IMOGEN POOTS

Golden and crystal metal, strass and resin earrings, iridescent ‘Fantasy’ tweed jacket and shorts and stretch lamb and patent calfskin boots, all by CHANEL

British actor Imogen Poots has captivated us with her performances on screens and in theatres. 5'ELEVEN'' Magazine talks to her about her latest releases, the roles and directors who inspire her and living life fearlessly.

Words by Leigh Maynard.

Photographed by Nicole Nodland. Styled by Tasha Arguile. Makeup by Justine Jenkins using Violette_FR. Hair by Benjamin Talbott at The Wall Group using Living Proof. Photographer assisted by Josh Lewis. Digi Op by Ruben Davis. Story shot at The Roost London. With thanks to Holly Eva White. Imogen appears courtesy of Narrative PR.

5'ELEVEN'' Magazine Cover for The Cinema Issue with Imogen Poots wearing black long velvet dress by Valentino

“Edward Albee said, ‘Sometimes it’s necessary to go a long distance out of the way in order to come back a short distance correctly.’ And I've been thinking about that so much, to do with England. To move far out and live somewhere else for nearly 20 years. And now I'm like, ‘Oh, but I really am so English.’ There's a sensibility, isn't there? Because I think the English get really generalised. Like everyone, they equate this with the class system. They get it all mixed up. But there's this kind of fundamental attitude that's very refreshing, I think,” says actor Imogen Poots. I’m talking with her as she sits in her Brooklyn home, pondering her recent trip back to London, the city where she was born and raised. Her time there has clearly offered her an opportunity to reflect on places and journeys that shape us, while revealing to us who we really are, and it has evidently reignited her sense of ‘Englishness’.

Rewind a few weeks, and I meet her for the first time in a studio in East London. Arriving in a once-loved local pub, with all the character and charm and echoes of stories told across the bar, now recommissioned as a creative space. As I enter the room, Imogen is animatedly launching herself across the floor, clad in a velvet dress and heels; she’s not just posing, instead, delivering, with every click of the camera’s shutter. It’s the day of her cover editorial for 5’ELEVEN”, and in just a few short seconds, I get the essence of her. Evidently, she has much of that attitude of which she speaks. And besides what I have seen from her on-screen performances, my first impression of her is that Imogen Poots is an actor who doesn’t just act; she gives her all.

Draped check frills blouse by Louis Vuitton

Born in London to a television producer father and a journalist mother, Imogen was raised in Chiswick, in the west, with an education in some of the city’s most prestigious private schools. But it was weekends spent at improv workshops at the Youngblood Theatre Company in Hammersmith that first caught the fledgling actor’s imagination and helped shape her approach. Despite this, she admits that back in her teens, her film knowledge was minimal. And, jokingly, that it wasn’t an adverse setback that directed her towards her chosen career, “I know a lot of actors kind of have sports injuries, which led them there. But no sprained ankles for me,” she quips. “I remember in my late teens just funnelling as much as I could into my brain, movie-wise. I really hadn't seen a lot of movies by that point, if I'm honest. I recall moving to Los Angeles for a short time when I was 20, and I had an apartment with amazing light in the living room. But I spent the whole day trying to watch movies on the TV and block out the light on the screen so I could see the classic masterpieces [such as] Truffaut, Bicycle Thieves, and also Terence Malik's work.” Though she adds, the medium to which she most closely relates comes in a different form. “Music was my first love. So, I think albums always played a big part around that time of [my] life. When I started acting, there was a lot of time alone. And time alone with music is a very nice time.”

