Ashley Walters on Juggling Directorial Debut Animol with Adolescence

When Ashley Walters started work on “Animol,” he had little idea what would be coming around the corner.

The film — a gritty and tense coming-of-age drama set in a British juvenile detention center and tackling themes such as identity, betrayal and sexuality — marks his feature directorial debut and the boldest move yet in what was, at the time, a decision by the “Top Boy” star to step away from acting after more than 30 years. Walters had fallen out of love with the profession that had made him something of a trailblazing name in the U.K. in the mid-2000s.

Written by Nick Love, “Animol” stars a couple of impressive young newcomers in Tut Nyuot (since seen in “Steve” and “The Long Walk”) and Vladyslav Baliuk. In a supporting role was Walters long-time friend and occasional collaborator Stephen Graham (a part Walters notes he would have reluctantly played himself had Graham not said yes — “I didn’t want to act and direct!”). It was a tough shoot for the first-time director, who had only previously gotten behind the camera for a short film and some TV work.

But not long after “Animol” wrapped, Netflix released its one-shot phenomenon “Adolescence.”

Like all of the stars of the series, Walters — who would be Emmy-nominated for his turn as a detective inspector in two of the four episodes — saw his world turned upside down. Acting was suddenly back on the menu in a massive way and he was soon shooting alongside Jake Gyllenhaal in M. Night Shyamalan’s supernatural thriller “Remain” — his first major part in a U.S. movie — and then the HBO’s sci-fi series “Dune Prophecy.” But at the same time, he was also supposed to be deep in post on “Animol.”

The juggle was, as he notes, “nuts,” with editing done from planes and trains, between shoots and awards shows. Not only did he get it done, however, but now “Animol” is having it world premiere in Berlin (where Bankside are selling it globally).

Speaking to Variety, Walters lifts the lid on a creative year like no other.

How was the experience of behind the camera for a full feature? Did it give you a newfound respect for directors and everything that they have to juggle at once?

I think that actually started happening when I shot [2021 short)] “Boys.” Going into my next project as an actor I had a huge respect for the director. But a feature is completely different to everything I’ve done before. This really is a director’s medium, by which I mean I had to answer all the questions. I had to know what I was doing. There was no moment where I could just leave it. And that was tough. But I love a challenge and leaning into danger. And I think I’ve come out a better man.

When it was first announced, “Animol” was described as being partially autobiographical. What element of your own story made into this.

Where it connects is that I did go to a young offenders institute as a kid — that’s where me and Nick [Love] connected on the story. But Nick wrote it and these are some of his real experiences. But it meant a lot for me to make this film, because I’ve grown up knowing that in the Black community there is a lot of homophobia. But it was only until I got into acting that I got to know the queer community and had to change some of the views I’ve been brought up with. This film is powerful for many reasons, but an important one for me is challenging taboo subjects and making people have conversations.

You previously said that you’d been making moves as a director because you wanted to shift away from acting and that you’d fallen out of love with it. And then, in the middle of making “Animol,” “Adolescence” happened. Did it force you to have a rethink?

Ha! Yeah. I can’t lie. But, to give myself some credit, there are roles coming in now that I’m much more interested in playing. I feel like I got caught up in doing back-to-back shows like “Top Boy” and “Bulletproof.” I was just bored. And then “Adolescence” came and the splash from that has been crazy. There’s been a lot of changes and I now feel like acting it back up there on my list.

You were actually supposed to be working on post-production in “Animol” when it all erupted but had to put it on hiatus, right?

I don’t want to mess up future work so let me just say that I am dedicated and loyal! But yeah, it did get hairy. But I think everyone understood.

I’m sure they did. So were you working on this while shooting with M. Night and then on “Dune Prophecy” and amid all the awards shows?

Yeah, that’s exactly what was happening. It was all at the same time and it was very difficult to juggle. But I got it done. It was tough, but I was working with some great people. But I was Zooming in from planes and watching cuts from the train. It was nuts, but it had to be done. I wouldn’t do it that way again.

So now acting is back in the mix, which do you prefer?

They both give different things. If I am to be brutally honest, it takes a lot more out of me to act than it does to direct. I’m a very shy person and quiet anxious. So it actually takes a lot for me to be in spaces and perform in front of people. But directing, I feel much more at peace. There’s some level of serenity that I get in that madness.

Can you put into words the last not-even-a year since “Adolescence” came out?

In a nutshell, it feels like I’ve been in a queue for 30 odd years for this thing. And now I’m at the front of the queue.