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We Speak Actors

Brendan McNamee talks acting, directing, and his appearance in ‘The Penguin Lessons

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Brendan McNamee, a graduate of the Academy of Live and Recorded Arts (ALRA) in 1997, has carved a unique path in the film industry, seamlessly blending his skills as an actor, director, and producer. His journey reflects a deep understanding of both the artistic and technical facets of filmmaking.

Could you tell us about your journey into the film industry?

I graduated from ALRA in ’97.  It was the first drama school to teach television acting. It had a TV and Radio studio, multi-cameras, and vision mixing. I learned many of the behind-the-camera jobs. The logic being that if you were informed about what was happening around you — when, how, and why — it would help you as an actor. After drama school, I did a few plays (Talk Radio), and then I started writing and directing short films, corporate videos, and eventually music videos. My company, Blunt Films, made hundreds of pieces of content over the years. Of course, we didn’t call it ‘content’ back then. I made an independent feature film, Miles Away, which debuted at the 2009 Raindance Film Festival and won Best Film in New Jersey and Hawaii.

What experience do you have as a producer, and how has it influenced your career?

As a producer (and director, editor), I worked on so many budgets where we had to make the money stretch. (Is there any other type of budget?) When I graduated from drama school, filmmakers like Linklater, the Dogme gang, and The Blair Witch Project all showcased what could be done with a great story and creative filmmaking. I remember shooting background plates and special effects plates for a Franz Ferdinand video on a DV camera hanging out of the boot of my car in the Sussex countryside. When I described what I was doing, there was a bit of ‘pooh-poohing’ of what I was trying to achieve, but once the director and editor saw the results and we had composed the shots, they were very happy. As long as it is believable in the frame, it works.

Photo credit: Claire Witteveen

“Post production is a bit like good manners. No one notices good manners, only bad manners.”

Which projects stand out as your best work as an actor?

I’m not sure that I could say I’ve done ‘my best work.’ I feel that every time I am on camera, it is so different from the previous experience. Nothing is comparable. With Olivier Assyass on Wasp Network, I pitched my first take a little in the ‘middle,’ and he was happy with that, which made me feel I hadn’t given him enough. I am still learning, but I think it has been best when I’ve hit it out of bounds and been asked to rein it in, rather than starting somewhere conservative and having nowhere to go. The fight scene in Rich Flu is incomparable to the staff room we inhabit in ‘The Penguin Lessons’, but no less exciting. I have also recently shot my first TV series in Spanish – El Centro.

“I have been very lucky to have worked with Penelope Cruz, Paco Leon, Steve Coogan, Jonathan Pryce, Edgar Ramirez, Mary Elizabeth Winstead and Tristan Ulloa…”

How was your experience working on ‘The Penguin Lessons’?

I had to suppress my star-struckness for Peter Cattaneo, Steve Coogan, and Sir Jonathan Pryce in our scenes. Living in Spain and working with Spanish legends (like Paco León) is maybe a little easier because I didn’t grow up with their work. The three men above have produced millions of hours of entertainment that I have happily consumed throughout my life. During one of our scenes that wasn’t quite going right, I asked Steve, “How can I make it better?” I needed to acknowledge that it was partly my fault that it wasn’t quite right — not so much Brendan to Steve, but actor to actor. He told me to just throw it away more, and then as I did the scene began to settle better. It was great to feel it was ‘wrong’ before we made it ‘right.’

Who would you recommend to watch The Penguin Lessons, and why?

The Penguin Lessons is a great family film. It’s sweet and has that dry wit we love Mr. Coogan for. I think it’s a film for everyone, and if you are bilingual, even more so. Quite frankly, everyone should see everything that Steve Coogan has ever made. I couldn’t put him on a higher pedestal. Oh, and of course, you should love the art teacher, Mr. Cooper.

‘The Penguin Lessons,’ directed by Peter Cattaneo, is slated for theatrical release in the UK on April 18th. The film follows an Englishman’s personal and political awakening after adopting a penguin during a tumultuous period in Argentine history. 

The cast includes Steve Coogan, Jonathan Pryce, Vivian El Jaber, Björn Gustafsson, Alfonsina Carrocio, and David Herrero. 

Featured photo credit: Claire Witteveen

We Speak Actors

Born in Tehran, Raised on the UK Stage: How Mohsen Ghaffari’s Dual Vision and Multilingual Craft Define His Acting Identity

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With a career spanning theatre, television, and award-winning international productions, Iranian-British actor Mohsen Ghaffari is quietly carving out a name as one of the most compelling emerging talents of his generation. Born in Tehran and having built his career in the UK, Ghaffari brings a uniquely global perspective to every role—comfortable working in Farsi, English, Kurdish, Dari, Turkish and Arabic, and equally at home on a classical stage or a high-stakes international drama set.

Fresh off his breakout performance in The Deal—a powerful political series that earned acclaim and multiple awards at Series Mania—Mohsen is now starring in The Government Inspector at Chichester Festival Theatre, directed by the legendary Gregory Doran. From embodying multilingual characters in complex geopolitical narratives to championing cross-cultural stories with emotional resonance, his work is defined by depth, nuance, and a fierce commitment to authenticity.

In this conversation, Mohsen reflects on the power of language, cultural duality, and what it means to bring your full self to the stage and screen.

1. The Deal has received fantastic reception and even won multiple awards at Series Mania. Can you share what the experience has been like for you as an actor, and how the success of the show has influenced your career?

