Russell Tovey has built a career playing emotionally complex queer characters, from his breakout role as the tender-hearted Kevin in HBO’s Looking to the tortured, closeted cop in American Horror Story: NYC and Truman Capote’s secretive lover in Feud: Capote vs. the Swans. With his latest project, Plainclothes, premiering this Sunday at Sundance Film Festival, Tovey once again dives into the complexity of hidden lives.
Directed by first-time filmmaker Carmen Emmi, Plainclothes follows Lucas (played by Tom Blyth), an undercover cop tasked with entrapping gay men for public indecency. His mission takes a complicated turn when he develops feelings for Andrew, played by Tovey, a closeted man caught in the sting operation. “When you see the film, there are some quite graphic moments,” Tovey said during a Zoom call from London, describing the film’s intimate scenes. “It was like a dance—a choreography and a poetry—in how the intimacy was directed.” Set in 1990s Syracuse, Emmi’s hometown, Plainclothes draws inspiration from true events, evoking the kind of bait-and-catch police stings that infamously targeted figures like George Michael back in the day. “What’s so upsetting about the world—and this piece—is that it’s not just history. It’s probably happening again now,” Tovey says on the story’s contemporary relevance.
Ahead of the film’s premiere, Tovey chatted with VMAN about the chemistry with Tom Blyth on set, parallels between this role and his past work in the Broadway play Angels in America, attending Sundance for the first time, and the significance of independent cinema.

VMAN: Plainclothes is gearing up for its big premiere at Sundance Film Festival. Congratulations on being a part of such an exciting project. How are you feeling?
Russell Tovey: I’ve never been. I’ve always wanted to go with a project and I’m very, very, very excited. I mean, what more can you ask for? It’s the biggest independent film festival ever. To be there premiering and in competition is just mind-blowing. There are only about 10 films in competition. It’s the biggest privilege ever—and so exciting. When you’re an actor and you have a career, these are the kinds of things you dream about. I feel so honored and excited for people to watch this film.
VMAN: I would love to know more about how the role came about.
RT: The role came through as a script offer, and I read it and completely connected to it instantly. I thought it was beautifully rendered, and the narrative really fascinated me. That period in history is something that I’ve always been drawn to. I loved the dialogue, and then I spoke to Carmen, who’s directed it and written it, and was instantly sort of charmed by him. We had a Zoom with Tom, and it just felt like a story that I wanted to tell. Carmen says this came my way because he had been to see Angels in America on Broadway and then watched the National Theatre version of it. I was playing a character called Joe Pitt, who’s a closeted Mormon with a wife. He started writing this film, and then the character of Andrew came through. That’s how his vision of the character developed into it being me. I’m so thrilled.
VMAN: How did you prepare to bring this character to life?
RT: I sat with him for a long time, or as long as I could. I think I had about five or six weeks before we started shooting. We filmed it in upstate New York in Syracuse, where the film is set and where Carmen is from. Being in that location and playing the role automatically gives you an energy. It’s fantastic when you’re shooting somewhere for something because, so many times, you end up doubling a place—like you’re meant to be in Los Angeles, but you’re actually in the north of London. That happens a lot. But this was actually in the town where he’s from, and it’s a fascinating place.
I guess I wanted to give him an energy similar to Joe Pitt from Angels in America. He was very complicated and had this double life that he hid—predominantly from himself, but also from everybody around him that he loved or professed to love. The character of Andrew in this film carries a lot of that weight. I felt it was a real privilege to discover, afterwards, that a lot of the inspiration for this character came from my performance of Joe Pitt. Serendipitously, that sort of connected.

VMAN: Does knowing that the project is inspired by true events add any extra pressure during filming, or did that influence your performance and approach to the role in any way?
RT: I think there’s a lot of respect for the true events. There’s footage available that I saw of these bathrooms being targeted and monitored. I think it’s a historical piece in the sense of how gay men have been treated historically. Derek Jarman said, “If you wait long enough, the world moves in circles.” And we’re going into very terrifying times again when it comes to human rights. That’s why it feels even more relevant. Even though it’s a historical piece, it doesn’t feel like, ‘That was then, and this is now.’ What’s so upsetting about the world—and this piece—is that it’s not just history. It’s probably happening again now. For myself, I feel a responsibility to these stories, to the community, and to telling an authentic and honest depiction of whatever it is I’m doing.
VMAN: This is Carmen Emmi’s first screenplay, which is obviously a huge moment for him. What do you think the future holds for him and what was it like working with him?
RT: I mean, for him—this is, as you said, his first feature, his directorial debut, and his writing debut. And suddenly, he’s in the Sundance Competition. I think the world’s his oyster. It’s an incredible moment for him, and I absolutely adore him. We had the most beautiful time shooting this film. It was a love fest. Every day, people were so committed and in love with the piece, and they were deeply respectful of the content. Carmen was just an incredible energy to be around. I mean, I’m in complete awe of him. It was one of those jobs where you walk away and think, ‘You know what? That was such a beautiful time that even if nothing happens with this film, what an amazing thing to have experienced.’ So, to now have that experience and be going to Sundance with it is the biggest treat you could ever hope for in a career. I think Carmen is one to watch. And beyond being a huge talent, he’s just funny as fuck and one of the nicest guys you’ll ever meet.

