Lennie James has built a career on inhabiting complex characters, individuals wrestling with shadows and difficult choices. From his chilling debut as DCI Tony Gates inLine of Dutyto his steadfast portrayal of Morgan Jones withinThe Walking Deaduniverse, he consistently delivers performances that linger long after the credits roll.
His latest role, Frank Moses inMayor of Kingstown, is already generating intense buzz. Frank’s introduction – beheading four people with a freight train – is a stark statement, immediately drawing comparisons to television’s most iconic villain, Gus Fring fromBreaking Bad. Fans are captivated by the character’s unsettling calm and calculated menace.
“One of the things I really like about Frank Moses is how difficult he is to gauge,” James reflects. “His danger is in what you can’t see, what you can’t hear, what you can’t quite understand. I like him a lot.” It’s a surprising admission, considering the brutality of the character, but speaks to James’s fascination with moral ambiguity.
The comparison to Gus Fring is widespread. Online, viewers have noted striking similarities in their quiet power and the chilling efficiency with which they operate. Frank Moses isn’t simply a villain; he’s a force, a presence that commands attention and inspires unease.
James believes a key to portraying such characters lies in understanding, not necessarily liking, their motivations. He emphasizes the importance of justifying their actions, even those that are reprehensible. “You have to be committed to their idiocy, even if you think your character is an idiot,” he explains, highlighting the dedication required to embody a flawed individual convincingly.
Throughout his career, James has consistently sought out these challenging roles. From the enigmatic Robert Jenkins inJerichoto Nelly in his critically acclaimed dramaSave Me– a man wrongly accused of a terrible crime – he’s drawn to characters grappling with profound emotional turmoil.
What attracts him to these arduous portrayals? “They interest me because of what isn’t said,” James reveals. “It’s as important as what is. You have to be fully engaged.” He admits to a simple desire to avoid boredom, seeking characters that constantly challenge and provoke thought.
This dedication culminated in a Bafta award earlier this year for his performance as Barrington Jedidiah Walker inMr Loverman. The award was a testament to his ability to deliver nuanced, emotionally resonant performances that deeply connect with audiences.
James acknowledges that his path to acting wasn’t a conventional one. Growing up, a career in the arts wasn’t presented as a viable option. He worries that opportunities are diminishing for aspiring actors today, particularly those from less privileged backgrounds.
“If I was coming through now from where I came from, I think it would have been harder for me,” he states, expressing concern over the decline of youth theatres and the increasing focus on degree-level drama education. He believes these changes narrow the scope of talent discovered and risk silencing unique voices.
His own experience at the Guildhall School of Music and Drama was transformative, exposing him to the works of Strindberg, Shakespeare, and Brecht. “It’s the broadening of understanding that universities, drama schools, and youth theatres provide,” he emphasizes. “If you take those away, we lose perspective and the possibility of something truly different.”
Despite the intensity of his work, James finds joy in television that offers a lighter touch. He praises Aimee Lou Wood’sFilm Club, noting its genuine heart and the smile it leaves on his face after each episode. It’s a reminder that even amidst darkness, there’s always room for warmth and optimism.
