. And he crafted and grafted at drama, even during ‘A’ Levels at King Edward’s school in Birmingham. I was in a few of Gus’ classes during that Arcadian sixth form era.
I ultimately gave up on acting, and on winning the hearts of the lovely girls from the school’s drama societies (‘Am –Dram, thank you Mam?’). But Gus’ commitment to acting never wavered.
Now 29, Gus shrewdly divides time between television and theatre. You should remember his recent turn as a recurring baddie called Boscard in BBC spy drama, ‘Spooks’. You might even have been lucky enough to catch his recent theatrical turns (notably ‘Journey’s End’).
Gus has the gravitas of James McAvoy, a voice like Russell Crowe and a look of Ewan McGregor with a dash of Chris Pine. In short, he is a rising star and household name in waiting. Quite a nice bloke, too! I was lucky enough to catch up with Gus as he launched his latest project, ‘Partly Political’...
JM: 'Partly Political': what's it all about?
GG:
It's a political satire following the campaigns of the three major candidates vying for a seat on a suburban district council. It's been made for youtube. All episodes are under five minutes long. I think it's definitely worth a look. Find it on http://www.youtube.com/user/PartlyPolitico. All comments gratefully received - so long as they're nice ones.
JM: Are you political yourself? And indeed, do you think that acting has become a more political medium or is it a good escape from such responsibility??
GG:
I'm not sure I understand what it means to be 'political'. Everyone's got an opinion, whether they choose to express it in private, in public or not at all. Personally, I tend to choose all three - but that's one of the beauties of living in a democracy. I think we forget sometimes just what an amazing freedom that is. I don’t go on many marches, or sign many petitions, but I try to stay abreast of what’s going on and I like to think I read and listen enough to form my own opinions.
I actually think acting and the performance media - be it theatre, television, radio, film etc -have become less political than I gather they were twenty or so years ago. But I think this is mostly to do with general apathy, regrettably. I also think it's a wonderful escape from that very responsibility. Half the point of satire is exercising the right to shine a light on dysfunction, without the burden of suggesting a better alternative.
JM: Acting is a precarious trade, even at the top. What are your survival tips?
GG:
I've never been to the top, so I wouldn't know what life is like up there, but I'd be surprised if you ever get really comfortable. It is precarious insofar as you don't always know what's next - and even when you do have things lined up they can always fall through at the last minute - but you get used to it!
I'm not sure I'd be qualified for tip-giving. But I’d like to think that I've acquired some mechanisms to make the whole ride smoother. One is to stay active, whether you're working or not.
It's really easy to nosedive - even when it's all seeming to go well - but people are attracted to positivity and intrinsically repelled by negativity and that becomes pretty important when you're constantly seeking work. Lots of actors write, some paint or play in bands. Anything that allows you to keep your creativity flowing is well worth the effort.
I think another thing to be aware of is that – (contrary to popular belief) - casting directors generally work really hard and are constantly scouring the ranks of lesser-known actors when filling roles. However they often have to stay within very specific parameters and can normally only submit a handful of names so this is a very long-winded way of saying not to take it personally, and they do know who you are - the good ones anyway! -
JM: You do as much theatre as television, if not more so. Conscious decision? Or just a question of taking each job as it comes?
GG:
I do less television than theatre. I'd like to do more TV, but then I'd like to do more of everything, including theatre. It tends to be a case of ‘what comes up’ when you're at my stage!
Occasionally you do have to turn jobs down - either because of a scheduling clash or because it's just not what you want to be doing - and it's important to do that sometimes, if only to remind yourself of the little control you have over your career.
I don't subscribe to the idea that it's better to be doing anything than nothing, but something I have learnt is that it's often the least attractive jobs which yield the greatest results.
It's also not necessarily the worst thing in the world to be reminded once in a while that it's not a linear career path you've chosen - that you can find yourself playing the lead one moment, and a spear-carrier the next. A bit of humility never hurt anyone too much.
JM: You played a recurring baddie in the BBC drama 'Spooks'. Best of both worlds? You get to be in a series and have that sense of family..but not be too tied to it?..
GG:
Yeah, that was a great job. I didn't recur for very long but it was enjoyable to find myself returning a few times to work with a pleasant bunch of people and be paid a decent wage.
