Last month Eddie Marsan faced a happy dilemma: two high-profile projects in which he co-stars –Apple TV+ series “Franklin” led by Michael Douglas and Sam Taylor Johnson’s highly-anticipated Amy Winehouse biopic “Back to Black” – were both being released on the same day, April 12, in Marsan’s native U.K. (“Back to Black came out in the U.S. on May 17).
The resulting publicity maelstrom was, Marsan says, “intense.” And yet despite that, the actor – who has starred in over 150 screen projects including “Ray Donovan,” “Deadpool 2” and Guy Ritchie’s “Sherlock Holmes,” can truthfully claim to be “not really that famous.”
Partly that’s because his highest profile roles in the U.S. have seen the East London-born actor putting on an American accent, including in “Franklin,” in which he plays the second U.S. President, John Adams. Marsan has a long history with the character, having once been in the running to play Adams in HBO’s 2008 limited series “John Adams.” (Paul Giamatti eventually ended up playing the role). So when “Franklin” showrunner Kirk Ellis offered Marsan the part in a new series about founding father Benjamin Franklin and his bid for American independence, it was a no-brainer.
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It helped, Marsan admits with a smile, that most of his scenes were going to be with Douglas, who was already on board as Franklin. “I was bit starstruck to be honest with you,” Marsan says over coffee in West London. “I said, well who wouldn’t want to do a scene with Michael Douglas?” He was particularly looking forward to a Laurel and Hardy-esque moment in which Adam and Franklin have to share a bed while fleeing the British, although sadly it was cut before they shot it. “It made me laugh to have a bed scene with Michael Douglas,” Marsan grins.
“Franklin” also has, of course, many serious themes that resonate more than ever today. At a press conference for the series in Cannes in April, Douglas said gravely: “The show was a great reminder for me about how fragile democracy is.”
Marsan says the American cast and crew were particularly struck by the poignancy of the series during production. In one scene, Franklin, Adams and John Jay (played by Ed Stoppard), toast America, with Adams saying that the country must have “equality, education and rule of law” if it deserves to exist. “That was very emotional for the American crew,” Marsan says. “I found it very emotional doing that scene. Because I think it’s all on the line [now].”
While shooting the show, Marsan was also getting ready (including putting on weight) for “Back to Black,” in which he plays Amy Winehouse’s father Mitch. The film has been criticized for being too kind in its portrayal of both Mitch and Amy’s boyfriend Blake Fielder-Civil. But Marsan defends Mitch, pointing out “he was in an impossible situation. And she loved him. And she loved Blake.”
“The narrative out there is that Amy was a victim, and Blake and Mitch were bullies — that’s not true,” he says thoughtfully, pointing to Winehouse’s determination and strength of character. “I think it’s a great disservice not only to Amy, but to other families who have children who are suffering from addiction. To perpetuate this idea that there’s a villain and a victim is really unhealthy…addiction is arbitrary, and it’s cruel. And it kills people.”
On the horizon is a role in Netflix hit “Heartstopper” (Marsan says his son is a huge fan, which was part of his impetus for doing it) as well as Rapman-created drama “Supacell.” “It’s a really exciting project,” Marsan says. “I think Rapman is a brilliant young filmmaker.”
Despite the hundreds of credits under his belt, Marsan has managed to remain under the radar. “I love it, I love being under the radar,” he replies. “I’ve never been fashionable. I’m just very lucky in the fact that I get to work on great scripts with great people and play a wide breadth of characters. But because it’s never me, people don’t really bother me. I’m not really that famous. So it’s quite nice.”
Certainly in the West London café where we’re sitting Marsan is not approached by fellow patrons, although one or two steal an occasional glance across towards him. In part, it’s because his career didn’t really take off until he left the U.K. “I had to go to America to get a diverse career,” says Marsan, who was born in the working-class borough of Stepney and still retains the accent. “I had to go over to America for people to change their idea of me because every part I was offered, because I come from the East End, was a bank robber, a drug dealer, a BNP [British National Party] racist or whatever. America had a different idea of me. I went over to America and made a success over there and then came back here with my family — and now I get better parts.”
Does he worry a career in the arts is becoming more unattainable for working class actors? He replies they’re “caught in a perfect storm.” When Marsan was starting out actors could get government welfare to tide them over between jobs. “That doesn’t exist any more,” he points out. He also says the lack of emphasis on the arts at school is “an abomination.” “I was never academic,” he explains. “My understanding of drama is very visceral. And I think lots of children are like that.”
After so many years in front of the camera, Marsan is now readying himself to get behind it. “I’ve been approached to direct quite a few times,” he reveals. “And I never have because I had quite a young family. When I know [the kids] are through school and stuff, I’ll start to direct. I think that’s my next project.”
