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Pocketmags Digital Magazines
Pocketmags Digital Magazines


Dublin-born Andrew Scott is one of the most respected actors working anywhere in the world today. He built his career in his adopted city of London with roles in plays such as Cock and Girl in a Car with a Man at the Royal Court. His film work includes queer classic Pride and a star turn in the last Bond film, Spectre. But he’s still best known for his BAFTA-winning role as Moriarty in the BBC’s mega-hit Sherlock. While his CV may be crammed with memorable characters, Scott himself remains resolutely enigmatic. In what’s only his second ever interview with the gay press, Winq gets to know him better.

Andrew Scott is bouncing around a photography studio in north London. A vintage Bananarama song begins playing on the sound system and he does a little dance, radiating an impish charm.

The energy he gives off is reminiscent of his often electrifying presence on stage. Scott has been praised for bringing an intense physicality to the characters he inhabits — an energy that is difficult to capture in still photography. But he knows how to channel his dynamism into different media — and even though we’re pushed for time, he blazes through the different set-ups, making sure our photographer gets everything he needs.

Scott has just flown in from a film festival in Poland and is on a break from playing Hamlet. When he first appeared in the role, at London’s Almeida Theatre in March, there was an extraordinary amount of expectation from the critics; despite being a regular on the London stage, this was his first professional engagement in a Shakespeare play. But the production, directed by Robert Icke, was a huge success and Scott’s performance attracted some of the most positive reviews of his career so far. We meet just a few weeks before he is set to reprise the role when the production transfers to the West End.

Although Scott seems sprightly and full of energy, I wonder if this may be masking tiredness. Surely after playing such a demanding role, he’s ready to stop and wind down?

“I really really really do need a rest, yeah,” he tells me when we sit down to chat once the shoot is over. “Hamlet’s hardcore, it just completely took over my life. In a brilliant way; it’s a once-in-a-lifetime part to play. But you totally have to give it your all and actually what I found out is that you’ve got to be very accepting of whatever happens. That’s why it’s one of the best roles ever written, because if you’re feeling tired or if you feel sad or if you feel happy, it actually incorporates everything. Because it’s so far-reaching you get to play every single emotion but you have to bring yourself to it. I think of it as me.”

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