I Won’t Play Stereotypes or Clichés—Only Real People

Andrew Scott broke through as Benedict Cumberbatch’s foil in the TV series “Sherlock,” and since then the Irish actor—who has also found success on stage—has appeared in a wide range of films, from Pride and Spectre to 1917 and All of Us Strangers, as well as TV series like Fleabag and Ripley. For his role in “Blue Moon,” the openly gay actor received the Silver Bear for Best Supporting Actor at the Berlinale 2025, and he has been nominated for the Golden Globes three times.

As a British meteorologist who advises U.S. General Eisenhower in the run-up to D-Day, he now appears in the feature film “Pressure.” We spoke with Scott, who celebrates his 50th birthday in October, for this interview. And we’re already looking forward to his film “Elsinore” (in theaters starting February), in which he portrays his colleague Ian Charleson, who died of AIDS in 1990.

Mr. Scott, your new film “Pressure” is based on a stage play but tells a true World War II event. Are you someone who’s interested in history?
Oh yes, very much so. If I had more time, I’d love to relearn everything we covered in school history classes as an adult—and see it in a completely different light. So much of what’s off in our world today has happened before, when you look closely. We could and should learn a lot more from the past. What also attracted me to “Pressure” was the film’s focus on environmental and natural themes. This story is a lesson in humility toward nature. No matter how much we like to think humans have everything under control, it regularly becomes clear that much larger forces are at work.
At the same time, “Pressure” is less about man vs. nature and more about conflicts and disagreements between people…
Another aspect I found particularly compelling about the script. With internet algorithms, the perceived polarization of society, and similar factors, it’s increasingly hard today to debate and hold a differing opinion without turning the other person into an enemy. A dangerous development. It’s crucial to endure disagreements and coexist with people who think differently or hold other perspectives. You can argue and discuss and still be allies, as long as both sides keep the public good in sight as a goal.
The film presents a war‑decisive moment that could determine the fate of the world, and it also shows the immense pressure of political decisions. How important was it for you to make the humanity of the characters visible as well?
That humanity was already tangible in the script and was crucial for me. I can’t play caricatures or clichés, only people. And every person is weak and vulnerable, even those we historically celebrate as heroes. The fact that none of us knows what awaits us after death unites us in this regard. The meteorologist James Stagg, whom I play in “Pressure,” is especially interesting as a film protagonist because he doesn’t fit the classic heroic mold at first glance. Physically, he isn’t imposing. Yet he carries integrity, dares to tell the powerful the truth, and is a sincere man trying to do the right thing. In war films, you don’t often see someone like him.
What, beyond these points, makes a hero for you?
To be honest, I have a hard time with the concept of heroism overall. People are not simply heroes or villains, protagonists or antagonists. Everyone is the protagonist of their own life, and no one doubts their everyday actions by thinking themselves a villain. In film, TV, and literature, audiences are too often asked to find protagonists sympathetic and engaging so more people can root for them and feel with them. That’s why someone like Stagg—a rather uncharismatic and reserved man—is anything but a typical hero. And yet, it works. The audience is smarter than it’s given credit for. People go along with the notion that this possibly cool‑looking man is the hero of the story, and they may even listen to what he says, not just how he says it.

For some time now you’ve been busy as rarely. After “Wake Up Dead Man,” “Blue Moon,” and “Pressure,” your new film “Elsinore”—already being talked about for the Oscars—had its world premiere. You’ve also done guest spots in the series “Too Much” and “The Comeback,” and several upcoming projects—such as a collaboration with French director Justine Triet or work alongside Michelle Williams or Emily Blunt—have wrapped. Was there simply a surge of interesting offers recently, or are you in a life phase where you enjoy working more than usual?
I have never stopped loving acting! I enjoy my work, and collaborating with clever, creative people fulfills me. I’m grateful to have been blessed with great projects lately. There are various reasons I’ve taken on so many roles in recent years. But timing and chance play big parts. I’m at a point where I feel I should temporarily throttle back a bit—not for lack of interest, but for my energy balance.
What were you hinting at with these reasons?
Well, there were personal factors. Things I’ve gone through recently in my life, and the general phase I’m in, led me to connect with certain stories and characters in the scripts I’ve seen. Acting for me is also a wonderful way to engage with things that touch my personal life. It’s often a chance to express something left unsaid, and it can be quite cathartic.

What would you say to your younger self? The Andrew who was just starting out in film and theater thirty years ago?
Phew, the most important piece of advice in hindsight would certainly be: don’t worry! As a young actor you always fear not being seen. You want to express yourself and communicate, but of course not in a vacuum. Otherwise I can only tell myself or others: rely on good scripts! One shouldn’t fall into the illusion that you can make a great film from a mediocre script or deliver a fantastic performance from a subpar character. But when you invest in truly good screenplays, you have the best starting point to convincingly perform.
Looking back: which of your roles do you find you’re most frequently asked about?
That changes constantly, and it’s not always the last film I was in. I’m always surprised by how many people want to talk to me about films—and often quite deeply—who presumably only had six viewers. But I’m also frequently asked about theater roles. More and more by people who have only seen the filmed version of the play, which is increasingly common nowadays. I’m especially glad about this development, because it means those who don’t live in London or New York or can’t afford to travel there can still see our stage work.