ily James was born Lily Thomson in Esher, Surrey, in 1989. She studied at the Guildhall School of Music and Drama and made her TV debut as Ethel Brown in the BBC’s Just William (2010) before appearing in Downton Abbey and War & Peace. Her film credits include Baby Driver, Darkest Hour, The Dig, Rebecca, Mamma Mia! Here We Go Again and the lead in Disney’s live-action Cinderella. In 2019 she starred in Ivo van Hove’s All About Eve in the West End. James plays the heroine, Linda Radlett, in the new BBC adaptation of Nancy Mitford’s 1945 novel The Pursuit of Love. Were you a fan of Nancy Mitford’s book before you took this role? Absolutely. It was huge fun to immerse myself in the period, although my character, Linda, could almost exist at any time, because she breaks all the rules. It’s written and directed by Emily Mortimer. What’s her take on the story? It’s faithful to the period, but feels fresh. Emily took inspiration from Sofia Coppola’s Marie Antoinette film, where you can be in Converse running down a corridor one minute and in period gowns the next. It’s rooted in history but also feels alive. You feel it could be taking place now. It’s something of a cult classic. I remember Carrie reading the book in Sex and the City … Really? Wow. Maybe it was a between-the-wars Sex and the City. That’s a great tagline. No, it’s an amazing book. Unexpected people turn out to love it. It’s allergic to sentimentality – so questioning, full of passion and humour. Nancy Mitford explores bigger issues but in a satirical way. I reread it just before shooting and appreciated anew how Emily had adapted it so perfectly. Linda and her best friend, Fanny, played by Emily Beecham, have a quasi-sexual relationship in the show. Will that surprise a few people? We never explicitly decided whether it was sexual or not. Instead, we talked about female friendship for hours over Zoom. We shared our own experiences of how they can be the most important, nourishing relationships in your life. Particularly as a young girl growing up, your hormones are going wild and you’re exploring your sexuality. Fanny’s mother has abandoned her, so she’s missing that connection. Linda’s locked in this house and refused an education. There’s so much longing within both of them. They’re figuring things out through each other. It felt so true. It’s an ode to female friendship. They take baths together but Fanny always gets the tap end … So unfair. It sums up their relationship. Fanny always gets the tap end. Awful. Were you and Emily Beecham friends off-screen already? Rehearsals were over Zoom, so we didn’t meet until the first day of filming. She’s such a skilful actor and was absolutely fizzing on set. I was definitely improved by being around the two Emilys, as I like to call them. We formed a real gang. How was it working with Andrew Scott, who plays Lord Merlin? Oh, he’s extraordinary. He brings so much. That’s another beautiful relationship, Lord Merlin and Linda … they’re true soulmates. Andrew and I talked about how you don’t have to define some friendships. All sorts of people can become great loves of your life. Did you succumb to hot priest mania when he was in Fleabag? Of course I did. What a show. He was catapulted into everyone’s heart with that part. You found yourself at the centre of a media storm last autumn [due to rumours of an affair with Pursuit of Love castmate Dominic West]. What was that like? Ach, I’m not really willing to talk about that. There is a lot to say, but not now, I’m afraid. Actors are supposed to never work with animals, but The Pursuit of Love has dogs, horses, rabbits, birds … Oh God, my little French bulldog Plon-plon. There’s a scene where Linda opens this hat box and a tiny puppy is inside. I’ve never had to act less in my entire life. I got so close to that dog. He was forever snogging me and licking my face. I didn’t mind one bit. Later this month we’ll see you in Billie Piper’s directorial debut film, “anti-romcom” Rare Beasts. How was that? I look up to Billie hugely. She’s written, directed and starred in this story about being a woman. My part is a tiny cameo, but when she asked, I was like: “Of course I want to be in your first film.” You were in The Dig earlier this year. Was that an enjoyable experience? That goes back to Billie Piper too. I watched her in Yerma at the Young Vic, directed by Simon Stone. Afterwards, I locked myself in the toilet and cried. Fuck, that was theatre that got to the nerve-ends. Simon got in touch about The Dig because he remembered how passionately I’d talked about Yerma. I was so fired up and he said that’s what Peggy Piggott is like about archaeology. Then I sat in mud in the freezing cold for eight weeks. But he made a beautiful film. It’s expressionistic. It doesn’t feel linear somehow, it’s like a feeling of the war coming. I was expecting you to be blond. Aren’t you about to start shooting Pam & Tommy, the bio-drama series about Pamela Anderson and Tommy Lee? I’ve been experimenting with wigs of late. Mixing it up. There really is something different about being blond. I remember that from back in my Cinderella days. Were you a fan of Pammy during the Baywatch era, or more of a Hasselhoff girl? [Laughs] No, I was Pam through and through. I’ve never felt more nervous about a project, but I’m excited too. I want to keep pushing and stretching myself. Do you plan to do more theatre when they finally reopen? Definitely. I’ve been in discussions about a two-hander. I want to do something modern, new writing, and there are particular theatres I’m keen to work in. You’ve played lots of period roles. Do you feel in danger of being typecast? There probably was a point where I felt that. But now I feel immensely grateful. It’s easy to worry that you’re not doing the right thing, or wish you were doing something different. I fall prey to that a lot, like all humans do. How was it meeting the mighty Cher on Mamma Mia! Here We Go Again? Just phenomenal. She was everything you’d hope she would be. I brought my mum along to the set on the day Cher did her big song. She watched from the monitors and it was like being at our own personal Cher gig. I’ll never forget it. Acting is in your blood, isn’t it? My father lived on Sunset Boulevard in the 70s and was an actor for a period. Then he was in a car accident and got these huge scars on his face, which totally changed it for him. He was suddenly doing all these gangster roles. My grandmother [Helen Horton] acted her entire life. She was the voice of Mother, the ship’s computer in Alien. She died just before I started drama school, sadly. I wish I could talk to her about the business now. She was so glamorous and witty. I read that you’re distantly related to the two President Bushes. Is that true? I don’t think so. I’m outright denying it [laughs]. But I have got American family and don’t know my family tree that well. I need to do that genealogy show, Who Do You Think You Are? Just putting it out there … You’ve sung in a few roles. Are you secretly a frustrated pop star? I’ve actually just recorded with DJ Yoda. He used to be a neighbour of mine. That was really cool and unexpected. I’d love to do musicals. I rewatched La La Land the other night, crying into my pillow. Music adds so much. In The Pursuit of Love, our music supervisor is George Vjestica from the Bad Seeds. The soundtrack is modern and alive. It transforms the piece and makes it feel so sexy. What role would you most like to play? I’d love to do Cabaret. My Fair Lady too, although I’d have to work so hard on the singing. I just watched that Audrey Hepburn biopic and her voice is very high. What got you through lockdown? I did jigsaw puzzles and watched Schitt’s Creek. I drank too much wine and woke up at midday. I also read a script by Jemima Khan called What’s Love Got to Do With It. We ended up shooting that with Working Title at the turn of the year. I got to act opposite Shazad Latif, who’s one of my closest friends. After being starved of human connection, it was great to be surrounded by people I love.