IN CONVERSATION WITH NICÔLE LECKY

interview by JANA LETONJA

Nicôle Lecky is one of Britain’s most exciting and fearless creative voices — an award-winning actor, writer, and singer whose work continues to redefine what authentic, modern storytelling can look like. Following her double BAFTA win for ‘Mood’, Nicôle returns on 15th November with her highly anticipated new BBC One drama, ‘Wild Cherry’. At the same time, Nicôle will also appear in Noah Baumbach’s ‘Jay Kelly’ for Netflix. With her sharp creative vision, lyrical storytelling, and trailblazing role as one of the few female showrunners in the industry, Nicôle is solidifying her place as a defining voice in contemporary television and film.

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We’ll soon be seeing you on ‘Wild Cherry’. What inspired you to tell this particular story about mothers, daughters, and the digital age?

I knew I wanted to look at the complexities around growing up as a teenage girl in the digital age, but also mothering when social media is so prevalent now. There’s a generational gulf between those who grew up with it and those who didn’t, and it felt like fertile ground for a story. I also chose to look at it through the lense of women who have privilege and yet the same issues still arise, albeit in different ways when class and race interact with it.  

The series dives into the complexities of social media, influence, and protection. What conversations do you hope it sparks?

I suppose first and foremost I am always wanting to entertain, as I love to cosy down on the sofa and watch a good drama. I love getting lost in a world. Then alongside storytelling, ideally it provokes debate and thought in terms of how we are using our phones across all the generations, but ultimately how we are then connecting or not connecting with one another. We can’t escape the pressures that both women and girls feel from the outside world.

The show has been described as “dark and knotty”. How did you balance the tension and emotion while keeping it grounded in truth?

I think my main want was to use real world situations set against a beautiful, English setting, but with a certain amount of soapiness. So the stakes always have to be there, but at the same time it’s important what the characters are wearing or when a killer song comes thumping in. To keep tension and truthfulness, the scenes have to evolve from real life moments with characters that are multifaceted. You will follow a story if you ultimately believe a character and understand what it costs for them.

As both a writer and performer, how do you decide whether to appear in your own projects or stay behind the camera?

It’s something that has to be secondary as a thought. I have not yet picked stories to write that I solely want to star in. I never intended to act in ‘Superhoe’, but I had no cash to put the show on, and I was free. And after the reading, the show really took on a life of its own. People find it funny when I’m on set. For instance on ‘Mood’, I was scared of birds and yet I wrote an owl into it, or when I write intimacy scenes and then get nervous. I sort of don’t think about having to do it until I’m on set. It’s really two brains going on up here.

You’re also starring in Noah Baumbach’s ‘Jay Kelly’ for Netflix. How did that opportunity come about?

I have always been such a huge fan of Noah’s, and it came about as a meeting with Nina Gold. Nina has the best projects, so I jumped at the chance to meet for it. I love collaborating and the idea of working with such talented actors like Adam, George and Laura, and watching Noah work on set was thrilling.  

What was it like stepping into a project directed by Noah Baumbach, whose films often explore complex, flawed characters?

I think it’s understanding that there are so many layers to his work and characters as you say. That’s something I’m massively aware of when writing my own. And when you’re used to being on both sides of the camera, my favourite thing is working with someone who has a clear vision. Noah has that and I like going to work everyday with a strong Captain. It means you can focus on your part.

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How did working on a Hollywood production differ from leading your own projects in the UK?

They have craft services. I think you could tell the difference between the British actors and the Americans by who was excited by catering. Barista served Matcha lattes for everyone. 

You’re one of the very few female showrunners in the UK. What has that journey been like for you, and how do you navigate that responsibility?

I used to say that the pressure didn’t really affect me, but actually, I suppose in a very female way I probably ignored the fact that it did on my first show. I’m more aware of the responsibility by the sheer fact that I don’t meet many people like myself in rooms at an exec level. I do think two shows down it’s something I’m very keen to speak about and ensure I work with other people who are diverse - black/brown, working class, neurodiverse. It makes for a better environment.  

Music has always been central to your storytelling. How does it shape your creative process?

When I start figuring out a project, I typically create a playlist to get inside of the world and help me construct what the vision is. Music accompanies my work and my day to day. I grew up in a house which was very eclectic, so my taste is vast and chaotic.

You’ve spoken before about writing from lived experience. How do you protect your personal boundaries when your work feels so personal?

‘Mood’ and ‘Wild Cherry’ don’t draw directly from my personal story, but there are definitely personality traits of me in characters or a funny or tragic scene that’s happened in real life. So, I write from various sources, but it just has to feel authentic and true, dialogue I know real humans say and things I would say.

Looking ahead, what kinds of stories or collaborations excite you most for the future?

I love acting and really relish when I’m on set now as an actor and just get to focus on my character. So, working with other great directors like Noah is on my bingo card, and making exciting film and theatre. I adore being on stage so will probably do some theatre next.

TEAM CREDITS:

photography DAVID REIS
hair JOE KELLY
makeup VENEZA LONDONO