He broke through with ‘Babygirl.’ But Harris Dickinson wants to tell a different kind of story

by

Harris Dickinson always intended to direct, not star in, his first feature film, “Urchin.” The British actor began writing the script – a story about a man on the outside of normal life – several years ago, hoping to eventually bring it to the screen. Even with successful roles in films like “Beach Rats,” “Triangle of Sadness,” and “Babygirl” (where he acted alongside Nicole Kidman), he envisioned himself staying behind the camera as the director.

“I just knew I couldn’t do it,” Dickinson, 29, explained while relaxing on a sofa at London’s Ham Yard Hotel around the time of the U.K. film premiere in late September. “It would have been a disaster.”

To find the perfect actor for the role of Mike – a struggling, homeless British man battling drug addiction in London – director Dickinson reviewed dozens of audition tapes, possibly between 50 and 100. Frank Dillane quickly impressed him. However, Dillane, who is known for his work in shows like “The Essex Serpent” and “Fear the Walking Dead,” was initially confused as to why Dickinson wasn’t casting himself in the lead role.

Dillane, 34, who was sitting with Dickinson, shared that he’s always been a big fan of Harris as an actor. He admitted that, honestly, he needed to be sure Harris wasn’t interested in the role before he felt comfortable pursuing it himself.

Opening in theaters Friday, “Urchin” is a surprisingly mature and thoughtful film, especially considering it’s the director’s first feature. While the story deals with difficult themes, it avoids being overly sentimental. Director Devon Dickinson has been honing his skills since childhood, starting with skate videos and moving on to sketch comedy. Before “Urchin,” he’d already written a play and a screenplay. The film represents years of dedication, and it was well-received when it premiered at the Cannes Film Festival in May.

Dickinson described the experience as incredibly meaningful, explaining that debuting a film at Cannes is a high-stakes moment. A negative reception there could be devastating, and she specifically hoped to launch the film’s success from that festival.

Dickinson doesn’t remember exactly when he first came up with the idea for “Urchin,” but he’s always been concerned about homelessness. He’s volunteered with the U.K. charity Under One Sky for several years, although he didn’t specifically draw on that work when writing the screenplay. The story follows Mike’s struggles and progress after being released from prison, and it was this journey that inspired Dickinson when he started writing in 2019.

Movies

We went in with incredibly high hopes, and we weren’t disappointed! We were blown away by ten films, including fantastic new releases from directors Lynne Ramsay, Jafar Panahi, and Nadav Lapid.

Dickinson doesn’t recall precisely how the character of Mike originated, only that he suddenly appeared in the story. She felt compelled to explore him, explaining he was likely a combination of people she’d met and perhaps even aspects of her own personality she found unsettling. She admits it sounds a bit self-important, but she felt a strong need to fully develop his story and bring him to life on the page.

The moment I read the character description, I just *got* him. It was like he was already living inside me, with a very distinct voice that immediately started speaking up. It was a really strange, but incredibly compelling experience.

He recalled telling Dickinson something, and she’d jokingly responded, ‘What’s Mike saying? Does he want to grab a drink?’

Dickinson initially wrote the character of Mike as quite open-ended in the script, and he encouraged Mark Dillane to bring his own ideas to the role. Dickinson explains that they didn’t lock down every detail of each scene, instead constantly experimenting with different approaches.

Dillane recalls Harris’s initial script being remarkably concise. “It was exactly 100 pages,” he said, “and even that felt very polished and well-structured.”

Despite having a well-written script, the film relied heavily on improvisation informed by thorough research into the lives of London’s homeless population. The filmmakers intentionally avoided overly intellectualizing any scene, so actor Stephen Dillane focused on detailed preparation and then fully embraced spontaneity during filming. This was especially difficult during scenes depicting Mike’s decline. For example, the opening scene, where Mike begs on a busy street and is ignored by everyone, featured real pedestrians – not extras – walking past him on camera.

Dickinson explains they gave Frank a radio and sent him to ask people for donations. Unfortunately, all hundred people he approached refused to give any money.

It was a really overwhelming experience,” Dillane admits. “The hardest part was how easily people seemed to look right past me. It’s strange, but I think everyone can relate to feeling that way.

