Harris Dickinson on the Awkward Side of Acting Fame

At 29, Harris Dickinson has already carved out a reputation as one of the most perceptive new voices in British cinema. His directorial debut, Urchin, released in 2025, follows Frank Dillane’s Mike as he navigates the unpredictable terrain of homelessness. The film drew widespread acclaim for its empathetic approach, striking visuals, and the strength of its cast. Dickinson, who took on a small part himself, made it clear his main focus was steering the project from behind the lens.

With such glowing feedback still fresh, Dickinson might well be tempted to make directing his mainstay. Yet, it would be a real loss to see him step away from performing entirely. He’s made a name for himself by inhabiting characters with plenty of rough edges. His performance as a sexually assertive intern in Babygirl transformed what could have been a forgettable erotic drama into something taut and genuinely gripping. Beatles enthusiasts, meanwhile, are waiting to see his interpretation of John Lennon in Sam Mendes’ upcoming biographical series.

Behind the Curtain: The Uncomfortable Truth

Despite his success, Dickinson doesn’t shy away from admitting that the job isn’t always a comfortable fit. In a recent chat with Empire, he confessed,

“It’s really vulnerable, isn’t it, acting? It’s an embarrassing process. Well, it is for me; it’s a weird and humiliating thing, and feels rather silly at times. So I’m constantly having that in my head when I’m directing and creating the right setting for actors in order to feel comfortable. Then, when comfortability comes, I think good performances can come because you’re able to access stuff and lose inhibition. If you’ve got the wrong settings, then it doesn’t work.”

It’s a candid admission, and one that perhaps explains his approach to directing. He’s determined to avoid the sort of atmosphere that makes actors clam up or second-guess themselves.

Some of his roles have left him with nowhere to hide. In The Iron Claw, he played a member of the ill-fated Von Erich wrestling family, a part that required him to grapple with themes of loss, suicide, and family trauma. The real-life David Von Erich, whom Dickinson portrayed, died tragically young. Jeremy Allen White, who shared the screen with him, described the weight of telling such a painful story as “scary.” For actors, it’s not just their own reputations at stake, but the memories and dignity of the people they’re bringing to life.

Creating Space for Honesty

Perhaps it’s this sensitivity that made Urchin such a success. Dickinson was intent on fostering a set where no one felt exposed or on edge, a stark contrast to the bleak realities depicted in the film. He knew that if the cast and crew weren’t at ease, the project would never do justice to the millions affected by homelessness. Everyone needed to be at their best, and that meant prioritising comfort and trust above all else.

Looking ahead, Dickinson’s prospects are as open as ever. Whether he chooses to focus on directing, acting, or a bit of both, his commitment to nurturing a supportive environment is likely to serve him well. Whatever path he takes, it’s clear he’s not about to compromise on the things that matter most to him.