Alex Lawther Biography
Alex Lawther was born in Petersfield, the United Kingdom as Alexander Jonathan Lawther. He is an English actor best known for his role as the young Alan Turing in The Imitation Game (2014), where he earned the London Film Critics’ Circle Award for “Young British Performer of the Year” in January of 2015.
Alex Lawther Age
Alexander Jonathan Lawther was born on
May 4, 1995, in Petersfield, Hampshire, England. He is 23 years old as of 2018.
Alex Lawther Family
Lawther was born in Petersfield, Hampshire, with both his parents as Lawyers. He is the youngest of three. his elder brother Cameron Lawther, is a film producer of Cameron Lawther of ‘World War Z’ and ‘Fury’ fame, while his elder sister Ellie Lawther, works in public policy.
Alex Lawther Height
Alex stands at 1.73 m tall
Alex Lawther photo
Alex Lawther Image
Alex Lawther Career
Lawther’s professional came at the age of 16 when he featured as John Blakemore in David Hare’s South Downs at Chichester Festival Theatre. He made his feature film debut as the young Alan Turing in the Academy Award-winning film The Imitation Game (2014), which later won him the London Film Critics’ Circle Award for “Young British Performer of the Year” in 2015. In 2015, he appeared in a supporting role in the critically acclaimed coming-of-age drama film X+Y. In 2016, he earned his first lead role playing Elliot, alongside Juliet Stevenson in the British film, Departure, the debut film of Andrew Steggall.
In 2016, Lawther played the main character Kenny in “Shut Up and Dance”, an episode from series three of the British science fiction anthology series Black Mirror. In 2017, he also starred, together with Jessica Barden, as James in the television series, The End of the F***ng World.
Alex Lawther Net Worth
Alex’s has an estimated net worth of $2 million,
Alex Lawther Series
- Howards End (miniseries) 2017
- The End of the F***ing World since 2017
Alex Lawther Imitation Game
Alex Lawther featured in the 2014 American historical drama film The Imitation Game as young Alan Turing, where he won the London Film Critics’ Circle Award for Young British Performer of the Year.
Alex Lawther Freak Show
Alex Lawther starred in the 2017 American comedy-drama film Freak Show as Billy Bloom, where he portrayed a funny, good-hearted teenager and the new student at an ultra-conservative high school.
Alex Lawther Ghost Stories
In the 2017 British horror film, Ghost Stories, Alex Lawther co-starred in as Simon Rifkind, where he portrayed junior doctor.
Alex Lawther Christopher Robin
Goodbye Christopher Robin is a 2017 British biographical drama film, where Alex Lawther featured in as Older Christopher Robin Milne.
Alex Lawther Movies | Alex Lawther Tv Shows | Alex Lawther Film
FILMS
|
Year |
Title |
Role |
| 2013 |
Benjamin Britten: Peace and Conflict |
Benjamin Britten |
| 2014 |
The Imitation Game |
Young Alan Turing |
|
X+Y |
Isaac Cooper |
|
| 2016 |
Departure |
Elliot |
| 2017 |
Freak Show |
Billy Bloom |
|
Goodbye Christopher Robin |
Older Christopher Robin Milne |
|
| 2018 |
Ghost Stories |
Simon Rifkind |
| TBA |
The French Dispatch |
TELEVISION
|
Year |
Title |
Role |
| 2014 |
Holby City |
Fred Bamber |
| 2016 |
Black Mirror |
Kenny |
| 2017 |
Carnage |
Volunteer: Joseph |
| 2017–present |
The End of the F***ing World |
James |
| 2017 |
Howards End |
Tibby |
Alex Lawther Video
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Alex Lawther Interview
Alex Lawther on playing a psychopath
Published: 25 Jun 2018
SOURCE: www.gq-magazine.co.uk
GQ: Is it true you know the 1996 film Matilda by heart?
Alex Lawther: “Some will be butchers or bakers or candlestick makers, some will only be really good at making jello salad.” There you go, the opening scene. I’m a massive Roald Dahl fan. I grew up reading his work and see a recurring theme – I have continued to love stuff that mixes the gruesome with a sort of humor. I’m drawn to that in my work.