You know, as a film lover, I really connected with what Dickinson said. It’s so true – we’ve all been in situations where we’ve seen someone struggling and just… kept walking. And honestly, I don’t think we should beat ourselves up about it. It’s impossible to fix every problem or help everyone you see. You simply can’t stop for every single person in need.

The film features several unscripted moments, such as a scene filmed outside a pub where actor Dillane interacted with unsuspecting bystanders. Director Dickinson drew inspiration from acclaimed films like Mike Leigh’s “Naked,” Leos Carax’s “The Lovers on the Bridge,” and Agnès Varda’s “Vagabond,” which heavily influenced his directing style. Dillane, following Dickinson’s guidance, aimed to stay present in the moment and avoid overthinking his performance.

Dillane explains that when acting, it’s crucial to fully immerse yourself in the character. You need to focus on what the scene demands, rather than letting your own personal anxieties take over. It’s about prioritizing the story over your own feelings.

A lot of the film “Urchin” was filmed in East London. When shooting street scenes, the crew was kept small, with only about 10 people working on set. In one scene where Mike interacts with people experiencing homelessness, director Dickinson used two cameras with powerful zoom lenses positioned hundreds of feet away to capture the footage.

“I don’t think Frank knew when we were rolling and when we weren’t,” Dickinson says.

Dillane says, “No.” He adds that someone told him earlier that day they were just going to proceed with things as planned, saying, “Like, ‘We’re just going to roll.'”

To communicate with the crew, we disguised assistant directors as volunteers so they could quietly signal ‘Rolling,'” Dickinson explains. “The scenes included a mix of people – some who had experienced homelessness and were now housed, background actors, and others just present on set. It felt like filming a documentary, but with a lot of careful planning and direction.”

While “Urchin” deals with difficult issues like homelessness and addiction, the filmmaker wanted to explore a broader story. He emphasizes that the film isn’t *just* about those problems, or even about the character’s addiction itself. It’s about a person who has overcome incredibly challenging experiences, and it’s much more than a depiction of drug use.

“Urchin” is a film about finding forgiveness and taking control of your own destiny. The main character, Mike, isn’t simply a victim or a bad guy; he’s caught in difficult patterns that many people experience. To avoid stereotypes, the filmmaker worked with Jack Gregory, a consultant specializing in homelessness and drug addiction, who had previously advised on Joanna Hogg’s films, “The Souvenir” and its sequel – both of which starred Dickinson. Dickinson and Gregory became friends during filming, and Dickinson later shared a screenplay idea with him.

Gregory explained that he received an unexpected call in January 2024. Before that, the person had simply said he wasn’t sure what the project would involve or how long it would take, but wanted Gregory to be a part of it. Gregory thought that was the end of the conversation until the call came, while speaking remotely from his home in Norfolk.

Gregory, a writer and podcaster who’s been sober since 2014 and now works in film, reviewed the script and then met with the actors, Dickinson and Dillane, via Zoom. He helped them understand the technical aspects of drug use and shared his personal experiences with addiction. He even filmed a video demonstrating how to prepare and use heroin for Dickinson’s research. His advice and support were incredibly helpful to everyone involved in the production.

Gregory explains that Harris made him feel truly understood, especially because so many people deliberately avoid acknowledging his experiences. He describes it as being ‘just outside of people’s awareness’ – not hidden, but simply overlooked. He emphasizes that Harris’s willingness to work with him was particularly meaningful, drawing a parallel to the increasing practice of hiring intimacy coordinators – why wouldn’t someone hire an expert in this area, too?

Besides collaborating with Gregory, Dickinson and Dillane also toured a prison and met with representatives from local charities. Their goal was to portray the character’s story authentically, avoiding clichés and stereotypes.

Dickinson explains that Mike was consistently shown love and acceptance, without being judged for his actions. The show explored how much leeway people would give him – both the audience and the characters – and challenged their own boundaries of patience and what they considered right or wrong. They weren’t interested in placing blame on Mike or the systems that failed him. Instead, they consulted with experts in fields like probation, homelessness, addiction, and social work to build a solid foundation of understanding. This gave them the freedom to take creative risks and explore the character further.

