Easy Cool Drawings Drawings of Tank Dempsie
I get the impression that a lot of the actors I admire are bonkers. So I think to myself, so I have to be a bit like that to be a good actor? A bit method, a bit weird? But the point of being an actor is to put yourself in someone else's shoes, not to have a troubled existence. It may be that the best art is caused by tortured souls but, I, er, don't want to be tortured. I saw a Q&A with Paddy Considine when he was asked about getting into his role during the shoot for Dead Man's Shoes. He said, 'If I'd have walked around with an axe in my hand at lunchtime I'd have felt like a twat.'"
It's thankfully hard to get an easy, celebrity handle on Joe Dempsie. He's perhaps best known for his stint in Skins as Chris Miles, a helplessly lovable, ill-fated hedonist. You may recall him as John, the villain in The Fades, the promising BBC3 drama whose premature cancellation still rankles with Dempsie. ("BBC3 do good programmes – then they cancel them. They spent a lot of money on The Fades but what's the point of spending all that and then not letting people know it's on?") Game of Thrones-heads will know him as Gendry, mostly trudging through sodden thickets evading capture and torture ("I haven't had a single scene indoors," he groans).
So different is each of these roles, they're evidence that Dempsie takes what he does seriously enough to refuse to be cast as type. In person he's affable, unassuming, full of opinions about acting on the contemporary screen but free of the cravat-fiddling airs of a luvvie. He's happier discussing the sturm und drang of his beloved Nottingham Forest FC's recent footballing fortunes.
In Murder, the upcoming excellent one-off drama by Birger Larsen, director of The Killing, he burns through the fourth wall as Stefan, an ex-soldier accused of the murder of one of two sisters with whom he has a drunken dalliance. Events are recounted in flashback, through simulated mobile phone and CCTV footage, with revelations about the players and accused slowly turning up like cards in a game. The dialogue is repetitive, cumulative and gripping. This is no cold CSI-type cat-and-mouse game. Regardless of whodunnit, the more you learn about the suspects, the more you find yourself in deep sympathy with them. Dempsie excels as the twitching, aggressive but deeply hurt Stefan. "He's had no recognition, no apprecation – he's constantly been let down." There's a faintly political dimension to the role – despite the Help For Heroes hype encouraged by the tabloids, the charity was recently criticised by soldiers for cosying up to the MOD rather than meeting the urgent needs of returning British servicemen, 4,000 of whom are diagnosed with some sort of mental disorder each year. Dempsie got his own view of this while researching this role. "There's still a massive stigma about how messed up they are, even within the armed forces."
The drama is set in Nottingham, Dempsie's home town, currently enjoying an artistic boom thanks to such cultural hubs as the magazine LeftLion ("It's a great paper. It's played a massive part in Nottingham's sense of creative identity right now"), the success of local filmmaker Shane Meadows and The Television Workshop, which Dempsie attended, as did Samantha Morton and Toby Kebbell among others. "There's a real sense of get-up-and-go about the city," he says.
Since Skins, which he describes as "my university", Dempsie has been prudent in his career moves. He spent much of his time declining sitcom pilot proposals looking for him to reprise the Chris role. "After Skins, all of the main cast would have been forgiven for thinking we'd made it, but [we] very quickly realised that wasn't the case. The show became a cultural reference point for the things it was trying to disprove. It became a byword for cultural hedonism, but was really trying to depict the reality of that – perhaps with the later series it became a parody of itself. But I don't think the actors got the credit for the performances they gave. It was just assumed they were pulled of the street and cast for their 'realism'."
He adds, "Street-casting – people like Katie Jarvis in Fish Tank, spotted having a row with her boyfriend on a railway platform – has helped make actors raise their game. They have to. Otherwise, you think, shit, we're being made obsolete."
Dempsie consciously took smaller but prestigious parts. His role in the superb Games Of Thrones was one of them, a series sniffily dismissed by those who have never seen it as swords'n'sorcery nonsense but which is as profound and often bleak a meditation on the human and political condition as anything out there. "You're a small cog in a massive machine," he says. "You're expected to know what you're doing, because they've got a million and one better things to do than fuss over you."
If Game of Thrones exemplifies a recent tendency for the concept to take precedence over the star, then this suits Dempsie just fine. "Audiences in every medium are becoming far more savvy. No one goes to watch a Tom Cruise movie any more just because it's starring Tom Cruise. No one gives a toss. Concept is what makes actors raise their game. Everyone's on merit now. A pretty face only gets you so far these days. Even pretty boys don't want to do the pretty boy roles. I suppose the old guard have known this for years – you have a choice as to the extent to which you want to become a celebrity. People say, oh, well, it goes with the territory – it doesn't, actually. You can decide how prevalent you want to be. There's a parting of the ways now between actors and celebrities. There are dedicated actors and there are people now who only stay famous for putting on weight, losing it, then putting it on again."
In profiling young UK actors, it's traditional at this point to speculate on their chances of breaking the US, but Dempsie is wary, having seen many of those before him settle for mediocre roles in Hollywood, and he wonders if it really is the be-all and end-all. "For every The Wire or Game of Thrones, there are 20 shockers made. Why would I sacrifice the sense of integrity I've got over here just because it's America?" Nottingham, for now, is just fine.
Murder is on Sunday, 10pm, BBC2
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Source: https://www.theguardian.com/tv-and-radio/2012/aug/25/joe-dempsie-interview-murder-bbc2
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