{"id":5357,"date":"2026-08-15T15:36:23","date_gmt":"2026-08-15T15:36:23","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=5357"},"modified":"2026-08-15T15:36:23","modified_gmt":"2026-08-15T15:36:23","slug":"mission-stars-george-mackay-and-rosy-mcewen-on-capitalism-creative-freedom-and-the-eternal-allure-of-british-independent-film","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=5357","title":{"rendered":"\u2018Mission\u2019 Stars George MacKay and Rosy McEwen on Capitalism, Creative Freedom and the Eternal Allure of British Independent Film"},"content":{"rendered":"
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\n\tBritish stars George MacKay and Rosy McEwen can admit: Mission <\/em>was one of the least conventional shooting experiences they\u2019ve ever had. It also happened to be one of the most liberating.<\/p>\n

Read more Locarno Film Festival Awards Go to \u2018You Don\u2019t Belong Here,\u2019 Hong Sangsoo, Monica Bellucci<\/a><\/p>\n

\n\tDirector Paul Wright (Arcadia<\/em>) throws caution to the wind in his latest feature film, set to premiere in competition at Edinburgh Film Festival on Saturday. The Glasgow-set Mission <\/em>follows Dylan (MacKay), a young Scot who has reached the end of his tether with a dead-end job and lonely, unfulfilling existence. Over the course of a week, he seeks meaning in the wake of extreme chaos \u2014\u00a0such as breaking a monkey out of the local zoo, attacking a police officer and experimenting in some X-rated BDSM \u2014\u00a0as he attempts to feel alive. Dylan regularly gets in touch with his sister, Claire (McEwen), who is shocked by her sibling\u2019s existential angst and frenetic energy.<\/p>\n

\n\tThe final product is, impressively, mostly improv. Wright didn\u2019t have an initial script. \u201cPaul made a huge lookbook of images to give a sense of the film tonally,\u201d MacKay explains, \u201cand then there were a series of circumstances and incidents for the characters to be in.\u201d Much of the meaning of this film \u2014\u00a0to MacKay\u2019s delight, having had his life \u201cchanged\u201d by Wright on the set of 2013\u2019s For Those in Peril<\/em> \u2014 was discovered in the making of it. \u201c[We were] exploring how much of a story or a character we could create by almost making an archive of material, and then have him discover a lot of it in the edit,\u201d says MacKay. \u201cIt was, creatively, a really interesting idea.\u201d<\/p>\n

\n\tMcEwen had never quite done a job like it. \u201cYou\u2019d have a slight context for the scene \u2014 we knew exactly what was happening and what our characters were feeling \u2014 [but] there was so much scope to play with,\u201d she tells The Hollywood Reporter <\/em>ahead of the film\u2019s world premiere. \u201cThe freedom of that I\u2019ve never experienced before. Just not knowing where it was going to go and the options being limitless.\u201d<\/p>\n

\n\tThe pair also just so happen to be two of the most in-demand Brits working right now. MacKay, star of 1917<\/em>, has the hotly anticipated Sense and Sensibility <\/em>adaptation out in October, as well as Margot Robbie\u2019s untitled Ocean\u2019s Eleven <\/em>prequel coming up. Blue Jean<\/em> and Black Mirror<\/em>\u2018s McEwen, meanwhile, is currently playing a young Nicole Kidman on Prime Video\u2019s Scarpetta<\/em>. Below, they talk to THR <\/em>about ad-libbing, absurdism and what keeps bringing them back to independent film: \u201cThese big studio [films], it\u2019s a totally different beast\u2026 The freedom you get on these smaller sets. This is where I become a better actor. And if you\u2019re not growing, what are you really doing?\u201d<\/p>\n

\nGeorge, I know that you and Paul have worked together before. Was that a big draw for you with Mission<\/em>?<\/strong><\/p>\n

\nGEORGE MACKAY <\/strong>It was everything. The film we did together was a wee while ago now. It was called For Those in Peril<\/em>, and it genuinely was life-changing. It was such a wonderful working experience. It was so exciting and invigorating and creative and I\u2019m so proud to be a part of that film. I think the film itself is really great and it went on to do cool things. It went to the Directors Fortnight in Cannes and Paul and I just became and stayed firm friends. It taught me so much about a way of working and his directing style. With that first film, there was a fair amount of improv with certain sequences, and he shot quite economically, but shot a lot of footage. Rather than do six two-minute takes, we\u2019d do one 10-minute take, and so you learn that a lot of this won\u2019t be used. You felt comfortable to really explore beyond what your first offering would be, but it also had that momentum.<\/p>\n

