In the world of “Pillion,” Harry Melling transitions from his familiar role as Dudley Dursley in the “Harry Potter” saga to explore a more daring and provocative universe filled with leather, submission, and wilderness orgies.
At 36, Melling takes on his first significant lead role in Harry Lighton’s unconventional romantic film. He portrays Colin, a reserved meter maid and barbershop singer whose quiet life is upended when he attracts Ray, played by Alexander Skarsgård—a stoic motorcyclist seeking a submissive partner to satisfy his intimate and domestic needs.
As their relationship develops, Colin begins to prepare meals and perform household chores for Ray. Their interactions are subtle—no kisses are exchanged, and Ray makes Colin sleep on the floor beside the bed, reminiscent of a dog. However, when Colin appears midway through the story dressed in a leather riding outfit with a shaved head, he radiates a sense of freedom and self-acceptance.
Harry Melling recently shared his thoughts with Variety about working on what might be the most daring romantic comedy of the year, his experience working closely with Skarsgård, and his perspective on stepping out from the shadow of his “Harry Potter” fame.
He admitted, “I approached this project with no fear. Honestly, I think I would have been apprehensive if those intense or unconventional scenes weren’t integral to the story. When I read the script, I sensed that these moments weren’t just gratuitous—they reflected Colin’s transformation from innocence to confidence.”
He elaborated, “The film’s core depends on these intimate scenes—they’re essential to understanding the characters’ journeys. They’re woven into the narrative, making them feel like a natural extension of the acting process rather than mere spectacle. Without the sex scenes, the film wouldn’t hold together.”
Melling also reflected on the portrayal of sexuality in cinema: “In my experience, sex has always been a part of storytelling in movies. Maybe what’s changing is how sex is depicted—perhaps more honestly or differently. I haven’t seen ‘Heated Rivalry’ yet, but it seems like there’s a shift in how sexual expression is articulated on screen, especially in recent American productions.”
He concluded, “For me, these scenes serve a purpose—they’re crucial to character development and the film’s DNA. It’s fascinating to see how portrayals of intimacy evolve, and I think audiences are becoming more receptive to authentic, unfiltered expressions of sexuality in movies.”
Throughout my career, I’ve never deliberately chosen roles to reshape my public image or distance myself from my past work. Instead, my focus has always been on embracing new challenges and seeking a diverse range of experiences. Since I was young, around ten years old, when I first started working on the “Potter” films, I’ve felt a natural drive to pursue roles that excite me, rather than strategize about my image.
Variety is essential to me; I thrive on exploring different facets of acting and life. Trying to deliberately steer away from “Harry Potter” might actually limit my growth because I’d constantly be aware of my origins. It’s much better to follow your instincts and pursue what genuinely interests you, living in a bit of ignorance about the constraints and expectations others might have.
The process of preparing for scenes can be quite spontaneous. For instance, I had only a week of filming before Alex arrived, and our first rehearsal for the wrestling scene took place just a day before shooting. We quickly worked through the choreography, almost intuitively, before diving into the actual scene. It was a straightforward, almost mechanical process—get in, do it, and move on.
For my character, especially, this method was revealing. Colin, my character, constantly doubts Ray’s motives—worrying about how to please him, what he wants, whether he’s doing the right thing. Interestingly, we didn’t have extensive pre-production discussions about our characters’ backstories or how we’d approach these scenes. This spontaneity allowed us to discover and develop those dynamics in real time, making the performances more authentic. It was an unplanned benefit, stemming from logistical circumstances because Alex was away, but it ultimately worked in our favor.
Working with Robbie Taylor Hunt, an exceptional intimacy coordinator, was crucial. His role is akin to that of a stunt coordinator—focusing on camera angles, physical positioning, and technical details that make scenes believable, while also safeguarding the characters’ emotional and narrative integrity. He ensured that every moment served the story and protected everyone involved physically and emotionally.
On a lighter note, some outtakes from the alleyway scene, where I perform a blowjob for Alex, reveal how comically off-angled I was during filming. It looked hilarious in the raw footage! Thankfully, the editing process smooths out those moments, but it’s a reminder of how much attention to detail is required to convincingly portray intimacy on screen—small adjustments that make a big difference.
Additionally, working with the GBMCC—the Gay Bikers Motorcycle Club—played a vital role in bringing authenticity to the film. They not only appeared as characters but also contributed to the research process, introducing me to members of the kink community and teaching me about practices like bootlicking. Their involvement ensured that the film accurately reflected aspects of that lifestyle. When they attended the Cannes premiere, their genuine excitement and pride in seeing their stories portrayed authentically was incredibly meaningful, reaffirming the importance of representation and truth in storytelling.
In "Pillion," the characters' journey challenges traditional expectations, beginning from a place of unconditional support. The parents are almost overly caring, sometimes smothering Colin with questions like, “Have you got a boyfriend yet?” Their initial acceptance gradually shifts as they try to grasp the complexities of Ray’s relationship with Colin. While they don't outright reject it, their perspective becomes more questioning and confrontational over time.
A pivotal moment in the film for me is the Sunday dinner scene, where multiple viewpoints collide in a single setting. Peggy questions Ray’s intentions and the nature of the relationship, while Colin’s father attempts to mediate, striving to maintain harmony. Ray, confident in his stance, asserts, “It’s a consensual relationship. Colin knows what this is. This is how it works. What’s the problem?” This scene often sparks debate among audiences during Q&As—some sympathize with Peggy’s concerns, others support Ray’s perspective, believing everything is fine as it is. For Colin, this confrontation becomes a turning point, prompting him to realize he desires more from their connection.
Certain characters and themes tend to resonate long after watching. For me, playing Colin in "Pillion" was especially impactful because I was involved in nearly every scene, making it a unique experience. Colin’s optimism and curiosity lingered with me, influencing my outlook for quite some time. Conversely, after portraying Edgar Allan Poe in "The Pale Blue Eye," I felt a more somber aftereffect, reflective of the film’s melancholic ending. Each project leaves its own emotional imprint.
Interacting with audiences during Q&As in the UK has been enlightening. One attendee shared her thoughts on consent, noting how relationships sometimes formalize rules through contracts, which contrasts with what we see in "Pillion," where no such agreements exist. It’s fascinating to observe the many ways relationships can function. Many viewers tell me, “I understand Colin,” or “I felt like Colin,” which is deeply touching—it shows how the story resonates on a personal level.
This interview has been edited for clarity. "Pillion" is now playing in theaters.
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