The 66th Edinburgh International Film Festival began this week, and with it comes a host of features, filmmakers and talent to showcase their extraordinary work. THN was lucky enough to grab some valuable time with the stunning and talented young actress Juliet Oldfield, the female star of the film BORROWED TIME, which has it’s world premiere tonight at the prestigious event.
Juliet made her movie debut opposite the imposing Tom Hardy in BRONSON (2008), Nicolas Winding-Refn’s terrific take on the notorious career criminal (even locking lips with the now-superstar actor). Roles in short films POSITIVE FEEDBACK and PIGEON, as well as significant parts on stage and hit television show SILENT WITNESS, led to work in the award-winning and acclaimed drug-themed, urban drama TOP BOY, screened on Channel 4 late last year (a second series is expected soon).
Now with BORROWED TIME, she stars in writer/director Jules Bishop’s debut, a bittersweet comedy in which she plays Becky. The story follows two contrasting characters that form a rather unlikely bond in the most hostile of circumstances. She co-stars alongside Theo Barklem-Biggs and television and film veteran Phil Davis (whose appeared in everything from QUADROPHENIA, ALIEN 3, and VERA DRAKE to the more recent WHITECHAPEL and FAST GIRLS).
Lined up next is romantic-comedy THE KNOT, in which she’ll appear alongside Noel Clarke, Mena Suvari and Talulah Riley. There’s no doubt she’s an actress we’re going to see a whole lot more of, and a talent to look out for in the future. Both THE KNOT and BORROWED TIME are expected in cinemas later in the year.
At what age was it that you decided to pursue acting and how did you first get into it?
I was probably about 3 and that’s no exaggeration. I started dancing and then did amateur dramatics at the age of 11. I’ve always wanted to perform so it became like a bug and I can’t live without it I guess. Even when school was involved with a local productions, I was always the first to put my hand up. I had always decided I would do my GCSE and A-levels before pursuing anything. Of course my parents have always supported me but also encouraged me to be sensible. I then went on to drama school and I’ve never stopped. Even from a young age I’d always look on the internet and the stage paper and things like that, just to see what was out there.
How was your first experience working on the film BRONSON, alongside an actor like Tom Hardy and director Nicolas Winding-Refn?
It was unbelievable being my first film obviously. I’d only ever done theatre before, I’d never done films. I was kind of inexperienced in terms of filming and they really did take me under their wing, and made me feel very comfortable on set. When there were times that I didn’t know what was going on, they explained it to me. Nicolas, as a director, was really patient and so informative – you always knew what he was thinking. He had a vision and he was so clear about that. It was easy for me as an actress to pick up on. Having said that, he was always open for me to explore the character. I had been up for many other roles in BRONSON before I was cast as Alison, which was only finalised the night before I started doing it. So I was thrown in the deep end and Tom Hardy was quite inspiring. He was so in character – when we stopped filming he was such a different person than he was on set. So that was so interesting and I loved playing that role, it was such an eye opener.
Did you know much of the infamous nature surrounding the character of BRONSON before working on the film?
Yeah, I did actually. I did my research on him and it’s quite funny because everyone’s saying ‘Oh, he’s the killer’, but in fact, he’s never killed anyone. So that was quite interesting – I would never have known that before going for it. I slowly got to know him more, especially after the premiere and his friends were there, which was quite an unusual experience.
How would you normally prepare for your roles?
I guess each role is pretty different. I usually go through the script a lot on my own, and generally I like to work through it with people who aren’t actors. Family members and friends will happily sit and help me learn a line and experiment with it. With my dance background – yoga and things like that – I do exercises with movement which helps me with thought direction and process. Even still, I don’t do all that much before going on set. I feel that it has to be organic and if you overwork anything beforehand, you don’t get that instant response. So I know what I’ve done, I’ve done my research so I know what the character needs if set in a particular era. For instance I’m working on a play at the moment which is set in the First World War, so I’m obviously having to do my research on that and once I feel happy and I know enough, I put it at the back of my mind and stop thinking about it and just get on with it. I try to bounce off the people playing the other roles and see what the director’s giving me and the environment I’m put in. I love that. I love to go exploring.
Having worked in theatre, do you find it much different working on a television or film set?
Yeah, it is different because in theatre you get an instant response from the audience, so you know whether your doing a good job or not. So the big difference for me is, you do all the work and then you’re waiting months and months before you see it. There’s that slight worry – you hope you’ve done all you should have done, but in terms of acting, the only technical difference is your voice. On stage you’re obviously going to be projecting a lot more, and hitting out at the people at the back, but with film it’s all a lot more subtle. The camera’s up close picking up every detail. But I enjoy both for different reasons really.