I remind her of our shoot, and now it all makes sense, an editorial set inflected by Bowie’s vocals on a loop. “Yeah, David, I think his music's like a drug. I remember that day, I was very, very tired. We just did something the day before. I can't remember what, but it was very grounding, having a bit of Bowie in the background.” But on that occasion, despite her admiration for his music, the man from Mars most definitely took a backseat. Imogen, the master of her own craft, collaborates with a range of top directors in the commercial sphere and auteur directors on indie-focused projects. She is best known for her ability to transition seamlessly between the two. No doubt Bowie — the chameleon — would approve. This openness has undoubtedly helped shape her, allowing her to face new challenges that fuel her growth. Perhaps one of the comments that most succinctly sums up Imogen’s on-screen presence is from Vogue journalist Giles Hattersley, who commented that Imogen is “compellingly natural” in front of the camera. While others have noted her ‘emotional intelligence’ and ‘natural ability’, which lead to portrayals that are both ‘grounded and instinctive.’

Such accolades and success have come not only from Imogen’s inherent talent but also from a craft perfected through hard work and determination, beginning as early as her late teens. At a time when most actors were still exploring their potential, Imogen was courting Hollywood. At 17, after some minor roles in television and film, she was approached by Juan Carlos Fresnadillo for the second instalment of the franchise, 28 Weeks Later, released in 2007. This role is often considered her breakout. Along with parts in films like V for Vendetta (2005), Cracks (2009) and the 2011 remake of Fright Night, as well as an appearance in a campaign for fashion house Chloé, Imogen’s trajectory has been stellar from the outset. Since then, she has demonstrated her versatility and range, appearing in productions across genres — from comedies on screen to the 2011 adaptation of Jane Eyre and Who’s Afraid of Virginia Woolf on stage.

Black turtleneck and strapless ruched gown with catsuit by Norma Kamali. ‘Issey’ black leather and tulle gloves by Paula Rowan

I’m intrigued to hear about her process and how that differs when developing characters for the screen or the stage. In many ways, there are parallels, she explains, “The process is the same, is just to be present, to do all of the work beforehand, so that you are just operating in a reactive state. That's for me, the closest you can get to the truth of something. But there's something about it, it's to do with the release as well. I think with theatre, you can have a different kind of release. There's a sense that it's only happening that one time. You know, it’s like when you go to see a live gig or something, there's an element of the performance, which is just sort of complete and singular. And I think with filming, I mean, these days, to be honest, I've done so many independent films that you rarely have a lot of time anyway, so you really are already having a couple shots at something. But yeah, theatre is inherently different because you are in a room with the audience, and it's all live, and that's the relationship that matters. And it’s a very surreal thing to do.”

Imogen draws her audience in through an innate talent underpinned by her authentic sensibilities and it seems so very effortless. She recalls her first moment mastering this skill in front of the lens. “I remember very vividly, [at the age] 14 or 15, it was my first ever TV job. And I remember the first moment with the cinematographer and him having a television in front of my face that was recording, and then you normalise that. This completely absurd thing is normalised, and for the rest of your life, that's just a natural thing to happen, and that's insane when you think about the process and sort of what it feels like. Your nerves change into something else. The brain must just rewire itself to organise things.”

Black rhodium plated ‘Sakli’ mini earrings by Misho. Pleated drapey viscose dress by Tory Burch. Off white ‘Arno’ sandals by Izie

Along with that incredible talent, Imogen’s work is further compelling through her diverse and singular choice of projects, each demonstrating a fearlessness and curiosity that allow her to explore different facets of her craft and potential. When choosing projects, she explains, like many actors, she is often drawn to the director. “I think filmmakers are always my most important element. [when choosing a project] And the thing I'm most excited by, and, you know, I will go do a scene in a movie if I love the director. And I have always felt that way.” However, one of her most recent productions drew Imogen in through a different set of motivations. The romantic drama All of You interested her because it asked her to inhabit characters whose choices veered from her own moral compass and offered an insight into a different sensibility. Imogen plays Laura in All of You alongside Emmy award-winning Brett Goldstein as Simon. This pair of college friends drift apart after a high-tech test reveals Laura’s soulmate, despite years of unspoken feelings between the friends. Imogen recognised the film’s unique theme and immediately knew it was a project she would like to pursue. “With a movie like All of You, I wanted to make something really special. But the idea of the piece was really a draw because I was so mixed over the character's choices, which is really interesting.”

