When Theo James signed up for Guy Ritchieās Netflix spinoff of his 2019 movie, āThe Gentlemen,ā he knew the Netflix series would be action-packed: His character, Eddie Horniman, a captain in the British army, comes home to discover that heās inherited his aristocratic familyās historic 15,000-acre estate, the title of the 13th Duke of Halstead and ā surprise! ā a hidden cannabis farm run by gangsters. He also knew he wanted to switch things up from playing Cameron Sullivan, the charismatic rogue of a hedge-fund bro from HBOās āThe White Lotusā and the role that heās best known for here.
āCameron was larger than life, Americana, outward energy,ā James says. āEddie is the opposite of that: incredibly controlled, chooses his words incredibly wisely and very British. He thinks before he talks, and heās always assessing the landscape.ā Eddie also gave James ā who was born in Oxford, England, and studied philosophy at the University of Nottingham but has played a lot of U.S. citizens ā the chance to set another record straight. āWhen I meet people, and they realize Iām not American, theyāre not only disappointed by my accent, but theyāre also disappointed that Iām not filled with energy and telling people to go fā themselves,ā he says. āIām actually quite shy and genteel.ā
Describe where Eddie comes from.
Heās part of this family he has relative distaste for. But really what he represents is the dying power of British aristocracy. At the height of British power, they held all the cards, they held the judiciary, they held the landmass, they were the most powerful. But in this modern world, who are the most powerful? The up-and-comers, the people who start from the ground, whether thatās Silicon Valley or itās criminals. [Eddieās] not corrupted by death or violence or something as simple as that. Itās realizing his family lineage has lost its power. And now the only way you can have power is through the darker arts.
So it challenges his worldview?
In a fun, comedic way, itās kind of like the Corleone story ā not that youād ever parallel it to [āThe Godfatherā], one of the greatest movies of all time. Itās the idea of a guy who comes back to his estate and encounters anarchy at home and also anarchy underneath, and what those two things mean.
Thereās a debt-ridden chaos agent for a brother, an imprisoned criminal mastermind and a meth-dealing billionaire. Describe a typical day on a Guy Ritchie set.
Guy likes to have a skeletal script. He likes beginnings and ends, entrances and exits. Essentially, what you realize is itās the foundations of a story and all the in-between things are going to be hewed out on the day. I didnāt know how much of that was true, but itās totally true. You go in and itās like, āOK, how are we going to approach this? Letās throw this piece of sā out the window.ā Iām a bit of a control freak. So letting go of that? That took some trust.
How long did Ritchieās style take getting used to?
Iām still getting used to it. [Laughs]
What did he want you to understand about the very rich?
He was very keen to remove our understanding of certain tropes around aristocracy and class guilt. Itās a very small, specific group and he wanted to embrace that as opposed to judge it. Iāll be honest, I brought my own middle-class chip about British structural class systems to it initially. To me, indentured wealth feels like something that should be disbanded. But interestingly, the conversations with Guy were, āDonāt judge the character from your own standing. You have to be devoid of any judgment about class. So love being an aristocrat and love being a fā toff.ā
Did you learn anything about the rituals of the aristocracy that surprised you?
The idea of formality at breakfast I thought was perhaps a relic of the past. And [Ritchie] said, āNo, not really.ā Breakfast in an aristocratic family, even if theyāre wack-a-doo coke-snorting wild dogs, thatās still an element of ritual that everyone abides by.
Your business consultant father is also a wine expert. How would he rate Eddieās fatherās prized collection?
Thereās understanding wine culture and then thereās the hyper-wealthy who have fights about the most expensive wine. And I think that is more about what āThe Gentlemenā is doing. The most expensive and unique bottle, not necessarily the best bottle of wine.
Some of āThe Gentlemenā was filmed at Badminton House in Gloucestershire, England. Did you quiz the owner, the Duke of Beaufort, about life at his centuries-old manor?
No. He didnāt want to talk to anyone. I think he just wanted to [receive] a check, then frown as we were murdering people outside his front window. Again, I do find the deconstruction of class interesting. This [estate] is handed down through multiple generations, this family still owns large swaths of Wales. Thatās fascinating. In my naivete I did think that had gone. I thought you had the royals and a few barons with meaningless titles, but actually thereās still aristocrats who are very much alive and kicking in the U.K.