Alexander Skarsgård and Harry Melling are ready to tackle sex and kink, but only with the right script: an interview with the stars of Pillion
Through skin, rituals, and power dynamics, Pillion uses kink to explore inherited relational models and male vulnerability. The two protagonists explain why the most explicit scenes are never provocation for its own sake.
Over its 107 minutes, Pillion shows and reveals a lot, but never the meaning of the term that gives it its title. It's the English term for the rear seat of a motorcycle, which in biker slang refers to the passenger riding behind the driver. By extension, in the subtext of queer motorcycle culture, it signifies a submissive position in a couple.
From this highly codified term, known only to those familiar with the biker and BDSM world, begins the feature film debut of Harry Lighton, the English director and writer already nominated for a BAFTA for his short film Wren Boys, who adapts Adam Mars-Jones' novel into an ironic, unsettling, and acute love story. At its center is the encounter between Colin (Harry Melling), an awkward young adult from suburban London, and Ray (Alexander Skarsgård), the magnetic and hyper-dominant leader of a queer motorcycle club.
A relationship that may appear extreme or even disturbing to outsiders, but which from within reveals contradictions, tenderness, and a constant negotiation of power. We asked Alexander Skarsgård and Harry Melling why they felt comfortable being part of a project that some might even consider a career risk, and how intimacy is approached on set at a time when even such explicit stories are finally finding space on the big screen.
Pillion, an interview with Alexander Skarsgård and Harry Melling
What convinced you to accept a project that might seem risky?
Harry Melling – The first thing was the script. I had already seen Harry Lighton's previous short film, Wren Boys, almost by chance, a year earlier, during one of my explorations of new authors to keep myself "updated." When I received the script and recognized his name, I immediately had a good feeling. Reading it, I immediately knew I wanted to play this character. For some, it might seem like a risky project, but for me, it was clear from the start that I wanted to be a part of it.
Alexander Skarsgård – I didn't know Wren Boys and wasn't familiar with Harry Lighton's work, but when the script came to me, this other Harry was already involved (laughs). The text was extraordinary. Also, several friends who had worked with Harry spoke very highly of him. Before the meeting, I watched his shorts and it was clear to me that he was a very talented director. All the elements were in place: a strong script and good people involved: the ideal conditions to say yes without hesitation.
Alexander, you always seem very comfortable in roles that explore very different power dynamics, from dominant to vulnerable. What's your secret?
Alexander Skarsgård – I wouldn't say I'm always comfortable. In Pillion and in Infinity Pool, where I play now a dominator, now a submissive, however, I was enthusiastic about the projects. They were two excellent scripts, with great actors and, above all, with extraordinary directors like Harry Lighton and Brandon Cronenberg.
When you trust the vision of the person leading the film, everything becomes clearer. In Pillion, there are explicit scenes, but they are there for a specific reason: they are never gratuitous or intended only to provoke. If a scene is necessary for the story and supports its evolution, then it doesn't feel uncomfortable to perform.
Pillion also talks about the difficulty for many men to express vulnerability in a society that imposes models of strength. Often these stories emerge in queer contexts: why do you think this happens?
dHarry Melling – I don't know if it's actually more frequent. I don't feel expert enough to say. What I find stimulating is that today, stories are being told that perhaps a few years ago wouldn't have found space. Whether queer or not, many narratives are giving voice to marginalized communities or underrepresented experiences. The fact that they now have a wider platform allows the public to learn about, understand, and empathize with different realities. It's a very positive aspect. Pillion is an unconventional film in many ways, and being able to reach a wide audience is something truly important.