As I read through this interview with the talented actor, I couldn’t help but be moved by his journey and evolution over the years. It’s fascinating to see how he has navigated both his professional and personal life, especially given the unique challenges that come with being a public figure during the social media era.
[This story contains spoilers from the first two episodes of Teacup.]
Scott Speedman first won audiences over in the late ’90s as Ben Covington, Felicity Porter’s heartthrob on the WB college drama series “Felicity.” However, for more than two decades now, this British-Canadian actor has made a name for himself in horror and thriller films by playing progressively complex and tormented characters. This includes roles in the “Underworld” movie series, “The Strangers,” David Cronenberg’s “Crimes of the Future,” and the upcoming film “Cellar Door.” In recent times, Speedman has once again become a part of popular culture with his captivating performances on TV shows like “Grey’s Anatomy” and “You.
Currently, “Teacup” serves as Speedman’s newest exploration in the horror genre. Based on Robert R. McCammon’s novel “Stinger,” and executive produced by James Wan, this chilling eight-part series debuted with its first two episodes on Peacock last Thursday. The story unfolds in rural Georgia, where a diverse group of individuals are forced to unite against an enigmatic danger to ensure their survival. Speedman portrays James Chenoweth, a man struggling to safeguard his family while grappling with the burden of infidelity towards his wife Maggie (Yvonne Strahovski from “The Handmaid’s Tale”), as well as their neighbor Valeria (Diany Rodriguez).
In simpler terms, Speedman said, “The story was exceptionally well-crafted as a family drama. I believed it could stand alone without relying on typical genre aspects. I thought, ‘This is fantastic! If we can bring what’s written onto the screen before even diving into the genre elements, we’re good to go.’ I’m just captivated by the world Ian has built. I think he’s a very unique and intriguing writer, and his work translates well to TV. So, I was eager to see how he would navigate this genre, as it might not be his typical forte.” (The Hollywood Reporter)
As I sat down for a heart-to-heart with THR, I reminisced about the creation of Teacup, the allure that keeps drawing me back to Grey’s Anatomy to embody the romantic interest of Meredith Grey, portrayed by the talented Ellen Pompeo. I also shared insights on how I managed stardom during the peak of Felicity, and why this current phase in my career leaves me feeling more driven and content than ever before.
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Given the central family turmoil in Teacup, what elements of horror genius James Wan particularly piqued your interest throughout the eight-episode run?
The initial setup of this character was quite intriguing, as we didn’t have any background information about him before discovering he had betrayed his family and his wife. I found myself thinking, “This is certainly an arduous beginning for a television character.” Given Ian’s storytelling style, I anticipated there would be a journey towards redemption over the next eight episodes. If I could capture the audience’s interest in episode one, would I then manage to regain their trust as we progress? I found that to be an engaging and enjoyable challenge. Furthermore, I was particularly fond of these particular characters. In the third episode, when Maggie, Yvonne’s character, and I clashed – despite not knowing her personally but appreciating her acting skills and tenacity – I thought, “This is going to be a fantastic scene.” I felt confident that we would complement each other well during our performances.
You said at San Diego Comic-Con that working on Teacup reminded you of working on The Strangers.
When I was reading “The Strangers” and “Teacup”, I felt compelled to lock my door while reading, as both stories seemed to have a captivating quality on paper that promised an intriguing experience if translated well onto the screen. In essence, what I meant by comparing them to “The Strangers” was not a direct comparison of their plot or horror aspects, but rather the immersive world they created in my mind. It felt as though I was watching a movie while reading, and I could envision an audience becoming engrossed in this world if we manage to bring it to life effectively. Consequently, as someone with three decades of experience, I believe that horror stories, when executed well, can truly resonate with audiences, and that’s what I am striving for at the moment – something unique and engaging enough to stand out among the multitude of TV shows and films being produced currently.
Are you a big horror fan in real life?