Are there any actors and films that you feel have inspired your career choice?
Yeah, absolutely. I’m a huge fan of Sally Hawkins. I think she’s fantastic – very organic and natural. I like the projects she’s been involved with too. She’s not always the lead, but she does jaw-dropping cameo roles that always stand out. I like that you don’t always need to be the lead to make a statement, so that’s when you know how much of a good actress she is. I should say another huge fan I am of, is Judi Dench, she’s unreal, but I think everyone is probably a fan of Judi Dench. Also, films have been part of my upbringing. I used to spend every Saturday with my Nan, going through old classics like CALAMITY JANE, CHITTY CHITTY BANG BANG and THE SOUND OF MUSIC, which makes me a bit of a geek when it comes to all the classics! So that’s probably what’s inspired me.
With each new project, do you feel as though your learning with each experience?
Yeah, always. I don’t think you ever stop learning as an actor and perhaps if you do that’s a bit of a problem. Every new character you have to bring something new to, a new director working in a different way, and take on board what’s available. I’m certainly learning more and more through film – funnily enough at drama school they teach you to do lots of theatre techniques and such – but when it comes to camera, it’s not really covered all that much. So I have been learning on the spot and having to learn quickly most of the time, but that’s part of the fun I guess.
With BORROWED TIME, how was it working with first time writer/director Jules Bishop?
Jules was just really relaxed and didn’t mess around. He was very patient and a bit of a laugh – really easy going. In between each take there was such a pleasant atmosphere and working environment, and he created that. He was never nervous, and if he was, he never showed it, even though he was a first timer they was no sign of that. He never made me feel uncomfortable, in fact, quite the opposite.
How did you find working with an actor with the varied experience of Phil Davis?
I only had one scene with Phil and it’s funny as our stories are kind of 50/50 of the main narrative. Theo’s character runs all the way through and Phil is 50 per cent and I’m 50 per cent, and our stories cross over. The times I did meet him, – and I’ve met him since – he’s such a cool head, like a classic actor. He really threw himself into the character and I don’t want to give too much away, but his character is really fun and he completely embodied it. When I finally saw it, he looked odd being out of costume and he didn’t seem fazed. It was quite nice seeing such a worldly actor – he was just there making everyone feel at ease.
Could you tell us about your upcoming role in the romantic-comedy THE KNOT?
It stars Noel Clarke, Talulah Riley, Mena Suvari, Davie Fairbanks, Matthew McNulty and Jason Maza. It’s it’s a rom-com and I’ve never done anything like this before, so it’s been really fun to do. I’m kind of the complete nutter in it. It’s about the morning of a wedding, with the couple both in their separate places. Everything that can go wrong, does go wrong. It’s one of those comedies where you go ‘could that really happen!’ and I play the crazy ex. So I get to storm the wedding and make complete chaos. It’s a really fun role and I cant wait to see it. I think it shows a different side to me, to other parts I’ve played. It’s quite a contrast to BORROWED TIME in which I play a down-and-out mum trying to better herself. In THE KNOT I’m a bit more demure, yet completely crazy as well.
Do you have any favourite experiences or projects since undertaking acting?
I worked with Maxine Peake on a one-night performance for the Whitechapel Gallery. It was a charity event and we literally arrived and had a day to rehearse the piece and we perform it that evening. That was brilliant – really just off the cuff. You just get on with it, and it’s live, so whatever goes wrong, goes wrong and you just carry on going. Maxine was such a natural – lovely to work with. Also on TOP BOY, I worked with the director Yann Demange, and again, that was a really different way of working because he is so upfront. I was following the script a little too much for him. As actors, he encouraged us to improvise, so once I got into that, it was so rewarding. We filmed loads that were never used – it could have made another two episodes from the amount that we did.
Could you give us any hints at the future projects you have lined up?
I’m doing a play which is actually in the exploring stages. It’s covering five plays that were written in the First World War. They were picked by a university as texts to explore. I’m really pleased to be playing a lovely young lady in one of them. It’s all about the girls left behind as the guys are off to war. That’s looking to be put on the full-scale production, which will probably be next year by the time we time do it, but it’s so nice to be in the early stages. I’m sure the scripts will develop. Then I have a few other projects I have been asked to do, but I’m not really allowed to say too much and also there is TOP BOY 2 which is still to be confirmed.
THN would like to thank Juliet for time and best wishes.