Imogen admits that despite Laura’s questionable choices, there are relatable elements in her character that will resonate with many of us, reminding us of the invaluable lessons in visceral experiences. “I mean, I've had connections to people that still have a hold on me. I think we all have experienced that. And it's inexplicable and ineffable, and you are supposed to meet those people, I hope. I think that they activate something in you and vice versa. Those experiences are very painful. But the reward is that you are truly living and having experiences.”

It’s these kinds of lessons that directly connect Imogen to her motivation in Chronology of Water, the directorial debut of Oscar-nominated actor Kristen Stewart. Imogen explains that, in addition to its central premise, she chose the project based on the filmmaker. “People like Kristen don't really exist; if they do, they're not getting opportunities. They should, because her way of seeing the world is incredibly individual, and she was always going to create something that anyone would want to be a part of.” Based on the memoir by Lidia Yuknavitch, the film also stars Thora Birch, Jim Belushi and Tom Sturridge, casting a portrait of womanhood through the eyes of a restless and fraught Lidia who seeks to escape her abusive childhood, finding solace in the world of competitive swimming. Her cathartic process also draws her to engage in toxic relationships, addiction and sexual experimentation. The film’s raw, heartfelt subject matter is compellingly brought to the screen using 16 mm film, in a directional style that is both fresh and irreverent.

Golden and crystal metal, strass and resin earrings, ecru iridescent ‘Fantasy’ tweed jacket and shorts, both by CHANEL

Imogen’s portrayal of Lidia is at once arresting and hard to watch and is, in our opinion, one of the actor’s most raw and powerful performances to date. As with all projects, as the central character, there’s undoubtedly a weight of responsibility to ensure that the part correctly aligns between the actor’s interpretation and the director's vision. Feeling deeply moved at the film’s conclusion, I asked if Imogen felt the weight of leading Kristen’s directional debut. She admits there’s a responsibility and adds that, although many factors drive success, she was completely committed and focused on giving her director everything. “Huge success is obviously so out of my control, but I didn't want to let her down. But whatever she wanted, that's all I cared about, and I still do care about. The opportunity she gave me was just amazing, and it's such a gift, especially after working for a long time. And I'm very grateful for everyone who's ever hired me. But sometimes those films might go to a festival where they don't necessarily get wide distribution, especially if you're choosing subjects that are not mainstream. So, it was also knowing that this one would intrigue people. Because Kristen is such an intriguing artist, people are naturally curious about what she's up to. Being invited into that was amazing. But yes, the stakes were high. And I believe her when she says this; I think she very much felt the same way. It was a very pure partnership, with wanting not to let the other one down. And also, we expected a lot from one another. Which I think is really important.”

Just as I had witnessed in that East London studio, Imogen appears to immerse herself deeply in each part she selects. Kristen must have recognised this, expanding on the fragility that Imogen so eloquently conveys, as she delves into Lidia’s layers and quiet vulnerabilities. Imogen explains that director and actor developed a symbiosis in their relationship in a relatively short space of time. “I think what was really cool is that this book is very, very important to Kristen. She's very grateful, we all are grateful, that Lidia allowed her story to be told in this way. But ultimately, I think it was important to Kristen that the female at the centre of our story was our girl. And a person that, she's Kristen, she's me, she's you, she's a lot of women out there. So, she wanted that. She, I think, really knows me, which is kind of an unusual thing to achieve in such a short space of time. I truly believe that she does. And I can see that in the way that she's tried to capture moments. So, it felt very, very free, but at the same time, she also knew exactly what she wanted. And that's really important as well. We weren't always like, ‘yes, that's a great idea.’ We would talk it out, challenge each other, and all of that was really refreshing. Because you just want the best. For each other, for the project.”

