James Nelson-Joyce carries himself with a quiet humility, a striking contrast to the turbulent worlds his characters inhabit. He speaks candidly about the acting life, acknowledging the inevitable sting of rejection, but urging aspiring performers not to take it to heart. His journey, marked by powerful roles in acclaimed dramas, is a testament to resilience and a genuine love for the craft.
Nelson-Joyce’s breakthrough came with 2017’sLittle Boy Blue, quickly followed by compelling performances inThe Virtues,Time, andThe Responder. But the last year has been particularly transformative. He captivated audiences as Treacle Goodson inA Thousand Blows, a role that immediately established him as a force to be reckoned with. Just a month later, he delivered a stunning lead performance inThis City Is Ours, earning the prestigious Best Breakthrough Talent award at the RTS Awards.
Now, he returns to the visceral world ofA Thousand Blows, a series penned by the creator ofPeaky Blinders. This season delves into the fractured relationship between Treacle and his brother, Sugar, played by the formidable Stephen Graham. Treacle, once defined by his admiration for his older brother, finds himself utterly adrift. “He couldn’t have been Treacle without Sugar,” Nelson-Joyce explains, “When Sugar breaks that respect and that love, it’s like, where does Treacle go from here? He’s got nothing.”
The core of Treacle’s devastation lies in the loss of his anchor. He’s left with a pub, a hollow inheritance, and the crushing weight of a severed family connection. The series explores the raw loneliness that descends when the person you’ve always looked up to dismantles your world. When Treacle confronts Sugar, a complex mix of resentment and lingering affection surfaces, leaving him profoundly conflicted.
The on-screen brotherhood between Nelson-Joyce and Graham is deeply rooted in a genuine, long-standing connection. Their relationship began unexpectedly – a chance encounter at a Nando’s where Nelson-Joyce, emboldened, approached Graham and his wife, actress and producer Hannah Walters. This initial courage blossomed into a mentorship, mirroring the dynamic between their characters.
“Sugar’s always been there to look after Treacle, which is what Stephen’s always done for me,” Nelson-Joyce shares with warmth. “He has always looked out for me, cared about me and put me in my place when I’ve been wrong.” He describes Graham as a generous soul, acutely aware of the challenges facing actors and consistently willing to lend a hand, even amidst his own demanding schedule. Walters, he adds, shares this unwavering support.
Filming for the second season began almost immediately after wrapping the first, a testament to the immersive and demanding nature of the production. The series is set against the backdrop of Victorian London, a world of brutal bare-knuckle boxing and daring heists orchestrated by powerful women. It’s a landscape of grit and desperation, perfectly suited to Nelson-Joyce’s ability to portray complex, wounded characters.
Five years ago, Nelson-Joyce delivered a chilling performance as Johnno inTime, a gripping drama set within the confines of a British prison. The series resonated deeply with audiences, particularly in the wake of Covid-19 lockdowns, offering a stark and unflinching portrayal of confinement and its psychological toll. It was a cultural moment, forcing viewers to confront the harsh realities of the prison system.
Nelson-Joyce holds immense respect for Jimmy McGovern, the writer behindTime, considering him the finest he’s ever encountered. He praises McGovern’s meticulous research and dedication to authenticity, ensuring every detail rings true. “It was a gift of a piece,” he says, “Jimmy McGovern doesn’t write about things that he doesn’t know about.” He expresses a fervent desire to collaborate with McGovern again, recognizing the unparalleled quality of his work.
A reunion with Sean Bean occurred inThis City Is Ours, a drama celebrating Nelson-Joyce’s hometown of Liverpool. He speaks with palpable pride about the series’ depiction of the city, noting the surge in tourism it inspired. He emphasizes the importance of showcasing regional stories and accents on television, providing opportunities for local talent and celebrating the unique character of British cities.
Having navigated the industry for sixteen years, Nelson-Joyce is eager to share his wisdom with aspiring actors. His advice is grounded in humility and respect: “Always be respectful, and never expect anything out of anyone.” He urges young performers to be proactive, to introduce themselves, and to seize every opportunity. He recounts writing a letter to Jimmy McGovern early in his career, a gesture that ultimately led to their collaboration.
Beyond self-promotion, Nelson-Joyce stresses the importance of surrounding oneself with supportive and trustworthy agents and publicists – individuals who genuinely care about an actor’s well-being and career trajectory. He highlights the value of a collaborative partnership built on shared goals and mutual respect. His own relationship with his representative is a testament to this principle, a bond built on admiration and unwavering support.