Undeniably, I’m a huge fan. Horror films, particularly those directed by the masters like The Conjuring, The Exorcist, and The Shining, are among my favorites. I truly believe these directors are cinematic titans who have significantly contributed to the horror genre. When they hit the mark, it’s nothing short of extraordinary. What also appeals to me is the shared experience of watching something frightening in a dark room with others. While I’m an enthusiast, I also relish creating intense, physically demanding projects.
Regarding the physical demands of your new role, you needed to master horseback riding. Can you tell me how much better you’ve become at it since you initially began?
I’ve come a long way since I first started, and let me tell you, it was quite the challenge when I arrived in Atlanta! At first, I felt like I didn’t know the first thing about riding a horse, but that experience was like being thrown into the deep end. Once I got past the initial shock of realizing I needed to be good at this, working with those folks from Georgia was an absolute blast. After a night shoot, I’d sleep for just three hours and then head out to practice on my horse. It was a humbling experience, but also incredibly rewarding. I’ve improved significantly since then, but I think it takes many years to truly master something like horseback riding.
Your acting career started during an era when productions relied heavily on practical effects, and Teacup seems reminiscent of that period. The grisly scene in episode two, where a character meets a gruesome fate after crossing a line drawn haphazardly, not only emphasizes the peril in this narrative but also showcases the artistry of the special effects team. What was it like for you to film scenes involving such practical effects?
When I stepped onto the set to film that scene, I found that the magic of the special effects had already been meticulously crafted by the team behind the scenes. These days, it’s common for filmmakers to blend practical and digital effects, aiming for a harmonious union that seems to be gaining more success among audiences. In fact, I noticed in the movie ‘Alien: Romulus’, they leaned heavily on practical effects, which I thought was a smart move, making the whole experience feel even cooler and more authentic.
Initially, I was taken aback. Ian’s script was extraordinary, yet doubts crept in about whether we could successfully tackle the genre and the various elements it required. After all, such aspects can significantly impact a show from an audience’s viewpoint. However, when I previewed the materials for the second episode’s scene, my worries instantly vanished. The sculpture was indeed gruesome and frightening, but I found it stunningly beautiful. Often, we’d be dealing with a tennis ball and a tripod, using our imagination to fill in the blanks. But this time, we had a genuine work of art to work with.
Originally, Grey’s Anatomy showrunner Meg Marinis had intended for your character, Dr. Nick Marsh, to make a single appearance on the show due to initial plans. However, after observing the strong chemistry between you and Ellen Pompeo, they expanded your role significantly. Now, you’ve been in over 30 episodes. Are you taken aback that you’re still part of the series?
Indeed, I must admit that I was quite taken aback when I recall that I only made an appearance in season 14 for a single episode, then returned as a series regular in season 18. I have always appreciated working on smaller, self-driven projects; they hold a special place in my heart. However, I cannot help but express my delight at being part of Grey’s Anatomy. Even in its 21st season, I continue to learn new things every time I return, making it an enjoyable experience. To put it simply, it has been a fantastic job, and I find myself surprised by how much I’ve enjoyed it.
What exactly have you learned from working on Grey’s?
Performing scenes in Grey’s Anatomy is quite complex due to the numerous elements involved. In ordinary scenarios, there aren’t many props to manage, and you don’t need to think much; you just focus on delivering the scene. However, Grey’s Anatomy requires more than that. It pushes you out of your comfort zone, demanding adaptability in dialogue, actions, and overall performance. This versatility has been particularly beneficial for me as an actor. Unlike other shows where you have a set routine, Grey’s Anatomy allows me to seamlessly step into different roles and environments, which has expanded my acting range significantly.
The way Ellen appears on the screen has sparked a lot of conversation lately, especially during the current seasons. It’s known that she’ll be featured in at least seven episodes this season. I heard you would be in at least five episodes as well. Has that changed?
