Viewties | #26 - August 2021

AUG. 2021

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te i h W o ll te r a Nathaniel M Photographed by Pip

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TABLE OF CONTENTS AUGUST 2021

ON THE COVER NATHANIEL MARTELLO-WHITE PHOTOGRAPHED BY PIP FOR VIEWTIES.

FEATURES

Editor's note, p5

The Last Letter From Your Lover, p6 Movie review.

Why do you must watch it?

Welcome to the August edition - nº 26.

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TABLE OF CONTENTS AUGUST 2021

PAGE 16 GEMMA BARNETT PHOTOGRAPHED BY YELLOWBELLYPHOTO

Nathaniel Martello-White, p10

Gemma Barnett, p16 She talks about her poetry and her journey to perform and create art.

The actor discusses all about his role ‘Baz’ in Channel 4’s Deceit.

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A MAGAZINE WRITTEN & DESIGNED BY

Published monthly at Buenos Aires, Argentina.

Ad sales agent: Anny Andrades - anny@viewties.co.uk Subscriptions: viewties.co.uk @viewtiesmag

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r e t t e L A the Editor from

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elcome to the August 2021 editon #26 of Viewties!

Inside this issue, we get creative introducing two beautiful minds who take art to the next level. With the premier of the TV series Deceit, we get in touch with one of the stars who tells us his experience on the show.

I wrote my thoughts on Studiocanal's new movie and we close with a very interesting interview that mixes film with poetry.

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I still remember the feeling I got when I sent my first letter. I'm a girl from the 90’s, I used to send a lot of letters to my relatives, close friends and the boy I loved back then. Just think about how special and meaningful this practice gets when you can customize your own letter and use your handwriting to express your feelings to the ones you love or the ones you want to communicate something.

When I heard about the adaptation from Jojo Moyes’ best-selling novel, The Last Letter From Your Lover, I couldn't wait to see it. This passionate, dual-narrative love story that is set in the French Riviera and London during the 1960s and present-day, is a portrayal of one of my favourite methods of love expression, everything starts with a letter.

It tells the tale of elegant Jennifer Stirling (Shailene Woodley) and how her life becomes inextricably interwoven with that of Ellie Haworth (Felicity Jones) in life changing events which connect them across almost half a century. Jennifer lives a luxurious life with her wealthy and powerful husband Laurence (Joe Alwyn).

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When an unfortunate event wipes her memory, she struggles to find her identity until she stumbles upon wistful love letters hidden in her home.

The passionate notes unravel a star-crossed love affair she had with foreign correspondent Anthony O’Hare (Callum Turner) and ultimately lead her to discover her true self. Jennifer’s story becomes intertwined with that of Ellie, a whip-smart journalist in contemporary London, who discovers and becomes enthralled by these love letters from a bygone era. As she begins to piece them together with the help of archivist Rory (Nabhaan Rizwan), she sets off on a journey that will entangle the two women’s lives forever.

Everything about this movie is beautiful, especially when we see the transition from the period time to the present day. The way the story is told, helps a lot to the viewer to follow, you get the whole picture of it.

Director Augustine Frizzell had a vivid and sensitive approach to the script and took the actors’ performance to a romantic environment where they all shone and shared a very natural chemistry between them.

Despite the letters, what this movie really aims to do is to show true love.

It exposes how much we can resist it and how this love gets back to us because it had to, because it's meant to be. It’s never late to live our happy ending - it’s not the end, it’s the beginning.

The Last Letter From Your Lover releases in U.K cinemas from August 6, 2021

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NATHANIEL MARTELLO-WHITE Photographed by Pip

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NM L

ast year, the award-winning actor/writer/director

Nathaniel Martello-White appeared in two BAFTA nominated shows: alongside Billie Piper in SKY Atlantic’s BAFTA TV nominated drama I Hate Suzie and in Steve McQueen’s Small Axe: Mangrove, which opened the 2020 London Film Festival, and was selected as ‘In Competition’ at Cannes.

Next Up, Nathaniel will star opposite Niamh Algar as ‘Baz’ in Channel 4’s Deceit, directed by BAFTA award winning Niall MacCormick. The series is about a female undercover officer who is asked to become sexual bait for a suspected killer.

Deceit feels to me as a very intriguing narrative, the same feeling you get while you’re reading a book. It gets you thrilled and has a fascinating turn.

I also feel this show tests your intuition!

In conversation with Viewties, Nathaniel plays Lizzie's police handler and discusses all about his role, the show and his experiences as a creator himself.

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Nathaniel Martello-White Photographed by Pip

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V: You have a very impressive resume! All the roles you have played have been portrayed naturally with dedication in the details. I can also see that everything you do is immediately well received and that’s because your heart and soul is seen in your work.

So, when it comes to choosing what projects to be a part of, what do you look for to play as an actor and to tell as director and writer? What stories draw you?

