Scene Editor Selina Pope chats to Nicholas Galitzine, an up and coming actor, musician and model on how he fell into acting, what it was like working with choreographer Dave Scott and the BIFA awards.
Can you tell Scene a little bit about yourself?
I’m twenty years old and I’m a Londoner born and bred. I’m still based here, which is great for my career as most of the casting agencies go through London. I have been acting for a fairly short period of time. It’s been a year and half since I first started, a bit less that I have been in the ‘professional’ acting industry. I feel blessed in a way that my interests do lay mostly in my profession; I’m a film fanatic and an avid music listener with an eclectic taste. I write my own music and hopefully one day as I mature I want to write my own screenplay. But apart from that I am passionate about anything based on creativity. Oh, and I’m very into my sports as well!!
Do you consider yourself firstly an actor, a musician or a model?
Well, firstly I can’t really call myself a model, as I haven’t done much of it although its something I would be willing to do more of in the future. It kind of scares me being in front of a camera where you have to be so conscious with your movement. I have never really thought of myself as very photogenic, I’m a bit goofy! As with my music, I’m very much an aspiring musician rather than an established one. It gives me a totally different feeling than acting does. Writing music is a unique way of expressing who you are as a person and what you feel, rather than acting in which you’re thinking how best to portray someone else. I would say the performance component of the two is something that excites me and inspires. I guess I would have to consider myself an actor first, considering it’s the only one I can officially say I have pursued professionally. Attaining a balance between the three is simply based on what creatively I feel like doing. If it’s not something that motivates you in that moment you have to move on to the next. And whatever pays best. That’s nice too.
How did you first get into acting, and how long have you been doing it for?
I first got into acting towards the end of my last year at school – left it a bit late. All my best mates at school were actors and studied it throughout their school careers. I guess I was always fascinated by the idea of performing, despite have a crippling shyness of performing in front of others that repelled me from ever auditioning for a part. A year before I had taken up music and sung in front of other people for the first time since I was in the choir aged 10. That gave me a bit of a buzz and in effect I think urged me to try out for the school production of Guys and Dolls. The audition process went very well and I got down to the last two to play Sky Masterson, the lead role, eventually being pipped to the post by my best friend (well-deserved). As an ensemble member I didn’t have the pressure of learning lots of lines but was simply able to enjoy the experience in a raw and stress free way. Having had so much fun in the play, I chose to go audition for the Young Pleasances’ adaptation of Spring Awakening, which was being taken up to the Edinburgh Fringe Festival. The company was loosely connected with my school and my friends from school had been involved in the past few years so it seemed like a fun thing to do. Even then I was petrified by the notion of performing in front of people. I remember standing outside the building on the phone to my dad saying ‘I can’t do this, I’m completely out of my depth, they are all proper actors in there’. Eventually I managed to goad myself in a got one of the main roles playing a boy who was in a clandestine relationship with his best friend, also a boy, very taboo at the time. I had such an amazing experience in Edinburgh, but despite feeling exhilarated after every show, acting never seemed like a career option to me. The actors of today are so defined that becoming one seemed a whole world away. Towards the end of the run I was contacted by a couple of agencies about signing with them and suddenly I was opened to a world, which had never been a reality to me before. Shortly after signing with Curtis Brown I got my first audition script called The Beat Beneath My Feet and here I am a year and a half later.
You have recently starred in two major films – High Strung and The Beat Beneath My Feet, and in both movies your character is a musician. In what ways did these two characters differ, and which did you like playing the most?