I was curious to know what message Imogen would wish to send to women in the audience who may have faced similar challenges to Lidia. Imogen feels it’s essential to explore those facets of Lidia’s susceptibilities and flaws, with the understanding that perfection and happiness are not the entire frame of life. That failure, and the journey itself, with all its challenges, are just as meaningful. “I also have my own issues with how people talk about power in relation to femininity these days. That's probably a whole other conversation, but I think it's okay to be vulnerable and okay not to get it right. And I feel more looking at the algorithms and self-help, and there are all these sorts of ideas, even in relation to something trivial, in relation to the Chronology of Water, but like dating. You shouldn't text a guy when this happens. All these deeply bizarre and mad ideas as to how to live your life. And I think with Lidia, she had the cards stacked against her in such a way that to create a life for herself was a phenomenal feat. It wasn't smooth, and it wasn't ideal — I don't think any life is — but I think it's important to see that. I feel there's a sense these days, especially for the younger generation, that's probably leading to sort of paralysis because it's like, ‘Oh, if you make one false move, you haven't done it correctly.’ And I think that's a really dangerous, slippery slope.”

Black cashmere knit mini dress with saddlery inspired apron by Hermès. Black sheer tights by Falke

A woman that shows this fearless determination, though not immediately apparent, is Thea Clifton, Imogen's character, in the latest adaptation of Henrik Ibsen’s Hedda. In this production, Imogen is joined by an incredible cast, from the compelling Tessa Thompson as Hedda Gabler to Nina Hoss’ captivating portrayal of the destructive Eileen Loveborg, each with their own demons. However, it is Imogen’s character in this film who expresses those same sentiments about living your authentic truth and accepting your fallibility.

“Some of what we shot didn’t make it into the final film,” Imogen explains, “but what struck me is that Thea has just left her husband - such a huge, brave choice. We talked a lot about how, in some ways, and this is not a judgement, per se but Hedda can feel cowardly. Tessa mentioned that Hedda would love to act on her impulses but never truly does. And Eileen, as played by the great Nina, fails in her own way - she can’t quite live up to her own expectations. Thea, on the other hand, is quietly mulling over everything. She doesn’t miss a thing. She’s very steely, and that was very cool to play. I think that’s what drew me to playing the character.”

For Imogen, it's not the strength of the character that she finds interesting; it's much more those with imperfections that she feels can be so compelling to watch and play. “I think it’s great to see characters with weaknesses,” she says. “Strength is great too, of course, but I sometimes wonder how interesting it really is to watch. It's a nice idea, and I hope we all get there in the end. But I definitely get a lot of gratification from watching characters try their best and maybe fail because they're human. And I've always found that very, very moving. But superheroes leave me a bit dead inside.”

This draws me back to earlier moments in our conversation, to Laura and her journey through less-travelled charters, to Thea, willing to break convention. Imogen herself, stripping away all artifice as she leapt around on set and with all her dry, self-deprecating wit not far from the surface. To Lidia and that deeply traumatic yet cathartic voyage of exploration and finally, to that moment at the beginning of our conversation, to that line that Imogen has been pondering these last weeks, “It's necessary to go a long distance out of the way in order to come back a short distance correctly.” In all that Imogen Poots does, she seems to embody this line in many ways: revealing quiet truths of herself by moving continents, exploring opposing genres in film, engaging with what unsettles her, and traversing vulnerability both physically and metaphorically. Ultimately she understands that in those moments that test us, that is where you’ll find the magic, the real us, the real her, the real character that compels us to watch this fascinating and accomplished actor, wondering with the next big leap, just where she’ll take us and what she’ll do next. And there’s a possibility that sometimes, whatever or wherever that is, it might be accompanied by a little bit of Bowie.

This interview is inside The CINEMA Issue 15. Purchase your copy here.

Black dress with fringe skirt detail by Edeline Lee