For Dillane, the key word was dignity, he recalls.

He explains that when you truly understand the struggles behind issues like addiction, mental health, poverty, and homelessness, it’s hard not to feel empathy for those affected. He points out that desperate situations often lead to desperate acts – like stealing – and that there’s usually a complex story behind it. From what he’s learned, particularly when looking into the case of someone named Mike, he believes everyone deserves to be seen as a human being, and that desperation often manifests in ways that communicate its severity.

Sometimes, “Urchin” feels dreamlike and explores the inner world of the main character, blurring the lines between what’s real and what’s imagined. The film’s ending has a particularly hazy, dreamlike quality. Director Dickinson considered making it even more unconventional, but his team encouraged him to stay grounded. He aimed to strike a balance between creating a film that was personally meaningful and one that would resonate with viewers, acknowledging that a film shouldn’t be made in complete isolation.

It’s something that affects the whole group, so I can’t adjust my approach for each person individually. However, I definitely pay attention to how quickly we’re moving and try to understand everyone’s needs. I’m not the type to ignore what others are feeling.

Gregory explains that he deeply connected with the more artistic and unconventional aspects of Dickinson’s work. He shares, “Having experienced a similar way of thinking for many years, and having struggled with addiction since childhood, that’s just how my mind works. We perceive things differently, and I immediately understood her vision without it feeling forced or predictable.”

Although Emily Dickinson had a very specific idea for the film, getting “Urchin” made wasn’t easy. It proved challenging to secure funding for a movie focusing on homelessness. Ultimately, Dickinson and her producer, Archie Pearch, at Devisio Pictures, were able to get support from the BFI, BBC Film, and Tricky Knot.

Dickinson admits the film wasn’t an obvious crowd-pleaser. He understands people might have seen him as simply an actor trying something new, but he emphasizes this project was a long-held dream. He’d been passionate about it and dedicated a lot of time and effort to it, even before he became an actor.

Pearch explains that a major challenge was getting people to understand he was a filmmaker with a story worth telling. They aimed to be bold and original, transforming what could have been a depressing social issue film into something truly special and pushing creative limits. They wanted to take chances and do something unexpected.

I’m so excited about Dickinson’s new project – he’s playing John Lennon in a series of four biopics about the Beatles, and Sam Mendes is directing! He’s really focused on directing and writing, and he actually has another idea brewing, though he’s keeping the details under wraps for now. He said he needs some time to let it develop and won’t have the bandwidth to work on it for at least a year, but he definitely plans to get to it eventually. It’s great to hear he’s already thinking about what’s next!

Dillane is currently filming a fresh take on Jane Austen’s “Sense and Sensibility,” where he plays the role of John Willoughby. He explains that he’s finally stopped hearing the internal voice of a person named Mike. “It might sound strange,” Dillane says, feeling both relieved and a little sad, “but it felt like something actually left my body. I could feel him disappear, and I no longer have to deal with his presence in my thoughts every day.”

As the interview wraps up, Dickinson straightens up and emphasizes, “Even though we’re discussing difficult subjects and experiences, it’s important to remember we also had a lot of fun.” He adds, “There was plenty of love, friendship, and even laughter, and I think that positive energy really comes through in the movie.”

He stopped for a moment, then explained, “I’ve loved making short films ever since I was young. It’s an amazing feeling when you’re passionate about a project and can share that enthusiasm with others.”

“It definitely felt that way,” Dillane explains. “It was like going to work and getting to play like children. We experimented and just had fun, it really was like playtime.”

“Urchin” is a thought-provoking movie that explores both hope and hardship. You’ll find yourself rooting for the main character, Mike, even though his situation doesn’t promise a simple resolution. The film might encourage you to think differently about, and perhaps even connect with, people experiencing homelessness.

But Dickinson and Dillane want the viewer to feel whatever they feel. There are no easy answers.

Dillane explains they weren’t trying to make a point or offer a lesson. He believes there’s no need to tell people how to feel or think, because things simply are what they are – there’s no ‘right’ way to experience them.

Read More

2025-10-09 13:39