Newark, Newark | Interview with Matthew Horne (Terry)

How familiar is Terry to you?

I was born and raised 10 miles from Newark, and I went to school five miles away from Newark, so I know the area and I know those people. Without naming names – and I certainly don’t have any names – I’ve been around an atmosphere and a generation of men who’ve been through the same things as Terry. I feel like he’s somebody I know very well, and I recognize the tragedy in him. But I also sympathise with Terry, because I will end up being him – he is part of me because of where I’m from. Terry’s a very appropriate character for me, although a huge departure in terms of my acting and my career. He’s deeply tragic, but I also wanted him to be likeable and for people to understand the damage he’s suffered.

The entire show, from places to people, must have been so recognisable…

Very much so. In fact, when I was sent the scripts and offered the role, I was reading them on the train to Newark, which is the station I use to visit my father. It all felt very serendipitous, and the producers didn’t even know I’m from that area. Nathan has done a superb job. That’s not only in his writing – structurally, narratively, his character creation, and the funny lines – but also in encapsulating the atmosphere of the area and the people. This was an absolute no brainer for me. The script really spoke to me, and I recognised everything in it. Terry also gave me the opportunity to use my accent, which I lost when I was 16 or 17.

What does it mean to be able to use your native accent in a show representing the area where you grew up?

It means so much on both a professional level and a personal level. On a professional level, I’m so grateful to be given this opportunity because on paper that role is not one you would offer to me. I still don’t quite know why they did. I assumed they knew I was from the area, but they didn’t and were as surprised as anyone to learn I was from there. In television it’s very easy to be pigeonholed as a certain type, so to be offered Terry was amazing to me. On a personal level it’s wonderful to go home and work and make a show which is set five miles from the school where I started acting 25 years ago.

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What kind of husband and dad is Terry?

When he was married and was raising Leslie, I think he thought he was a loyal and doting father and husband. Over the years he became increasingly thoughtless and stopped making an effort. The relationship turned stale, and Maxine wanted a bit more excitement in her life. Terry genuinely can’t understand what he’s done wrong.

When was he happiest?

The best years of his life were when he was 18. I’ve met men like that; they still dress how they did when they were 18 because that was when they were at their peak. However, this means whenever he’s faced with emotional situations, his emotions default to that period because he hasn’t emotionally progressed from that point in his life. That’s where his emotional development stopped.

Big question – is that your own hair?

It most definitely is not – I’m greying rapidly and it’s quite short. Using a wig for the role was an early idea I had to show a character who has let himself go and also can’t quite let go of his youth. There were some indications in the scripts about costume, but I was actually at Newark North Gate station and saw a guy in some bootcut jeans with brown slip ons, which were specified in the script. He was also wearing a leather jacket and had longer hair in a ponytail, which were the two things which I brought to the table. Terry is growing his hair while he can, as well as harking back to his youth, and thinks it’s still cool. It’s quite tragic.

Tragic is the word which springs to mind with him…

There is something quite tragic about him. I felt like there needed to be an angle on him, both in performance and presentation, where you are able to sympathise with him. Well, pity him.

There’s something very Top Gear about Terry – does he hold up Richard Hammond as a style icon?

Richard Hammond was one of my main references. He was somebody I cited when I was discussing costume – we just stopped short of beads. The backstory of Terry is that he very much likes to think of himself as a piston head, but he’s probably in the Guinness Book of World Records for the number of times he’s failed his driving test. That’s what I was exploring in my head when thinking about his character.

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Where do you think Terry could go in this series and in the future?

There’s only one way, and it’s down. Growing his hair out and letting himself go is just the beginning.

Were the scripts’ authentic tone one of the main reasons you wanted to join the cast?

Nathan’s a really great writer and these are really great scripts. I was reading fantastic scripts, and you only get realism, authenticity, and truth from fantastic writing.

How was working alongside Morgana Robinson and Beverley Callard, whose characters give Terry a hard time?

Beverley was absolutely wonderful. In my career, I’ve been very lucky to work with the most amazing actresses and Beverley was added straight onto the list of actress legends for me. She’s wonderful and her comedic touch is just superb. It was wonderful to watch the character emerge from her as we began filming. Morgana’s a wonderful actor and another reason I was thrilled by this job was the chance to be working with her. I’d never met her, but I loved The Agency and I’ve been such a fan of hers. We instantly hit it off and had a chemistry which I hope translates onto the screen.

What was it like working with the younger members of the cast? What do you see in their futures?

Oh, it’s absolutely infuriating. I absolutely hate young talented people. I’m joking but, as I get older and I become more cynical and more jaded, working around young talent with the world at their feet and their whole life ahead of them makes me feel grateful for what I have, what I’m doing in that present moment, and what I’ve achieved so far in my career. As I say, I’m firmly in my middle age and I’m inspired by younger talent, and I want to do everything I can to help them progress. We have some fantastic new talent on Newark, Newark and I hope they have very bright futures that aren’t only on TikTok.

Alastair James is the editor-in-chief of Memorable TV, leading the charge in covering today's must-see television. A lifelong television enthusiast, his passion began with a deep dive into the world of classic sci-fi, culminating in his role as editor of "Beyond the Static," a publication devoted to celebrating iconic sci-fi series. While his love for classic television remains, Alastair's focus at Memorable TV is firmly on the present, analyzing the latest trends in the television landscape, from gripping crime dramas to the ever-evolving strategies of Survivor. His insights have been featured in numerous publications. At Memorable TV, Alastair's goal is to provide readers with sharp commentary, engaging reviews, and in-depth analysis of the shows dominating the current conversation.