As Harris Dickinson solidified his status as a star in projects like and , the actor was concurrently developing the screenplay that would become his inaugural feature film, Urchin.
The movie, which premiered to this past May, is a profound and unexpected drama detailing the story of Mike, an addict who, after assaulting and robbing a man offering aid, leaves prison with an uncertain commitment to rehabilitation.
“I’m unsure of the precise origin,” he remarked during a video call this month, coinciding with the film’s New York premiere. “I simply knew I wanted to explore a character like Mike and delve into the experience of someone whose narrative isn’t often told.”
Dickinson has established a distinct path in his acting career. While currently portraying John Lennon in Sam Mendes’ extensive four-part Beatles biopic, he is widely recognized for his captivating, demanding, and at times audacious roles in films such as Beach Rats and Babygirl. Urchin, set for theatrical release this Friday, mirrors the bold nature of his acting. Dickinson ventures into new artistic territory, blending surreal sequences with a realistic portrayal of a man trapped in patterns of self-destructive behavior. His aim was to steer clear of conventional portrayals of life on society’s fringes.
“The core question was, what has been previously depicted, especially in British cinema within this category?” he stated. “That’s precisely what we aimed to sidestep at every juncture. And I believe the freedom to infuse it with a somewhat more surreal and comedic sensibility—that was crucial for everyone involved. To be able to say, ‘Okay, this isn’t a film of a particular type. We’re not constrained by any preconceived notions here.’”
To achieve Dickinson’s admittedly naive yet ambitious objectives, he sought out actor to portray Mike. Although Dickinson was familiar with Dillane’s acting from his role as Tom Riddle in Harry Potter and the Half-Blood Prince and his work on Fear the Walking Dead, he ultimately cast him after an audition. Even with incomplete financing at the time, Dillane committed to the project.
Via their Zoom calls, both actors displayed a comparable cool and playful sense of humor. Dickinson put on sunglasses for our discussion, shielding his eyes from the intense sunlight entering through a window. Dillane, dressed in an Adidas tracksuit, was smoking a cigarette. Dickinson himself has a minor part in the film, playing one of Mike’s acquaintances from the streets. He took on this role at the eleventh hour after another actor withdrew. “I had to persuade him,” Dillane noted. “It was quite a struggle.”
When asked about their collaborative process, they humorously suggested they were “lovers,” with Dillane quipping that “Harris was quite hands-on regarding my derriere,” but their tone shifted to seriousness when discussing their dedication to Mike’s narrative.
“During that initial audition, I recognized that the story Harris aimed to convey was extraordinarily sensitive and encompassed far more than just homelessness,” Dillane commented. “It is truly an exploration of the human condition in its most expansive meaning.”
Extensive practical research informed the film’s preparation. Dickinson mentioned engaging in “genuine conversations” with individuals involved in prison reform and consulting with advisors who had personal experiences with homelessness and addiction. “I’ve also had personal proximity to such issues,” he added. “Therefore, the goal was to portray it in a manner that felt authentic to those who had experienced it or been close to it, something they often felt was missing from cinematic portrayals.”
Even before their joint efforts began, both Dickinson and Dillane had collaborated with UK-based charities serving vulnerable communities, specifically Under One Sky and Single Homeless Project. They also visited prisons together, yet Dickinson chose not to make the narrative about institutions, opting instead to focus on Mike’s internal experiences. This emphasis is apparent in the preparatory reading material he provided Dillane: .
“That truly illuminated the entire concept for me, in a very deep way,” Dillane stated. “This kind of existential struggle with oneself, and also this sense of a divine absence, where the very lack of a God suggests the existence of one. Harris masterfully conveys that through the dream sequences.”
Dillane dedicated significant time to experiencing life on the streets, observing the profound exhaustion of spending an entire day outdoors without shelter. “I originate from a decidedly middle-class upbringing and have a highly supportive family, so there were aspects I felt compelled to grasp more physically,” he explained. (His father is Stephen Dillane, the actor known for Game of Thrones.)
Specific scenes throughout London were filmed using a long lens, allowing, as Dickinson put it, that “the surrounding world to continue undisturbed.” Occasionally, Dillane was given a radio, and Dickinson, from a distance, directed him to engage with non-professional actors.
“The lack of acknowledgment is incredibly hurtful for people because, as you know, they are right there in front of you,” Dillane observed. “I have this inclination, as we all do, to go about our day and avert our gaze when someone appears distressed and famished on the train; we act as if they aren’t there, and experiencing that directly was insightful.”
Enabling Mike to experience instances of lightheartedness was equally vital for both Dillane and Dickinson. “Humor is intrinsically linked to life on the streets,” Dillane commented. “It is often us, the more rigid middle-class individuals, who tend to approach life with excessive seriousness.”
Dickinson takes the responsibility of narrating Mike’s story seriously, all while simultaneously challenging the conventional limits of the genre.
“My intention was never for it to be merely a drug narrative or an ,” he stated. “Because, fundamentally, it delves more into *why* we develop dependencies. Why do we revert to substance use or any other form of dependency?”
As for the imaginative elements embedded within the film? That simply reflects Dickinson’s way of thinking.
“I’ve always leaned towards being a dreamer,” he revealed. “I don’t believe I’m capable of operating in a strictly realistic, practical, or linear fashion. I’ve consistently been drawn to fairy tales and the concept of escapism. The film follows a character with an exceptionally intricate mind. In many respects, the cinematic language itself gravitates towards a more abstract approach.”