I don’t like discussing the specific number of episodes I’m involved with, but it’s approximately that figure. Producers approach me when they’re deciding on their show, and they inquire if I’d return for a certain duration. I usually agree to this, and that’s been the case so far. Nothing changes this year, so expect to see me in at least five episodes.
How do you handle discussions about the number of episodes you’re prepared to be involved in? Is it essential to feel a strong desire to return following news about the storyline the writers have in store for your character, or is it more about timing?
The issue is about scheduling. Despite their consistently positive interactions with me, which encompass more than just professional aspects, they’ve shown understanding and adaptability in juggling my commitments between projects like ‘Teacup’ and ‘Grey’s’. This flexibility allows me to balance my workload and pursue other opportunities simultaneously, which is crucial for me. Ultimately, it boils down to whether I’m enjoying the show at this stage of my career or not, and I am truly enjoying it.
Previously, Ellen expressed some frustration about Meredith’s inability to sustain a relationship with Nick, given all she’s been through. Have the two of you talked about this? What are your thoughts on their current relationship?
Starting from season 18, I find myself with a more limited connection to the past events and my current role. Given that we’re dealing with an hour-long drama on television, it’s essential to have drama to keep it engaging and sustainable. The storyline needs to evolve, experiencing peaks and valleys, at least until it reaches some sort of equilibrium – which I believe we’ve now achieved. We’re in sync now, and I think that’s exciting for both characters as they collaborate on cases instead of clashing with each other. I feel it took a natural period to earn this harmony, and I’m enjoying the journey so far.
Ellen and I discuss a wide range of topics, making her an excellent conversation partner on various subjects, both related to the show and beyond. It’s been truly enjoyable getting to know her and sharing these experiences with her. What’s particularly astonishing is conversing with someone who launched a show back in 2005, and here we are, still discussing it 21 seasons later.
Meg expressed her belief that Nick and Meredith are destined for a blissful future, at least for the moment. Are we seeing a development towards a beloved television pairing with your characters? What aspirations do you hold for their future storyline?
Well, let me tell you, this show business is quite unpredictable, especially when it comes to managing a series like this one. Over the years, I’ve come to understand that being a showrunner isn’t easy – things are always shifting and evolving, and what works best for the show can change rapidly. That’s why you can’t cling too tightly to an idea. Right now, we seem to be on solid ground, but if the show were to carry on for more seasons, there would likely be bumps in the road, and it would be fascinating to see where that relationship develops, much like a rollercoaster ride.
As a devoted fan, I must admit that I’m drawn to the dramatic scenes in the show, which might not be everyone’s cup of tea, especially not for someone as experienced as [Pompeo]. Over the years, she’s portrayed these roles with such depth and finesse. However, what captivates me is the turbulent journey, the ups and downs, and the reconnection that brings a unique tension and chemistry to the screen. I believe this simmering heat can ignite onscreen chemistry like nothing else. The suspenseful will-they-won’t-they aspect is always intriguing and keeps the audience hooked. That being said, even the stable parts of their relationship have been enjoyable in their own right.
You gained popularity portraying a unique will-they-won’t-they dynamic on the show “Felicity,” which first aired more than 25 years ago. Could you share your current connection with the character of Ben Covington and the series as a whole? What topics do fans usually bring up when they encounter you outside, still curious to discuss?
For me, there was only one show that stood out during a particular phase of my life, and for many others, that show was “Felicity” to watch. However, for me, it was more than just watching; it was being part of the show and identifying with the character. I believe that often, when an actor becomes iconic as a character, it’s because the role mirrors their own experiences, particularly in television, during that period of their life. That character was incredibly similar to who I was at that time.
I recently did a rewatch podcast with Keri and the whole group. I had not watched the show, truthfully. They gave me three episodes to watch, and I was very nervous about it. But to be honest, I was pretty blown away with how amazing it was on all levels, even the way it looked, and our chemistry and who we were as kids. I’m not sure I’ve ever been as good as I was within the context of that show. I got why people connected with it in a certain kind of way. And for me, looking back, getting to do your first show with J.J. Abrams and Matt Reeves and Keri Russell and the rest of the group, that’s a pretty rare thing to have as your first show. It’s just been super special, and in my mind, what a gift to have that as part of your life.
