From Winter Issue 60
Glass Man speaks to Wolf Hall star Thomas Brodie-Sangster about his nuanced approach to acting, how a film about chess became a sensational hit and his take on counter-culture icon Malcolm McLaren
When I met Thomas Brodie-Sangster, the first snowfall of the season in England had arrived, a fitting backdrop with Christmas just around the corner. “I was a bit taken aback this morning when I saw the cars covered in snow,” he remarked, as we settled in for an early coffee before his cover shoot.
Brodie-Sangster is a fascinating, multifaceted presence, one whose quietude speaks volumes. His demeanour is so still, so composed, that it commands attention without him ever uttering a word. Despite his fierce commitment to privacy, he remains instantly recognisable, even in the most tucked-away café in east London.
And yet, there’s an unspoken agreement with the public – no one approaches him. In a city where fame often invites intrusion, Brodie-Sangster is the rare celebrity whose understated, almost aloof nature invites respect rather than attention.
Photograph: Jason Hetherington
Born in London in 1990, Brodie-Sangster first captivated audiences with his breakout role in Love Actually (2003), where, as a lovestruck young boy, he stole scenes with his earnest portrayal of the complexities of first love. Since then, his career has flourished with memorable performances in The Maze Runner franchise, Game of Thrones, and The Queen’s Gambit, where his nuanced, often understated presence has earned critical acclaim.
With a mix of affable charm and quietly intense screen presence, Brodie-Sangster has become one of our generation’s most compelling actors.
Photograph: Jason Hetherington
This autumn saw the resurrection of Wolf Hall: The Mirror and the Light, a critically acclaimed BBC historical drama based on Hilary Mantel’s Booker Prize-winning novels Wolf Hall and Bring Up the Bodies, which chronicle the life of Thomas Cromwell, a key advisor to King Henry VIII. The series, known for its rich historical detail and intense character-driven storytelling, originally aired in 2015, starring Mark Rylance as Cromwell. Rylance reprises the role and Brodie-Sangster plays Rafe Saddler again, Cromwell’s secretary.
Over six episodes, Wolf Hall resurrects the idea of silence that speaks louder than words, a rarity on screen and mostly reserved for theatre. With just a few new additions, the cast and crew appeared on set again with a shared thought.
“We all came back together because we did it so well and really enjoyed it the first time. But at the same time, you rely on everyone else to bring their skills to the table. It’s really about all of us coming together and contributing something special—something beautiful, wonderful, and entertaining,” Brodie-Sangster explains.
Photograph: Jason Hetherington
The 34-year-old actor looks just a little over 20, yet the way he carries himself reveals someone wise beyond his years. He’s only seemingly hard to crack because actors who don’t perform in their waking lives are a rarity. Instead, he perpetually embodies the essence of people at their core. In this way, Brodie-Sangster invites you to explore the intricate relationship between performance and persona.
“As an actor, if you’re trying to portray strength, you need to understand where that comes from. You have to ask yourself why someone would feel the need to put on that kind of façade. It’s about figuring out the motivation behind that exterior,” he says. “What’s underneath is the same for everyone – a fragile human being who’s trying to make sense of the world and wants to be loved.”
Photograph: Jason Hetherington
His characters (no two alike) echo his approach to the psyche. Ultimately, it’s human nature that he finds fascinating. In the mini-series Pistol (2022), his portrayal of Malcolm McLaren, the charismatic yet controversial figure behind the rise of the Sex Pistols, Brodie-Sangster is both enigmatic and layered, revealing the complexities of a man who was as much a provocateur as a visionary.
Known for his ability to bring subtlety and depth to roles that could easily veer into caricature, Brodie-Sangster approached McLaren as a man driven by a subconscious chameleonic pull. “When you look at someone like Malcolm [McLaren], it’s hard to even pin down his real voice. In every interview I watched, his accent changed. Sometimes he sounded American, other times very posh, or even south London Cockney, depending on who he was speaking to and what he wanted to convey to them,” the actor explains.
Photograph: Jason Hetherington
“I think a lot of his behaviour stems from insecurity, which is actually a form of vulnerability. So, in order to hide that, he puts on a show. Everything’s about the image he projects, about what people see on the surface,” he continues.
He’s not been short of characters with a wild dimension to them. Reflecting on The Queen’s Gambit (2020), he recalls his role as brash New York chess champion Benny. “I think Benny was very talented – almost cocky about it – and completely unafraid to be himself. His bravado was part of his persona. I also think he used that image – kind of like the ‘chessboard’ look – to mess with his opponents, to create a kind of ‘anti-chess’ vibe. It might’ve been a strategic tactic, something designed to throw people off.”
Photograph: Jason Hetherington
The Queen’s Gambit was a wild, unprecedented success for Netflix. “They tried to make that show for about 15 years but no one wanted to touch it,” Brodie-Sangster begins. “Nobody cared about chess. But what really made the difference was how they approached it. It’s not about the subject matter – it’s about how you tell the story. Most people wouldn’t find chess all that interesting; visually, it’s not dynamic. It’s just two people sitting across from each other, moving pieces around.
There’s not much happening visually to grab attention. But then they figured out how to make it work. They found a way to make chess entertaining. When Queen’s Gambit was pitched to Netflix, a lot of people didn’t think it could be done. But they proved that you can take a story – no matter how seemingly mundane – and find a way to make it compelling on-screen.”
The actor concludes, “It’s about translating the intensity of what’s happening in people’s heads into something that comes across powerfully on camera”.
Photograph: Jason Hetherington
On-screen, Thomas Brodie-Sangster exudes nothing short of intensity. When the cameras stop rolling, what emerges is a man of substance, grounded, thoughtful and deeply committed to his craft. Off-camera, he radiates an unmistakable work ethic, which only adds to his appeal. And throughout his varied career, one thread remains consistent: a remarkable ability to choose projects of exceptional quality.
Photograph: Jason Hetherington
At home, Brodie-Sangster is a study in contrast. “I’m generally quite a shy person,” he admits. “I’m not an extrovert – I don’t jump around, scream, shout or demand attention. I’m not a hugely social person either. I have a few very close friends, and I really value those friendships. I enjoy quiet, low-key time.” But despite his reserved nature, he’s not completely closed off.
“It does take me a while to open up to people,” he says. “But if I sense someone else is open and willing to connect, I can slowly open up, too. If I don’t like someone from the start, though, they won’t get that from me, unless I’m wrong about them. First impressions aren’t always right.”
And then there’s the one question that’s bound to follow him forever: Will he ever stop talking about his breakthrough film, Love Actually? “No,” he laughs. “Probably not.”
by Adina Ilie
Photographer: Jason Hetherington
Fashion Director: Katie Felstead
Grooming: Emma White-Turle using HAIR BY SAM McKNIGHT
Styling assistant: Monty Cooke
Photography assistant: Andrew Mayfield
Talent: Thomas Brodie-Sangster
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