IN CONVERSATION WITH CHRISTELLE ELWIN
interview by JANA LETONJA
Christelle Elwin is a rising star whose dynamic range has quickly made her one to watch on both stage and screen. Born in Guadeloupe and raised in Paris before moving to the UK at age 8, Christelle brings a global perspective and striking authenticity to her roles. Best known as Mistle in seasons 3 & 4 of Netflix’s ‘The Witcher’, she’s also appeared in ‘The Bastard Son & The Devil Himself’, ‘Death in Paradise’, and ‘Sky’s Bloods’, as well as on stage in the RSC’s acclaimed production of ‘Much Ado About Nothing’. With her upcoming guest role in Apple TV+’s ‘Neuromancer’ and another exciting project on the horizon, Christelle is carving out a career defined by bold choices and magnetic performances.
You’ve been a fan-favorite as Mistle in ‘The Witcher’. How has it felt stepping into such a beloved universe?
Stepping into ‘The Witcher’ universe was incredible to say the least. I’m super grateful to Sophie Holland and my agents at Denton Brierley for pioneering that. I didn’t even know what I was auditioning for at first, I just knew it was in the fantasy genre, which I enjoy. When I found out through the audition process, it felt like any normal role you audition for, except I really loved the idea and backstory of Mistle, how she became a Rat gang member, how she fell in complete adoration of Falka, and knew right away I would get excited to work on the details of finding out exactly who she is as a person. I loved the books, and I loved the execution of the complex, expansive world Netflix created. I researched so extensively I now have more medieval knowledge than you’d ever learn in schoo. lIt’s been one of the most challenging and rewarding acting experiences of my career thus far. So lucky to have had it.
What has playing Mistle taught you as an actor?
I got to live with Mistle for a long time so she taught me a lot. I mean, a big one is that I could pick up routine quickly and do a lot of my own stunts. So, shout out to stunt performers because doing safely, half of the things that you do, is truly a feat. Overall, Mistle taught me to be more free as an actor in making choices, and to be braver with my choices in general life. Even when stepping onto a huge set.
She is this amazing complex young woman who chooses her path despite the odds against her. For example, in the challenges she faces, still choosing to love and form relationships in a world that’s been so cruel to her. She never chooses to give up. This is one of the things that connected me most to her. During and after, I felt like I could take on her boldness in her fluid identity and her ability to break the rules, but also lean into the sides of myself I was more afraid of. It kind of liberated me. I now completely don’t place my identity in a box, which is so helpful for acting because your performances become naturally more nuanced, genuine and confident, not sticking rigidly to a character stereotype. I feel like each character teaches you more about yourself as an actor and how far you can go. In this case, I had to totally empathise with all of Mistle’s more questionable choices, but when it all clicked, it taught me how much empathy I’m really capable of. Empathy in the place of judgement is maybe the most helpful tool an actor can have, in my opinion.
How different was filming ‘Neuromancer’ compared to your time on ‘The Witcher’?
Just two very different sets, because one is more medieval and in my own accent, and the other is more cyberpunk and I got to play with an accent which always adds an extra layer for an actor. Both sets are fantastical in their own ways. It’s crazy how these productions can bring the world of these books to life.
Without giving too much away, can you tease anything about your role in ‘Neuromancer’
I can’t do that, but I can say it’s a fun character from the book.
How do you prepare yourself to shift between fantasy worlds like ‘The Witcher’ and contemporary settings like ‘Death in Paradise’?
The prep for each setting for me is very different, but for both the key that unlocks it all is the preliminary research. Stepping into a fantasy world can require a lot more prep time because there is so much to learn. How that specific fantasy world operates, which a lot of the time you can get from the source material, how my character navigates that world, what they know, what they don’t know, and of course the limitations my character is working with. So, Mistle is human in this magical fantastical war-torn world full of surprises. Meaning, it informed my acting choices. Like if I saw a monster, which I do, how am I as Mistle reacting, you know? I’m sure everyone in the show who is playing someone magical will tell you they did a heck of a lot of deep diving to help form their character.
