Allen Leech Biography
Allen Leech is an Irish actor well known for his appearance in the historical drama series Downton Abbey in 2010, The Imitation Game in 2014, and Bohemian Rhapsody in 2018
He made his expert acting presentation with a little part in a 1998 generation of A Streetcar Named Desire, showed up as Vincent Cusack in Cowboys and Angels, and earned an Irish Film and Television Awards selection in 2004 with his exhibition as Mo Chara in Man About Dog. Bloodsucker played Marcus Agrippa on the HBO authentic show arrangement Rome. He likewise played Paul Printer in the 2018 biopic Bohemian Rhapsody.
Allen Leech Age
Leech was born on 18 May 1981 in Killiney, Ireland. He is 38 years old as of 2019
Allen Leech Family
He is the son of David Leech, the CEO of a computer systems company, and Kay Leech, a housewife. He has three siblings; his brothers Greg Leech, Simon Leech and Ali Leech
Allen Leech Girlfriend
He is married to his longtime girlfriend actress Jessica Blair Herman. The couple got engaged on 15 February 2018 and married on 5 January 2019 in Solvang, California.
Allen Leech Downton Abbey
He was cast as Tom Branson the chauffeur but falls in love with Lady Sybil, marries her and becomes the agent for the estate in the British historical period drama television series “Downton Abbey”
Allen Leech Imitation Game
Leech was cast as John Cairncross, an intelligence officer, and spy during the Second World War in the 2014 American historical drama film “The Imitation Game”
Allen Leech Black Mirror
He was cast as Pike in the episode The National Anthem of the British science fiction anthology television series Black Mirror
Allen Leech The Tudors
He was cast as Francis Dereham in the historical fiction television series The Tudors
Allen Leech Downton
Leech was cast as Tom Branson in the British historical period drama film, Downton Abbey
Allen Leech Twitter
Allen Leech Interview
‘Bohemian Rhapsody’ star Allen Leech on being straight & playing Freddie Mercury’s lover
It looks like you’re going to have a big hit on your hands. How did the project come to you?
It came to me through Suzie Figgis, the casting director in the UK. Originally, I sat down and did a Skype with her and the whole production team for the role of Jim Hutton [Freddie Mercury’s late boyfriend] played by Aaron McCusker. I did that chat with the whole team, went away, and it seemed like the job went away. When I read the script—I had been brought up on the music of Queen. My father is a huge Queen fan.
So I really, really wanted to be a part of it. I knew I was never going to be part of the band, but to be a part of the story. I kept calling my agent asking, “Any word, any word?” He went “no, no, no.” And then a week later he came back and said, “Actually, they want to offer you the role of Paul Prenter.” And I went, “Oh my God.” Really, because it’s such an interesting character. When I first read the script, I knew nothing about Paul Prenter and the effect he had on Freddie’s life, or the band’s life as well.
Of course. Paul is one of the most intriguing characters in the film. We don’t know where his loyalties and motives lay through much of the story.
Yeah. I wanted to keep that almost to have that sense of not playing too much. [I didn’t want to play him] as a one-note malevolent force. I wanted to keep him as a confidante as he was in real life to Freddie as well. I wanted to keep that sense if you don’t know. Is he actually there out of the goodness of his heart, or does he have an ulterior motive?
I walked out of the film really wondering, despite what he does to Freddie and the band: Did Paul really love Freddie?
I think he did, yeah. I think he did. There are so many stories when you research this role and this period in Freddie’s life. Where they lovers at any point? You know, it’s kind of hearsay at this point. Six of one, half dozen of the other, say they didn’t. So I wanted to play the idea that they weren’t just friends, they were companions. And there was that sense that you got from Mary Austin [Freddie’s ex-wife, played by Lucy Boynton] that there was almost a jealousy between those two.
Related: My god… Rami Malek looks exactly like Freddie Mercury in this new teaser
So I think he really did love him. I think the problem, what happened to Paul, was the power he was given. Because they were, at the time, both quite closeted in their sexuality, they turned to each other. In that, he became a confidante to Freddie, and the power he then had over Freddie, Paul turned to his own advantage rather than to the bands or to Freddie’s career.
Brian May and Roger Taylor both say he was the reason that one of the band’s albums didn’t do very well in the states because Paul Pretner would tell—and this is to quote Brian May—he would say “Freddie says ‘f@ck off’” to all the US press and to the radio stations in the US. And Freddie never even know these calls had come in.
Paul died in 1991 of AIDS. Did you meet with anyone that knew him or interacted with him personally?
Peter Freestone on set. He knew him. He would have been around the same time; he was a personal assistant to the band. And when Paul became [Freddie’s] personal manager, Peter Freestone became the personal assistant. So they both kind of went up a tier. So he was invaluable to me for me to speak to and to find out about [Paul]. You mentioned family members—I tried to get in touch with them, but couldn’t in the end.
When you’re doing a movie like this, you don’t want to be guided by too many voices. Everyone had their own agenda, so a lot of my research came from books, and there’s a wonderful documentary called The Great Pretender about Freddie’s life. There’s a lot of video footage of him doing his job, being a manager for the band and being a manager for Freddie. One thing that really comes across in all that footage: wherever Freddie is, Paul is just behind him. He’s always in his ear, and he’s always looking around.
So what did Peter tell you?
One thing Peter Freestone always said was, “When they were out, you know, either scoring drugs or scoring guys, Paul always made sure he had himself sorted out, then he took care of Freddie.” So that was really interesting for me. That was the mindset I had. He always had Freddie’s agenda in mind, as well as his own.
Wow. Now, have you seen the film yet?
Yes, I was at the world premiere in London, which was unreal. 7,000 people watched it.
Did people headbang when “Bohemian Rhapsody” played?
I think they did to every song. It’s a publicity dream, and when you’re one of the actors in the piece, and when “We Will Rock You” comes on, but they don’t play the whole song, then you’re like guys, come on. Because the audience, they were in it, they were just foot stomping and going crazy. And you’re like this is a talky bit, it’s one of my big scenes!
They were headbanging and rocking out at the guild screening we saw. I’ve never seen that happen in a press screening before. Hopefully, that speaks well.
I think it does. That’s the kind of celebration we wanted this movie to be—a celebration of all those songs. Even when you watch the movie, and my character is fired and “Under Pressure” kicks in, you’re just like what a tune. You forget that they have these songs that are so iconic. Sometimes you don’t associate them with the band, or even Freddie Mercury. They’re just great songs. So to have them all together is special.
This is your first big-budget Hollywood film. How is the process of filming different for you?
What I discovered is, it’s about time. What the bigger budget gives you is more time. It gives each different part of the production an opportunity to do it’s ultimate best. Because you’re always up against the clock with a production. Even doing Downton [Downton Abbey] so many years, you get to the point where there’s a big scene, but we four hours to get it. So I felt we had the luxury of time, and time when you’re filming—every director, every producer would say that is the greatest gift. That’s the one thing I really sensed was the amount of time we had. Obviously, that’s so important for a project like this with all these big set pieces.
The film is notorious for having tension on set. That happens. When you’re on a big production like this, for you, as an actor, how do you cope with that kind of creative friction or a tense environment?
I have to say, as a cast and crew, we were incredibly close-knit. While obviously, as you mentioned, there were certain events that changed some of the team in charge, I have to say that as a band of Rami, Joe, Ben and myself, and Lucy, already before anything had happened we’d already formed a close-knit bond. I think, what we found, was that we turned to each other, and we checked with each other to make sure we were all still on the same page with where we started, and where we wanted to end.
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