VMAN: What was the chemistry like on set with Tom Blyth?
RT: Brilliant. I mean, from the first Zoom, Tom was incredible. Tom wants to tell the truth with acting, and I feel the same. We both committed to these roles with each other in the same way—we both wanted it to be real, painful, and honest. He was an amazing co-actor to do these scenes with. When you see the film, there are some quite graphic moments. It gets very highly emotional and there’s a lot of tension. If you were working with an actor who was apprehensive, awkward, or unwilling to go there, it could completely change the movie. You know, their relationship—their connection and chemistry—is at the heart and soul of this piece. Tom’s a genius. I absolutely adored working with him.
The scripts were beautiful, and we were given the opportunity to be so present with each other. We had an amazing intimacy coordinator, Joey, who made a huge difference. It was like a dance—a choreography and a poetry—in how the intimacy was directed. It was a really unique experience. I’ve worked with intimacy coordinators a lot. On many projects, I’m either having sex, getting naked, or being very intimate. Sometimes the coordinators are brilliant, and other times they’re quite hands-off. But the way Joey helped really brought so much more nuance and depth to what we were doing.
VMAN: Was this the first time that you met Tom or had you met him before?
RT: We knew of each other but first time working with him and I would do it again in a heartbeat.

VMAN: Is there anything on your checklist that you’re hoping to check off as a first-time attendee for the festival?
RT: Everyone keeps saying to try and go skiing—I love skiing—but I don’t think I’ll have time. Then there’s the advice: don’t overpack. You end up wearing the same things. People have been sending me links to parties and photos of people in tracksuits, and I’m like, ‘Oh, this is great—it’s very casual!’ There’s always that fear that you have to turn up and wear fancy outfits, but you don’t. Which I think really leans into the independent film energy, and I’m so excited to be around that.
I think the energy there is going to be so unique and magical. Everyone keeps saying, obviously, to see as many films as you can. It might be easy to go to the festival and not watch any films apart from your own, but I’m really excited to see a few things. I definitely want to see Ira Sachs’ film about Peter Hujar. I love Ira Sachs, I love Ben Whishaw, and I love Peter Hujar—the photographer. He’s a big hero of mine. That’s absolutely on my must-watch list, among many others. A lot of people have also said, ‘Don’t feel like you’re missing out the event.’ Wherever you are, just be in that moment and enjoy it. It’s easy to think, ‘Oh, there’s this party, and I’m not there,’ or, ‘I’m missing that thing,’ and start feeling FOMO. Have you been before yourself?
VMAN: No! One day, I hope so, but not yet.
RT: I think it’s a thing where you’ve just got to, wherever you end up, just be there and enjoy that moment.


VMAN: In your opinion, why is independent film so important within the industry as a whole?
RT: A lot of it is about emerging talent, storytelling, and the next generation. These stories have such incredible attention to detail, and they’re so unique. It feels like this is where real art is being told. It’s pure, and it feels clean. It’s a weird way to describe it, but independent film feels so honest, and authentic, and like there’s no money in it. It’s being made out of a compulsion to make art, to connect, and to tell stories at a deeper level. That’s when you feel how vital it is. This is a real level of humanity where people are desperately trying to connect and tell stories. I think that’s why, more and more, people are going back to independent film. This is where magic is really happening. This is where you can get completely taken away in something you had no idea was going to take you away.
VMAN: What do you hope audiences will take away from Plainclothes after seeing it?
RT: Fundamentally, I hope they feel incredibly moved. I hope they’re entertained. I hope these characters stay with them. I don’t want to use the word “haunt,” but, you know, the best on-screen chemistry leaves the characters living within you. You think about them and you wonder what they’re up to. I really hope that Tom’s character and my character leave that kind of impression—that people really consider the reality of what their life is. I hope these characters affect the audience, stay with them, and truly move them.

(Header Image)
Photographer Joseph Sinclair
Styling Emily Tighe
Grooming Buster Knight
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