Whereas contemporary worlds, like ‘Death in Paradise’, exist in the modern world, which I have a preliminary basic understanding of because I live in it, and the character is newborn, not based on a book. This presents its own challenges because you’re really creating this character from scratch and maybe their profession isn’t anything you know about. Then there’s the added challenge of trying to not let too much of your current reality influence who this character really is and what they’re capable of being and doing. But both require a ton of research, which is fun. Without all the preliminary research though, I think it would be hard to find the full human you’re playing, and to be brave and free with your acting choices. Plus, you keep learning as a human all the time too, and your character does the same.
What was the most valuable lesson you took away from performing with the RSC in ‘Much Ado About Nothing’?
The most valuable lesson I took from the RSC was to really trust my understanding of language and the instincts I get from it, which you don’t even realise you’re doubting. Having a French native tongue and bouncing through different schools and areas, even in the UK where people are learning at different levels although they’re in the same grade, you inevitably start to doubt your ability to use language and find these characters, and the language that Shakespeare uses can feel inaccessible for people like me, growing up. Now it doesn’t, because I got lucky enough to work with the prestigious RSC even though I’m me, and it’s no longer this scary thing and that’s a massive win. I’d love to jump back into Elizabethan English at some point. Maybe a play by Christopher Marlowe.
Do you have a dream role or genre you’d love to tackle next?
The genre I’d absolutely love to tackle next is a twisted thriller, psychological drama. The role I’d be looking to play is someone who looks naughty on the surface, but once you crack them open, the audience gets to see how gooey they really are. Like a dirty detective or a soldier, for example.
Growing up between Guadeloupe, Paris, and the UK, how do you think your multicultural background influences your work as an actor?
Growing up between Guadeloupe, France and the UK, the culture change was a big shock to the system, but it taught me so much. First it taught me to always look at the bigger picture of my character. How have they got here? How many times have they moved in their life? Why? And it taught me different characters’ backgrounds will really influence their personality traits, and to apply that to my acting choices. Growing up in a multicultural background means I’ve gotten to do some fun roles in other accents and languages, that I probably got because the essence of who they are kind of came naturally to me because I’ve lived it or been around it at some point. Thinking about it though, sometimes I feel like I belong to no group of people and I get to observe and shapeshift in my acting because most of my childhood was essentially doing that. Every new country and neighbourhood shapeshifted me into this new individual that I got to play with and choose what I wanted to take from each culture, which I think in the long run has influenced making my more nuanced acting choices.
What excites you most about the kinds of stories being told in television right now?
The kinds of stories being told on television that excite me the most are stories about our not too distant future. I love the guessing game with how AI will advance to our gain and detriment. That’s why I love TV like ‘Black Mirror’ and ‘Severance’. I also love that the stories being told now seem to have an even clearer understanding of the stories they are telling, so the characters I’m watching on screen feel more relatable than they maybe used to. Less stereotypes and more human.
When you look back at the past few years, what moment feels most defining for you so far?
The most defining moment for me so far is meeting my acting teacher in secondary school, Mrs Sarah Cowen, or as I now call her, Cowen. She was a teacher that really cared about me, even when I felt lost. She helped me channel my hyperactive behaviour and I kind of came to see her as a mother figure. Unbeknownst to me at the time, but I know the feeling now. She basically started and championed my acting career from the very start, putting me up for competitive things I ended up getting and really is the reason I pursued acting in the first place. She gifted me that nugget of confidence I needed, that I could achieve. I’ve had so many moments that defined me, but this was one big one that comes to mind, because at that tender age, you need guidance and to feel like someone truly gives a damn. And Cowen did that, not only in my career, but in my personal life. She was someone I could just talk to. It’s amazing how having someone to be open in dialogue with can really save or change the course of a child’s life.
Looking ahead, what would you love your career to look like in the next five years?
Looking at my career five years ahead, I’d love to have created some groundbreaking, life changing, going against the grain independent cinema. Be that in writing, directing or even being in it. I’ve actually got a couple scripts I’ve written that I’m in the process of refining, which is exciting. I’d love to continue to work and learn from people who are super comfortable, confident and humble in their craft. I’m also interested in telling stories via the music medium too, but I would use a pseudonym. I want to continue to collaborate with individuals telling stories that make people really think. I mean, that’s kind of exactly why storytelling and theatre was invented in the first place.
TEAM CREDITS:
photography DAVID REISS
styling STEVEN HUANG
hair and makeup KERIEANN LONDON