The success of The Deal is really down to the incredible team behind it, especially Jean-Stéphane Bron, our director. Jean dedicated over five years of his life to this story, and it shows in every frame of the show. His rich background in documentary filmmaking brought a unique, almost raw authenticity to the production that pushed us all to dig deeper into our characters and the narrative. It was an experience that felt real in a way I hadn’t anticipated, and it was Jean-Stéphane’s vision and relentless dedication that gave the project such a powerful heartbeat.

For me as an actor, working on this show was a journey of growth. The accolades it received—particularly at Series Mania—are humbling, but ultimately, it’s the experience of collaborating with such a talented team that I’ll always treasure. The success of the show has opened up new doors and opportunities, which I’m really grateful for, but it’s not just about the recognition. It’s the chance to continue working on projects that excite me and challenge me creatively that really fuels my passion.

Photo by Oscar Davidson

2. You’re currently working on a new theatre project at Chichester Festival Theatre, directed by Gregory Doran. How has this collaboration with such a legendary director shaped your approach to the production? What can audiences expect from the show?

Believe it or not, working with Gregory Doran has been a dream come true. For years, I’ve wanted to collaborate with him, especially when he was at the RSC, so it’s incredibly special to finally have that opportunity. Gregory has this incredible ability to give actors the freedom to explore their roles. He makes you feel so comfortable, in fact, that you somehow end up bringing a bit of yourself, your culture, your accent, your unique perspective, into the performance in ways you didn’t even expect. It’s truly magical how he creates a space where you feel empowered to take those risks while also grounding you with a solid foundation.

His direction is graceful and intuitive, and somehow he allows you to take ownership of your character while remaining true to the story’s core. I honestly don’t know how he does it, but it’s one of the rare qualities in a director that really makes you feel seen and heard.

As for what audiences can expect from The Government Inspector, it’s a brilliant, satirical show with a sharp wit and biting social commentary. It’s funny but layered with deeper meaning, exploring themes of bureaucracy and human nature.

“The energy in the room is electric, and I believe the audience will truly connect with both the humor and the more poignant moments in the story.”

And, if we do justice to the play, I hope the audience can see a bit of themselves reflected on stage or find elements that resonate with them.

Photo by Oscar Davidson

3. As an Iranian-British actor, your background likely gives you a unique perspective on the roles you take on. How has your heritage influenced your work in both theatre and television?

Being Iranian-British has certainly shaped how I approach acting, especially when it comes to roles that involve cultural depth and authenticity. Growing up in Iran and then moving to the UK, I’ve had the opportunity to experience life through both perspectives. It gives me a kind of “dual vision” when I’m preparing for a role, seeing it from both a Western and Middle Eastern viewpoint. It also means I’m attuned to how characters might experience life in two worlds, which adds layers to their stories.

I think a lot of the roles I’ve taken on reflect that: whether it’s portraying an Iranian-Kurdish character in Ostan, or an Iranian officer in Flight 422, there’s a richness that comes from understanding both sides of the cultural experience. My heritage allows me to approach roles with that level of detail, ensuring I’m capturing the right elements of the character’s identity and personal journey.

Ultimately, it’s about telling more authentic and grounded stories. I feel incredibly fortunate to be able to bring this perspective to both the stage and screen, and I’m excited for more opportunities to explore those roles moving forward.

4. Your multilingual abilities are a distinctive part of your career. How have they helped you connect with a wider range of roles and audiences, and how do you see this skill shaping your future projects?

Being a native Farsi speaker definitely gives me a solid foundation to connect with other Middle Eastern languages, like Dari, Arabic, Sorani, and Kurmanji, and even different dialects, like Moroccan Arabic. I’ve always felt that understanding the culture and language makes a huge difference when playing characters. It’s not just about speaking the words; it’s about capturing the emotion, the context, and really living in the character’s world.

For example, in Phaedra at the National Theatre, I understudied one of the characters when the original cast member got hit by COVID. I had to step in and perform in Moroccan Arabic, and even though I hadn’t done that before, my familiarity with Arabic really helped me feel comfortable with the language. And in The Syrian Baker at Farnham Maltings, there weren’t many Arabic lines, but just having that cultural understanding was so helpful in adding authenticity to the role.

“From playing an Iranian-Kurdish character in Ostan, where I was juggling five languages (English, Farsi, Arabic, Kurdish, and Kurmanji), to playing Iranian army officers in Flight 422 and The Deal, I feel like my multilingualism really opens doors. It lets me connect with a broader range of characters and makes it easier to bring those roles to life authentically.”

Looking ahead, I’m excited to keep using this skill to tackle even more diverse roles and share stories that reflect different cultures. It’s something that I hope will continue to shape my career, giving me the chance to tell even more stories from all over the world.

Photo by Oscar Davidson

5. Looking to the future, what types of stories are you most passionate about telling, and what are you excited about in the next chapter of your career?

I’m drawn to stories that centre real, complicated people, especially those who exist between cultures, or who are navigating systems bigger than themselves. I love character-driven screen work that carries emotional depth and political or social weight , but I also enjoy projects that surprise me formally or tonally. The Deal really opened that door further for me, and I’d love to keep working across international productions that challenge and inspire.

At the same time, I have a real love for classical theatre, especially Shakespeare. Working with Gregory Doran, who ran the RSC for years, felt like being one step away from the big Shakespearean leagues. Hopefully it’s just a matter of time now, I’ve waited patiently, surely it’s my turn! (laughs) I’d love the chance to bring my own perspective to those stages, whether at the Royal Shakespeare Company or Shakespeare’s Globe.

Ultimately, I’m excited by collaboration, with bold directors, writers, and teams who want to tell human, resonant stories. And I’m beginning to develop some of my own work too, which feels like a natural next step.

Fetured photo by Oscar Davidson

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