The End Of The F***ing World was a pretty big deal. Talk us through it.
AL: It felt like we were some kind of madcap family making a school project – in the most wonderful way – in the oddest parts of the UK, the parts you tend to drive through, except we were stopping off and spending a couple of weeks: bus stations in Guildford, Little Chefs on the motorway…
Were you surprised by its popularity?
AL: I saw [writer] Charlie Covell at the Baftas and we were both like, ‘How are we here? What is going on?” I’m very proud of it, of Charlie’s writing, the cinematography, Lucy [Tcherniakand] and Jonathan [Entwistle]’s direction, all of the performances. I spent 12 weeks with [costar] Jess [Barden] and I was aware from the beginning that I was working with someone truly original and brilliant. I’m really chuffed that I got to be the James to her Alyssa. And then Gemma Whelan, Wunmi Mosaku, Steve Oram – I lucked out.
Beyond TEOTFW, is there a project you’re most proud of?
AL: All the work means something to me for different reasons. Getting to work with Hayley Atwell in Howards End, to see how she takes that responsibility as a leading lady, was a particular lesson. The job I’m working on at the moment, The Jungle, I’ve never been involved in work so overtly political. All work in some ways, they say, is political. Do you know? If it’s in the world, hopefully, it has something to say about the world. But this particular piece is very much about the tension of being in the world and particularly the refugee crises today. It’s the first time I’ve been involved in something so current.
Which characters have particularly resonated with you?
AL: With each job, it’s like hanging out with a particular friend. You notice they bring out certain aspects in you that was lying dormant. You start to see where those edges blur. In James, weirdly, I recognized someone that wanted to perhaps lead a more fascinating life. It’s funny. You come across these characters and it’s surprising what you recognize in yourself.
You’ve played several outsiders. Do you ever worry about typecasting?
AL: I don’t think about it too much. I’ve also played some people that are very much not on the fringe, so I think that worry can take up too much-thinking space.
Previously you’ve been vocal about industry diversity. What’s your take regarding the “inclusion rider” Frances McDormand highlighted earlier this year?
AL: You know, before that wonderful speech, I didn’t know that even existed. I am constantly thrilled at the moment by discovering how much power for good actors can have. I’m absolutely delighted that is a thing I can ask for.
Let’s talk Freak Show. What initially attracted you to Billy Bloom?
AL: I liked his anger. I liked that he used the way he dressed as something aggressive. I found that really cool.
You took home a Vivienne Westwood piece from a set. What’s your relationship with fashion and style?
AL: I don’t think about it much, but I appreciate it when I see people who are dressed fabulously. The other day I was having coffee and a girl walked past wearing this wonderful summer dress. She just looked so beautiful and something about her and the dress made me think, ‘Oh, now it’s summer time.”
Trudie Styler directed Freak Show, while Drew Barrymore was a producer. Bette Midler plays your mum, and Laverne Cox also stars. How was it working with these incredible women?
AL: You said it. Incredible. I didn’t get to meet Drew, which is a shame because I’ve loved her since Donnie Darko. Bette Midler is this sort of laser-precise whirlwind. We only worked together for two days, but her precision, before even shooting, was remarkable. She’s done all this homework, and maybe because of that preparation, it allows her, when not shooting, to be the funniest person in the room. And Laverne is gorgeous. She plays one of my favorite characters – although just a cameo – oozing sass. Trudie is just a love, really. This was her first time directing a film, but she’s not a “first-time director”. It’s exciting working with first-time directors because you see them working things out and there’s a joy in being part of that. But she knows how to run a ship.
You mentioned The Jungle, currently at Playhouse Theatre. Why’s this an important project for you?
AL: It’s important because we need to talk about this humanitarian crisis. [It] is not going anywhere. We’ve got to start responding to it. It can seem that we’ve gone quiet and if this play can do something it’s to reignite those conversations. The team behind it, Good Chance, do so much working on the ground with refugees and migrants. This play came out of their experiences [in Calais], but it’s also a play that has been built by the refugee actors that we have in our cast. The play’s now in the West End and hopefully, that means it can reach a much larger audience. I’m excited and humbled, really, to have any part in that story.