Leonardo (TV Series)
Role: Ludovico Sforza
Start: 02 Dec 2019 - April 2020 Italy
Made in Italy aka The Long Way Round
Role: Director & Screenplay Writer
Start: 01 May - 10 June 2019 Tuscany
Release: 07 Aug 2020 On-Demand, Cinemas that are open and Drive-Ins
The Hot Zone (TV mini series)
Role: Trevor Rhodes
Start: 13 Sep - 21 Dec 2018 TO/S.Africa
Release: 27-29 May 2019 NAT GEO 9/8C
Role: Edwin Jarvis
Start: 10 Aug 2017 - 12 Jan 2018
Release: 26 April 2019 worldwide
The Rook (TV Series)
Role: Dr. Andrew Bristol
Start: 19 Jul - 21 Sep 2018 London
Release: 30 June - 18 Aug 2019 STARZ
Role: Captain Drey
Start: 15 June - 02 July 2018 Wales
Release: 02 April 2020 Netherlands
Kevin (Probably) Saves The World: #1.12
Role: English Muffin (voice)
Release: 16 Jan 2018 (ABC)
Homeland Season 07 (TV series)
Role: Thomas Anson
Start: 17 Nov 2017 - 23 Mar 2018
Release: 11 Feb 2018 (SHO)
Das Boot (TV series)
Role: Philip Sinclair
Start: 31 Aug 2017 - 18 Feb 2018
Release: 23 Nov 2018 on SKY (Germany)
Role: Adam Bird
Start: 12 June - 09 July 2017 Vilnius
Release: 25 Sept 2020 Theatres, Digital, On-Demand
Start: 17 May - 08 June 2017
Release: 14 May 2019
Role: Colonel Winnant
Start: 23 May - 02 Sept 2016
Release: May 2017
Chicken/Egg (short film)
Director & Screenwriter
Start: April 2016
Release: Feb 2017 Film Festivals
Enemy of Man
Hoping to shoot at the end of 2019
Shooting: Summer 2019 Belgium
The Last Draw of Jack of Hearts
Role: attached with Josh Hartnett
No Man's Land
Role: attached with Bart Ruspoli directing
Egregor (Also called The Last Egregor)
Role: attached (unconfirmed) with Franziska Petri
Production: 22 March 2017 - Winter 2018 Ukraine
Release: France Ukraine Canada
JamesD’Arcy.net is a non-profit fan website and is not affiliated with James D’Arcy or his representatives.
W.E. - James D'Arcy
January 20th, 2012
Words: Jack Mills
Last week, we ran a q+a with the copiously talented Andrea Riseborough about her role as Wallis Simpson in Madonna’s newest film, W.E. To mark the film’s commercial release today, we follow it up with a chat with her co-star James D’arcy, who plays a disgraced King Edward VIII.
What intrigued you about the role, initially?
It’s a great part of British history – y’know, the king who abdicated. And he abdicated to marry a divorcee American, which at the time was incredibly scandalous. And I liked the complexity of that: is this a man who deserted his duties, or is this the greatest love affair of the Twentieth Century. And depending on who you talk to, people have wildly opposing views about that. I like the fact that this is a story about women. There aren’t that many films that are female-centric, and I thought that was quite courageous. I like that it took this very big, global story and somewhat contextualised it by seeing it
through the prism of a modern day character. So the film becomes a meditation about what you would be prepared to sacrifice for love – which I think it accessible to me, as an audience member. Whereas, if I just look at the headlines of the story – y’know, “King Edward abdicates”, I have no connection to that, that’s too far away from me.
Madonna spent ten years researching the story. Did you find that a bit daunting before arriving at the set?
No, I thought it was exciting. I mean, working with a director, you want them to be prepared, you don’t want them to show up not knowing anything. So you want them to have all the information. You hope that the director will have the answers for you, because there are a lot of questions when you’re
starting out. Madonna compares with Peter Weir in terms of sheer preparation. I was totally blown away by her.
What was she like to work with as a director?
She was everyone’s personal mentor – more so than your average filmmaker – in terms of getting out of her actors what she had interpreted of their parts… That’s as it should be. They are the person who’s vision you’re there to serve. What I really admire about Madonna is that she had a very clear vision of the story she wanted to tell, and that’s not always the case on every set: sometimes directors are uncertain, and that leads to confusion and unconfidence.
Did you feel you had a personal connection with Madonna? She was challenging you to learn knew skills - such as dancing and horse-riding – for the part.
Yeah. The bit that most terrified me about the entire endeavour was learning to dance. I’m not the world’s most natural dancer, and the dance I learned didn’t even make it into the film in the end. But it was like something out of Strictly Come Dancing – it was very complex. And honestly, doing that in
front of one of the most famous dancers in the world is not a picnic. But as you say, she challenged us to not allow time for the word ‘no’, and to feel the fear and do it anyway. You feel pretty good about yourself when you realise you can do things you never thought you could.
And for the role did you do a lot of your own…
Stunts? Yes, all of them!
Well I knew that, that was fairly obvious [D'arcy laughs]. The many stunts that there are in it, obviously… What I meant to ask was how extensively you researched for the role.
I read a lot – as much as I could in the time allowed. At some point it has to fall away though, because the real blueprint is the script. That’s the thing that you have to try and serve. And in the case of Wallis and Edward, there are so many conflicting stories out there about them that at some point it starts to become slightly counter-productive to keep reading, because you can’t play all of it – you can’t be true to all of those books. We’re not making a documentary here, we’re not historians, we’re telling a story.
You feel that the love affair sparks up immediately. Have you got quite a healthy relationship with Andrea off-screen?
Yeah, we get on really great. We did from the minute we met, actually. We had a very fun and playful relationship immediately, which made things very easy on set.