People aren’t discussing the show extensively with me, but they do share their strong feelings about it and personal experiences related to watching it. It’s quite amusing to see how many people are now passing it on to their children. (Laughs) If there’s anything they want to discuss, it’s the emotional impact of the show and the emotions we managed to evoke in the characters. This connection remains significant even today. Keri and I have remained friends and our bond is deeply tied to this shared experience.
At approximately twenty years old, you had already arrived at Felicity. Can you tell me about your journey through adolescence and young adulthood, given that you were under public scrutiny during the late 1990s and the early 2000s?
Once upon a time, we had a unique kind of notoriety, but the times have changed dramatically, and today’s youth are accustomed to being under constant scrutiny. There’s an eerie feeling of being constantly watched in their actions, and they seem to present a highly sanitized version of themselves – something we didn’t struggle with. Back then, Los Angeles had a lively, unpolished side. One could maintain a professional image during work and public appearances, while still enjoying more personal freedom outside of that realm.
I wouldn’t exist in today’s world if I had grown up during the social media era. I can vividly recall the shift when personal photos became widely shared. It was an incredibly unusual, dream-like period for me as I felt compelled to portray myself a certain way, and every snapshot taken of me became public. So, those were truly bizarre times. I’m not convinced that this phenomenon has been beneficial for our field.
A little over a decade ago, during an interview, you shared that maintaining balance wasn’t your forte, admitting to being work-centric more than ever. At the time, you didn’t see yourself ready for marriage or starting a family. However, now you are engaged and have two children. Could you elaborate on the transformation in both your personal and professional life since the end of ‘Felicity’? How has your perspective on priorities shifted as you’ve grown older?
For quite some time following “Felicity” and several movies, I found myself distancing from my job and its responsibilities, as they no longer held my interest. It was a gradual process returning to a more public role, but now I’m thoroughly enjoying it. Over the past decade, I’ve been involved in more shows and films that resonate with me on a deeper level. Interacting with journalists as part of my job is something I appreciate more these days. I’m embracing the opportunity to engage in all aspects of my work, which is an essential aspect of our profession, without a doubt. It’s been an exciting adventure getting back to where I am now.
Reflecting on my past, had I become a parent in my twenties, it wouldn’t have been ideal for me. Now, feeling content with my current age, having children at this stage of life seems fitting. Although it presents challenges, there are also rewarding aspects to it. (Laughs) As a young actor, you often find yourself like a pirate sailing from one job to another, causing mischief and enjoying life, while your twenties and thirties fly by in a blur of adventure and carefree escapades. Now, I am more deeply engrossed in my work, more present on set, and more ambitious than ever before. This is a stage I’ve longed for, and it seems I needed this journey to finally reach it, making it feel more genuine and authentic to who I truly am.
Did naming your recently born child Indy Roy, in honor of your deceased father, Roy, who passed away 25 years ago, cause you to reflect on your personal connection with him as a father?
Absolutely, the series “Felicity” played a significant role in my life story. The moment I shared with my father that I would be working on this show was when he revealed his illness to me, making the first year of its run particularly poignant – with the show gaining popularity and my father passing away. Losing him significantly shaped my first decade in Los Angeles. As a parent now to a son and daughter, I can’t help but empathize with what my dad might have experienced during his time as a parent, and I strive to build a similar relationship with my own children while recognizing the immense responsibility and challenges that come with parenthood. Indeed, it is the most significant job one could undertake.
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On Thursdays up to October 31st, you can catch two fresh episodes of Teacup exclusively on Peacock. Meanwhile, every Thursday, tune in to ABC at 10/9c for an episode of Grey’s Anatomy, or catch it the next day on Hulu for streaming.
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2024-10-11 19:27