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Andrew Scott embraces ‘the lie that tells the truth’ in ‘All Of Us Strangers’

Andrew Scott embraces ‘the lie that tells the truth’ in ‘All Of Us Strangers’


Adam (Andrew Scott), in

In 2010, Sherlock Holmes encountered a new adversary in the evil genius of Professor Moriarty. In the Sherlock series, Conan Doyle’s paranoid military figure was transformed into a seductive, perverse young man, played by then-36-year-old actor Andrew Scott, a regular on London theater stages and in supporting film roles.

Director Andrew Haigh remembered the moment: “I remember thinking this is a very, very interesting actor. There’s a way that he talks and a way that the thoughts seem to emerge on his face.” That face, with its fine features that can become as vulnerable as they are menacing, has grown familiar. We saw Scott as a hot priest in the second season of Fleabag, as an honest officer in Sam Mendes’ 1917, and will soon see him again as Tom Ripley in a series based on the misdeeds of Patricia Highsmith’s character, already played by Alain Delon, Dennis Hopper, Matt Damon and John Malkovich.

At the beginning of December 2023, the two Andrews, Scott and Haigh, were in London to discuss All Of Us Strangers, a film about ghosts, a celebration of desire, and a meditation on the permanence of memory and love in which Scott plays a solitary writer, Adam, in his first major leading role.

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“There are certain characters where you feel you want to be unadorned,” he said of Adam. “I did a play by Simon Stevens called Sea Wall, by Simon Stevens, and I remember having a strong feeling that I wanted to sound exactly like my accent [Scott was born and raised in Dublin]. And I wanted to wear my own clothes.”

‘Falling back into childhood’

Haigh’s script requires the lead actor to balance a magical quest into the past to find his parents (Claire Foy and Jamie Bell) as they were when he was 12, and a violent, carnal love affair with a Dionysian young man Harry (Paul Mescal).

“I wanted childishness without being a child,” said the actor. “And actually, I think a lot of that is physical. It doesn’t feel like it’s a very physical performance necessarily, but it’s something I thought about an awful lot about, both sides of this, the physicality of the love story and his physicality with his parents. Because I think the way we behave with our parents as a child is very sensual, very tactile. And that’s the through line for me, for the character, he feels like he hasn’t had a lot of people touching him or him touching anyone else. And so it’s the idea of remembering what it’s like to be in your parents’ bed between them and making yourself smaller. And because we shot in Andrew [Haigh]’s childhood home, it brought an authenticity that felt incredibly real.”

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