Nat - I’m always interested in projects that feel zeitgeist in some way. That feel like they’re getting underneath the complexity of human nature. It all really boils down to a great story and interesting character. And within that, having the opportunity to work with some great artists like Steve McQueen and Lucy Prebble. As a writer sometimes you just feel something collecting inside of you, a phrase, an injustice, something that feels wrong about the world and then I start to build out from that phrase or premise. Or I’m looking at TV shows, and feeling, what’s missing? What would I love to see. I consider myself a fan of cinema and television as much as I am a creator of it.

V: You received the Jury Prize for ‘Best UK Short’ from Raindance Film Festival after you wrote and directed the comedy short, Cla’am. Would you say that this experience as a director helped you to prepare to become a better actor? How would you say that each field benefits the other?

Nat - It’s like the infinity symbol.

Everything is flowing back into the source and out again. For sure my experiences on set as an actor have prepared me for life as a director.

My experiences as a playwright have prepared me to be a better screen writer, and so on and so forth. I always know what it’s like to be sat in the frame, so ...

when I’m communicating with actors when I’m directing, I’m generally thinking about the conditions I’m trying to create to allow the work to happen, rather than feel like I have to control it.

V: You star as ‘Baz’ in Channel 4’s Deceit, it’s such a great show! It’s gripping and I also believe it somehow tests your intuition. What made you want to be involved in the production?

Nat - Brilliant script. Powerful subject matter. Niamh Algar is a brilliant actress. And Ado the producer is a close friend of mine. All those things coalescing. It was a no brainer.

V: Once you knew the part was yours, which was your approach to the material? Did you have to do any research into the true story to help to tell it, or did you work with the script and Niall MacCormick’s direction?

Nat - I worked a lot with Niall and Niamh, refining the relationship between BAZ and SADIE. I refreshed myself on the actual event and everything that happened, but I personally didn’t get too fixated on that and wanted to treat it like a story which demanded my absolute commitment.

You prepare like a madman so you can be free and impulsive on set.

V: Is there one scene in the series that was particularly taxing for you?

Nat - I found the scene in the pub where Sadie is having a breakdown pretty challenging. It was a highly emotional scene and I’m trying to support and contain Sadie’s mental decline whilst also trying to have safe boundaries and not be too effected, but how can you NOT. BAZ ...

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My experiences on set as an actor have prepared me for life as a director. is dealing with his own stuff too.

V: You shared most of your scenes with Niamh Algar, how was it like working alongside her and how did you both create the relationship seen on screen?

Nat - Niamh was very gracious in that, before I started shooting we did two really long zoom sessions, interrogating the material and making tweaks and going deeper and further.

Even running lines, testing the rhythm. It meant that when I arrived on set, I was totally ready. And personally it’s quite cool when all of your scenes are with one character… you can really get to know the other person and go on a journey with them.

V: The cast is wonderful and I enjoyed seeing everyone’s job in it. Did you have the chance to meet with the rest of the cast, Eddie Marsan? If so, what have you learned from sharing a set with them?

Nat - I only got the chance to work with Harry Treadaway briefly, which was cool because it felt like our characters were meeting after their collective journeys, albeit for a brief moment, but that moment was a significant one.

Nathaniel Martello-White Photographed by David Goldman

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V: I was wondering about playing this character and being part of this show, did it teach you anything that you may not have been in touch with before? Did this experience make you question how the police work against criminals and murders?

Nat - I think every time you play a cop, you are reminded that they are totally human with their own innate flaws. There is this strange sort of veil with police because they have the power to enforce the law but I think we’re beginning to rightly question and scrutinize how that is done at times, when the ...

actions themselves are deplorable.

I often think more communitybased interaction with police would be so helpful to wash away stigmas on both sides.

V: As your character in the show represents confidence and support. I was wondering, what is the best advice that you (Nat) have ever been given?

Nat - Good question!

The best advice I think is to look after myself. It’s easy to get burn out and lose a sense of yourself when you’re driven to achieve great things. Things which require sacrifice. But I’m learning the older I get that the time I’m ...

I often think more com munitybased interaction with police would be so helpful to wash away stigmas on both sides. putting into the recharge is as integral as the work itself.

V: Last question, as my nationality is Argentinian, I’m curious to ask you if you have ever seen or experi-enced any type of art/culture from Argentina?

Nat - Yes! The secret in their eyes!

I love this movie! And would love to visit Argentina and experience much more.

The four-part drama series Deceit begins on Friday 13th August at 9pm on Channel 4

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GEMMA BARNETT Photographed by YellowBellyPhoto

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GB Winner of Best Female Performance in a Play as Rory in

'A Hundred words For Snow' at Trafalgar Studio 2 (OffWestEnd 2020), Actor and writer Gemma Barnett is well known for her several performances in theatres nationwide, including The Vaults and The Bunker.

She’s one of those artists who gets inspired by life, although she admits to struggling to call herself 'an artist', she’s not sure what it means.

