Jamie Campbell Bower interview with Askmen!
There is so much information on Duke of Oxford from letters, lawsuits and court papers. Did you research him or stick to the script?
Jamie Campbell Bower : I looked into it. I think you’d have to be a fool not to look into it with such information available. I did background research and I did that before the audition just so that when I went I would know who this guy was. Even with all the info you’re given there still has to be a character. Also this is Rhys’ character, above anything. We decided that Oxford progresses during the film. He goes on his travels and spends money and starts losing it all because, as a young adult, he was lavish. You only have to look at the costumes that he had.
Didn’t he spend most of his money, around 80% of it, on clothes?
JCB : He did, yes, a lot. He loved the fine fabrics from the Orient. Also you have to understand he was incredibly well traveled, so along with the kind of person he was, there was an air of arrogance about him that Rhys brings beautifully to the role. I suppose he’s both vulnerable and arrogant. His desire, passion and love was put under so much pressure by the court, which in those days ruled everything. So toward the end of the film he’s just a shell of the man he once was.
How did you access him aside from the materials? Through your own instincts?
JCB : It was his arrogance and cockiness that I attempted to bring at the beginning to his life. He was a genius, and with genius there is always that aloofness with people. I find that friends of mine who are the brightest people I ever had the pleasure of meeting have this otherworldly quality about them. I tried to bring that to the role.
Jamie Campbell Bower : Particularly for English people, Shakespeare is always at the forefront of both drama and the English language. He’s always been there. I can’t remember starting school and not learning about him. His works — or the works that someone produced — are the finest works in the English language that you can find. Particularly for Canadians and for English he has always been in the forefront. The rebuilding of the Globe has injected new life into people who wouldn’t have seen theater. It’s cheap to get into, and it’s a slice of history.
JCB : Goodness! I’m a horrible romantic! I like so many of them. Hamlet is obviously a role a lot of actors want to portray or be involved with in some way and that I’d like to be involved in. I also like Much Ado About Nothing, Romeo and Juliet and The Tempest, which some people don’t like, but I enjoy it. But it does seem to be a shout out to the upper class.
JCB : What makes them so great is that they have stood the test of time and will always stand the test of time. People will relate to the film. This is by no means a damnation or a slamming of Shakespeare’s works; it’s almost another piece. It seems that way to me.
JCB : I don’t think it really matters what I believe. The works stand by themselves as incredible examples of English literature and language — whoever wrote them was good. The name William Shakespeare doesn’t mean anything to me because I didn’t know him. He wasn’t a friend and he wasn’t a contemporary. I never saw his face apart from sketches and paintings. It’s just a body of work.
JCB : That first job that was so high profile, the only way from then on was to go back down and start building myself back up. Where do you go from working with Tim Burton? I’m still trying to find myself as a performer. I did shows for the BBC and films but I still haven’t done theater. Now I’m terrified of theater, which I have to get over because it’s where my passions grew and where my heart lives. I see my friends and contemporaries onstage and I think, “I could never f*cking do that!” But I’m working, and that’s the main thing. It’s not what job or who’s going to see it; it’s about being able to do good pieces and better yourself.