JM: Any anecdotes of encounters with famous stars / other personnel in film / tv / theatre that you'd like to share with us?
GG:
So many, I couldn't possibly fit them into this tiny space!
JM: Do you covet any 'name' roles? Doctor Who? James Bond? Or even just a character from a favourite play you'd like to have a go at?
GG:
I would LOVE to play Jimmy B! Aside from him, I'm still chasing the elusive Henry V and I always thought a young Macbeth with an older Lady M would be an interesting dynamic.
Hamlet certainly interests me, but I think slightly more as a play to direct than a part to play. But I've been really lucky and been able to cross off some desirable roles already - namely Stanhope in Journey's End, Mercutio in Romeo and Juliet and Iago in Othello, though I wouldn't mind another stab at him. I've got Romeo coming my way too next year - just in time, before I get too craggy.
JM: It's a world of 'instant celebrity'. Does that annoy you when you craft and graft as a professional actor?
GG:
Not really. Honestly, they're welcome to it, as far as I'm concerned. Being well-known for good work is great but I don't see the upside of total strangers reading what your favourite Chinese takeaway is. Then again, I've just bored your readers with my thoughts on political apathy, so maybe it's just a slippery slope!
JM: How do you prepare for a role? And do you have a basic 'warm up' routine before each performance?
GG:
Each job's different and requires its own preparation. I always make sure I limber up before a show, but I'd be lying if I said I did a thorough warm up of body and soul before every scene. I'm far more interested in being in the right head space and staying focussed. You can still have a cup of tea and a chat, but you just keep the motor running for when you need it.
I don't think it's necessary to exhaust yourself for the sake of it. That said, I do think it's essential - for yourself, your fellow actors, and whoever's watching you - to be utterly ready to perform any stretch the role demands - be it physical, mental or emotional.
I also believe quite fervently in respecting other actors' individual processes, and doing my bit to create an environment in which everyone feels totally safe to explore and take risks, and possibly fail.
JM: Do all actors have to have good physical skills? Hand /eye co-ordination? Action? Song and dance?
GG:
I think it's important to have a good physical awareness. Every single one of us is alarmingly well-tuned to physical signals. We can read from the tiniest outward signal if we think someone is nervous, lying, cold, tired, uncomfortable etc.
I've always found it fascinating how you can tell whether someone standing right the other side of a crowded room is looking at you or the person behind you. So for an actor I think the more they can be aware of what signals they're giving off, the more they can manipulate them.
The same is true of the voice, but then why wouldn't it be, since it's all part of the same instrument? In terms of singing and dancing, I guess that any skill you have, no matter how unusual, may prove useful at some stage. I did a TV job last year that I would never have got if I couldn't drive a truck. Fortunately I could, so I did.
JM: You were brought up in Birmingham. Do you miss Br'm and do you think sentimental attachments can actually impair actors' careers, seeing as they have to 'keep moving'??
GG:
I'm very fond of Birmingham, and I'm proud to be from there, but I’ve been gone nearly ten years and I can't say I miss it too much. I went back a few years ago to work at the Rep and the city had changed so much - mostly for the better - that I barely knew my way around anymore.
But I think it's a great city - though I'd love to see it further embrace its own cultural contribution. It's home to the CBSO, The Rep, The Royal Ballet and so much more, and yet it's still known for the Black Country Museum and Jasper Carrot.
I think it should be the Edinburgh of the Midlands. And the RSC's only just down the road of course. I don't think I am sentimental in that way, so it's difficult to answer but I do think it helps to be ready to pack a bag and live out of it for a couple of months at the drop of a hat.
JM: How do you unwind? I mean, can you just 'watch' a play or film now without dissecting its performances, professionally?
GG:
I think you can watch something with a critical eye and still enjoy it. I like films and plays. I like cooking, and eating - I'm really good at eating. I really like walking - I started walking round London as much as possible about a year ago and it's fascinating.
London's full of little green bits that are sometimes so thin you can barely see them on maps. I can now walk from Wood Green to Peckham (10 miles, north-south) only spending about half the time on roads. I haven't done it yet, but I can. Whenever I like. Maybe tomorrow. Actually, I'm busy tomorrow.
JM: Gus, it's been an education. Thanks.
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