She simply communicates art through her body, her mind, with an empathetic aptitude and kindness all around.

That’s the vibe I got when I got to see her spoken-word act Bridge to Moorgate’s Theatre Deli on her YouTube channel. A piece within a pandemic setting, about loss and love, inspired by her current job.

Gemma spoke to Viewties about this experience, her poetry and her journey to perform and create art.

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Gemma Barnett Photographed by YellowBellyPhoto

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V: I feel you have reinvented yourself artistically from the moment you decided to become a GP receptionist to cope with the crazy times due to covid. Your story made me think about the importance of exploring the world in different areas and how this stimulates creativity for artists whose job is to tell so many stories.

And what about your story? What do you remember about your first inkling of wanting to be an artist?

Gemma - Well I obviously played Mary in the school nativity and took it all very seriously. Haha only joking (not really) - I honestly can't pinpoint the moment I decided I wanted to be an artist. I still even struggle to call myself 'an artist'. I'm not sure what it means. Maybe I'll get better at that, maybe not. What I can remember though, are specific people that made me feel I was good at it. My drama teacher in secondary school is the main person who made a career in the arts industries feel achievable and incredibly valuable.

V: The entertainment industry can be unstable and full of stress, what do you do to tackle the pressure that comes with your work?

Gemma - I hang out with my closest friends and attempt to talk about anything else. And sleep.

V: The fact that you have worked in different jobs, would you say this made you feel more empathetic with people and their stories? How much do you feel this has benefited or influenced your approach on acting and writing?

Gemma - I don't think the jobs have made me empathetic - I think I am quite a sensitive/empathetic person naturally (I hope) and those are the people I like to surround myself with.

However, I have always been proud of the jobs I've had to work in between acting and writing. Mainly because I've made some great friends from them and met people, I wouldn't otherwise have met but also because there's a massive world out there which I think is worth a healthy reminder when you're stuck in a specific bubble. I kind of write from observation - noticing a funny/sad/moving thing and jotting it down. So, I always value being out in the world - in whatever job that may be.

V: What came to your mind when you knew that you won the ‘Spoken Word’ Category in Poetry for Good with your poem The Front Desk?

Gemma - Are they sure they got the right email?.

V: When I watched your short film ‘’Bridge’’, that you wrote ...

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I kind of write from observation - noticing a funny/sad/ moving thing and jotting it down. and performed, I felt humanity in your performance, it’s a beautiful narrative whose portrayal is of vulnerability during hard times and exposes the need for conversation and understanding. When you got the inspiration to write this, how did you structure it? Did you write it all at once or was it written as a puzzle?

Gemma - I had the gist of the story I wanted to write in my head and had been jotting down bits of poetry in a notebook for a while. But then I found the bulk of the writing actually happened at once. If I got stuck though I'd flick through that notebook and choose or work on a bit I still really liked.

V: What made you want to adapt your poem into film?

Gemma - I didn't want to at all.

I just got Covid and was unable to perform it live so this was the alternative. Fortunately, though, I met Rich Rusk and Finn Morrell who helped make the film exactly what I would have hoped for. I feel it actually all happened for a reason. So Covid - you did not win here.

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V: How do you prepare a narrative performance for poetry? Does it involve a different acting technique, and method to memorize your text?

Suzi Naomi MacGregor performing live in Bridge

Gemma - I think I write as a performer so I almost know how I'd want to deliver it from the get go. But then I just run the lines A LOT. Until I find an ease with them that helps it all feel as natural as dialogue. But I also try very hard not to fall into a specific rhythm which makes it feel boring and anticipated - I welcome happy accidents and fuck ups. Basically I prepare but not too much.

V: It’s lovely the way it’s edited.

It looks to me as if it was shot in one take, was it? And why have you chosen to have Suzi Naomi MacGregor composing the music live?

Gemma - We did the piece about 3 different times. First with a close up on me, second focusing on Suzi and the music and thirdly with the two of us in the space together. Then Rich and Finn chose specific moments and shots to try.

They were very thorough.

Suzi and I met at drama school and she is the most wonderfully gifted vocalist and musician. This felt like the perfect piece in which to force her to work with me.

V: What’s coming next for you, Gemma? What projects are you working on next?

Gemma - I have just been selected for Vault Five with the Vault Festival and will be performing and continuing to develop my show 'Agatha' for that. It is being programmed for March 2022. Until then I will be performing 'Bridge' at Cambridge International Festival and continuing the gruel of auditions.

Suzi is the most wonderfully gifted vocalist and musician.

V: Last question, as my nationality is Argentinian, I’m curious to ask you if you have ever seen or experienced any type of art/culture from Argentina?

Gemma - I can't really say I have, sadly - but my brother recently sent me the song 'Arriba' by Femina and I loved it!

Watch BRIDGE by Gemma Barnett on Youtube.

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Gemma Barnett & Suzi Naomi MacGregor

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