I always think its quite funny that my first two roles involve music. However despite this similarity, I think the roles are worlds apart. In The Beat Beneath My Feet I play a character called Tom Heath, a lonely teenage boy who suffers from crippling shyness in a bleak lifestyles and a broken home who has a deep-set passion for music. Johnny Blackwell from High Strung is a completely different character all togethe
สมเด็จพระสันตะปาปา Selina แก้ไขฉากสนทนากับนิโคลัส Galitzine นักแสดงขึ้น และมา นักดนตรีและรูปแบบวิธีเขาตกว่าทำงานกับ Dave Scott และ BIFA รางวัลออกแบบท่าเต้น ทำหน้าที่เติมได้ฉากเล็กน้อยเกี่ยวกับตัวคุณผมอายุยี่สิบปี และฉันชาวกรุงลอนดอนเกิด และพันธุ์ ผมยังคงใช้ที่นี่ ซึ่งเหมาะสำหรับอาชีพส่วนใหญ่ของหน่วยงานหล่อผ่านลอนดอน ผมได้ทำหน้าที่ในระยะเวลาสั้น ๆ จะได้รับปีและครึ่งหนึ่งตั้งแต่แรกเริ่ม เล็กน้อยที่ มีการ 'มืออาชีพ' รักษาการอุตสาหกรรม ผมรู้สึกว่าความสุขที่ความสนใจของฉันวางในอาชีพ ผมคนที่คลั่งไคล้ภาพยนตร์และการฟังเพลงตัวยง ด้วยรสชาติผสมผสาน ผมเขียนเพลงของตัวเอง และหวังว่าวันหนึ่งขณะที่ผมเป็นผู้ใหญ่ อยากเขียนบทเอง แต่นอกเหนือจากที่ ฉันหลงใหลอะไรตามความคิดสร้างสรรค์ โอ้ และฉันมากในกีฬาของฉันเช่นกัน!!คุณคิดว่าตัวเองประการแรกนักแสดง เป็นนักดนตรี หรือรูปแบบWell, firstly I can’t really call myself a model, as I haven’t done much of it although its something I would be willing to do more of in the future. It kind of scares me being in front of a camera where you have to be so conscious with your movement. I have never really thought of myself as very photogenic, I’m a bit goofy! As with my music, I’m very much an aspiring musician rather than an established one. It gives me a totally different feeling than acting does. Writing music is a unique way of expressing who you are as a person and what you feel, rather than acting in which you’re thinking how best to portray someone else. I would say the performance component of the two is something that excites me and inspires. I guess I would have to consider myself an actor first, considering it’s the only one I can officially say I have pursued professionally. Attaining a balance between the three is simply based on what creatively I feel like doing. If it’s not something that motivates you in that moment you have to move on to the next. And whatever pays best. That’s nice too.How did you first get into acting, and how long have you been doing it for?I first got into acting towards the end of my last year at school – left it a bit late. All my best mates at school were actors and studied it throughout their school careers. I guess I was always fascinated by the idea of performing, despite have a crippling shyness of performing in front of others that repelled me from ever auditioning for a part. A year before I had taken up music and sung in front of other people for the first time since I was in the choir aged 10. That gave me a bit of a buzz and in effect I think urged me to try out for the school production of Guys and Dolls. The audition process went very well and I got down to the last two to play Sky Masterson, the lead role, eventually being pipped to the post by my best friend (well-deserved). As an ensemble member I didn’t have the pressure of learning lots of lines but was simply able to enjoy the experience in a raw and stress free way. Having had so much fun in the play, I chose to go audition for the Young Pleasances’ adaptation of Spring Awakening, which was being taken up to the Edinburgh Fringe Festival. The company was loosely connected with my school and my friends from school had been involved in the past few years so it seemed like a fun thing to do. Even then I was petrified by the notion of performing in front of people. I remember standing outside the building on the phone to my dad saying ‘I can’t do this, I’m completely out of my depth, they are all proper actors in there’. Eventually I managed to goad myself in a got one of the main roles playing a boy who was in a clandestine relationship with his best friend, also a boy, very taboo at the time. I had such an amazing experience in Edinburgh, but despite feeling exhilarated after every show, acting never seemed like a career option to me. The actors of today are so defined that becoming one seemed a whole world away. Towards the end of the run I was contacted by a couple of agencies about signing with them and suddenly I was opened to a world, which had never been a reality to me before. Shortly after signing with Curtis Brown I got my first audition script called The Beat Beneath My Feet and here I am a year and a half later.คุณได้ติดดาวในสองเรื่องสำคัญ – เครียดสูงและเอาชนะภายใต้ My เท้า เมื่อเร็ว ๆ นี้ และในภาพยนตร์ทั้ง ตัวละครของคุณจะเป็นนักดนตรี ในวิธีใดได้ตัวอักษรที่สองเหล่านี้แตกต่างกัน และที่คุณชอบเล่นมากที่สุดผมมักจะคิดว่า มันตลกมากว่า บทบาทของฉันครั้งแรกที่สองเกี่ยวข้องกับเพลง อย่างไรก็ตาม แม้ มีความคล้ายคลึงกันนี้ ผมคิดว่า บทบาท แตกต่างกันมาก ในการเอาชนะภายใต้เท้าของฉัน ฉันเล่นอักขระที่เรียกว่าทอมฮีธ เหงามสที่ทนทุกข์ทรมานจากการทำให้ความเขินอายในวิถีชีวิตเยือกเย็นและไม่สมบูรณ์ ที่มีความรักที่ฟื้นฟูสำหรับเพลง จอห์นนี่ Blackwell จากเครียดสูงเป็นตัวอย่างด้วยกันทั้งหมด
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