Spotlight with actor Ferdinand Kingsley on Netflix's Mank

Ferdinand Kingsley is an actor that you will have seen on so many TV shows, that it might be a wonder that you don’t know his name as well as his face. Over the last few years, he has been in some of the biggest and best productions to have hit the small screen - the excellent The Hollow Crown, Ripper Street, Dr Who and most noticeably as Charles Elme Francatelli in ITV’s lavish Victoria. He has worked alongside an incredibly impressive array of actors - Ralph Fiennes in Man and Superman at the National Theatre, The Last Legion with Colin Firth and Benedict Cumberbatch on Van Gogh: Painted With Words.

Things have progressed significantly for Kingsley with a major role in the much-anticipated new Netflix release Mank, directed by David Fincher (Seven, Fight Club, Gone Girl) . The new movie is a long and beautiful love letter to old Hollywood, telling the story through the eyes of Herman J. Mankiewicz (expertly played by Gary Oldman) as he works to finish Citizen Kane. Mankiewicz works alongside a roster of impressive egos played by acting talents like Charles Dance, Lily Collins and Amanda Seyfried, as well as Mr. Ferdinand Kingsley of course.

Tell us about the character that you play in Mank.

I play Irving Thalberg in Mank and he was a guy that was known as a boy wonder in Hollywood circles. He was incredibly young when he entered the film industry, set up the studio MGM when he was 23 with Louis B. Mayer and he was running Universal Pictures when he was 20. He produced over 100 films, which is remarkable given that he died at aged 37 from a congenital heart condition. He was told that he wouldn’t make it to adolescence, so he really didn’t waste a second. He worked relentlessly and it was unbearable for some of the people around him and inspiring for others. He was also responsible for a lot of the institutions that make up how we make films these days, like reshoots and test screening. As well as all of that, he was incredibly right-wing and union loathing, which I found slightly less inspiring, but he was a very fascinating man; it was a joy to learn about him.

What was it like to work with David Fincher?

It was absolutely incredible. I told him that I had never been happier at work on our last day and he told me that I was a fucking masochist. He worked me really hard, but I love that. He was really encouraging and made everyone feel deserved and want to create work of a really high standard. He had that attitude with everyone, from someone that has one line to Gary Oldman, as well as everyone on the crew.

You’ve worked on really big productions (Mank, Victoria, The Hollow Crown). What is that experience like?

In a way the job is always the same in that it involves turning up, telling the truth - trying to make the acting invisible. Of course on really big sets like this you are exceptionally well looked after so you only have to worry about doing your job while you are there. The thing I noticed most on this production was that everyone is really at the top of their game. That can absolutely happen on low budget stuff too but on a Fincher set, everyone is at a really high level. Everyone was creatively pushing all of the time, with real precision. Fincher is known for promoting from within so there is a sense that if you are doing your job well, you might get a promotion and he really rewards hard work.

What are the prime considerations when selecting a project to work on?

The first one is: do they want me to do it! Sadly, I don’t get to pick and choose every time, which would be great. There are always a number of factors - is the storytelling something that resonates with me? Is it asking questions that fascinate me? On Mank I was really interested in the way it explores potential and what that actually means. I wouldn’t work on anything against my moral code - that is either gratuitous or has a really nasty message about women, gender or race. I’m always interested in working on projects that are different to things that I have worked on before. I’ve done a lot of period work, and this is set in the Thirties which is remarkably modern for me.

What did you have to do to get into the headspace of a character like Irving?

The research started by reading books and there a few wonderful books around about Thalberg. The really tough job was having to watch old movies. There is a great documentary called Hollywood which was made in 1980 and is about the early days of the movie industry. A lot of the research came from the absolute privilege of being out and about in Los Angeles, being in the studios and walking about on sets. A lot of it is still the same. Some of the costumes by Trish Summerville were made new or were new-old so suits from the Thirties that still had their tags in. The socks that I was wearing still had the price tag on from that time. The costumes were really interesting as the kind of suit that a man wore would determine if he was viewed as an old timer or forward thinking, like Irving. The look for him was very wide leg trousers and double-breasted suits.

What drew you to a career as an actor?

Well one thing would be the elephant in the room when I have this discussion, which is that my Dad is an actor - a wonderful actor - and my Mum is a theatre director. When I was growing up, acting was the gossip when they were talking shop. I used to do kid parts at the Royal Shakespeare Company and I got pocket money for roles like ‘boy at party’ I do recall sitting in the green room of a theatre, watching a group of grown-ups all dressed in amazing clothes, constantly laughing and going out to tell these amazing stories. It made me want to turn a hobby into full-time.

I did to and fro about whether I would go to university or drama school and I decided to go to drama school. I went when I was 18 and in hindsight it might have been better to go when I was a few years older. Both of my parents told me that what my Dad had achieved was amazing, but completely out of the ordinary.

Is it important for you to have a legacy as an actor?

I think so. Legacy isn’t a word I think of, but I do want to act into my old age. I want to look back and feel that the work that I did was interesting and challenging and that I was proud of it. I don’t think that I am concerned about accolades, but it would be nice if at least other actors know me.

How comfortable are you with the fame side of things?

I think it’s really weird that there is an unspoken rule that some actors will become public property. Talking to people like The Rakish Gent, who has the same creative interests is fun and exciting. It is always lovely to celebrate success at award ceremonies and premieres. It makes me uncomfortable when it goes beyond that and there is a sense of ownership. There is a fine line between what you are prepared to share and what you choose to keep to yourself. I think for anyone it would be a balancing act.

And finally, what makes a rakish gent?

Rakish is a sense of knowing but bending the rules, mischief and taking pleasure in life.

Quick fire questions

Ideal travel destination - Korella, India

Best store in the world - Amoeba Records, Hollywood

Gadget of choice - Robot vacuum cleaner

Go to pair of shoes - A pair of light brown Dr Martens

Brand/ designer of choice - if I had more money it would be APC

Favorite fragrance - Ffern is a really cool fragrance brand that make them on the date of the four equinoxes

Essential grooming product - Beard clippers

Recommended app - Easy Sniper to win eBay auctions

Icon - Right now I would have to say my dog

Mank is on Netflix from 4 December 2020.

Follow Ferdinand Kingsley on Instagram.

SPOTLIGHT: Mr Ferdinand Kingsley