\n\tSo when this came around, I think we both felt that there was an element of [experimentation]\u2026 something that was made really with process [prioritized] ahead of what it would be after. [There was] this film he made, Arcadia<\/em>, which was this archive documentary where he found the narrative out of archive material. Exploring how much of a story or a character we could create by almost making an archive of material, and then have him discover a lot of it in the edit as well, was just, creatively, a really interesting idea. That was a big part of wanting to do Mission<\/em>.<\/p>\n

\nWhat a playground for you guys. Rosy, did you find it was quite a different directorial style to what you\u2019re used to?<\/strong><\/p>\n

\nROSY MCEWEN <\/strong>Yes, and one of my favorite experiences ever. It was so freeing, so liberating. Firstly, the crew was really small. The whole thing felt very intimate. I was only there for a few days at the beginning and a few days at the end. So I didn\u2019t even really get the whole experience. But my days that I was there, I felt like I lived a whole life because sometimes it would just be Paul and then the DOP and you in a room, and he would just roll, and 20 minutes would go by. You\u2019d have a slight context for the scene \u2014 we knew exactly what was happening and what our characters were feeling \u2014 [but] there was so much scope to play with. The freedom of that I\u2019ve never experienced before. Just not knowing where it was going to go and the options being limitless.<\/p>\n

\nGoing back to the writing of this, what attracted you to the script?<\/strong>\n<\/p>\n

\nMACKAY <\/strong>The initial idea was not to have a script. The first thing was a series of images. Paul made a huge lookbook of images to give a sense of the film tonally, and then there were a series of circumstances and incidents for the characters to be in\u2026 And as the film becomes a reality, you have to narrow what you\u2019re doing because of all the logistical elements. Like, okay, to do that, we need to book that location. What kit do we need to make that location? Do we really need that? So things get distilled.<\/p>\n

\n\tThen the narrative is born out of the trajectory of the character. So the initial idea was very energetic. It was images and tone and character more so than a fixed narrative, and then we came to hone it into a script for the practicalities of shooting. Then you put your thumb on the end of the hose trying to get the accuracy and the pressure of the story. <\/p>\n

\nHow unconventional. Were you ad-libbing a lot? Was there a lot of improv? There was so much realism to Claire and Dylan\u2019s interactions, especially.<\/strong><\/p>\n

\nMACKAY <\/strong>Yeah, yeah. Loads of improv. There\u2019s the big scene we have at the end, and that was very scripted. But there\u2019s so much of it that is improv, really.<\/p>\n

\nMCEWEN<\/strong> And I would come back to set and hear wild stories about what George had done, because the setup of the scene would be like, you were in a zoo, and then suddenly [crew members] were like, \u201cGeorge got in this thing, and then suddenly he was running down the street, and then there was a monkey!\u201d (Laughs<\/em>.) We never quite knew where it was going to end up, and the freedom of that, that\u2019s all down to Paul because you have to be inspired to be able to be that free. You can\u2019t just plop someone in a room and be like, \u201cGo for it.\u201d The idea behind it \u2014 these people who just want to break free of convention \u2014\u00a0was fizzing inside. I imagine you felt the same thing, George, but Paul had just set us up so well that it was always easy to just let the flow take over.<\/p>\n

\nGeorge, do you recall how Paul relayed to you the journey that Dylan is going on through in this film? What is he trying to depict, at its core?<\/strong><\/p>\n

\nMACKAY <\/strong>At its core, it\u2019s someone who\u2019s trying to get back to [something]. I think he reached a high in his early years. He had a spiritual experience, for want of a better term, that took him to the edge of life, and there was something so extraordinary about that. He\u2019s just in the time in between \u2014\u00a0in the workings of the world and the world he exists in hasn\u2019t been able to ever get close [to that experience]. He\u2019s been moving the opposite way of getting close to reaching that extraordinary feeling again. I think it\u2019s as pure as that. So he basically gives himself a window of time, and the mission is to commit to feeling as much as possible \u2014\u00a0at whatever cost \u2014\u00a0and then the story is about [what happens] once you commit to that. It sounds easy and flippant, but the reality of what that involves\u2026 The reality of that chaos is quite troubling, even if you\u2019re wanting it. He\u2019s simultaneously lost and totally clear on what he wants to do.<\/p>\n

Read more LeBron James Launches YouTube Golf Channel \u2014 Watch the First Episode\u2019s Trailer (Exclusive)<\/a><\/p>\n

\nHow do you begin to find relatability there? What do you tap into as an actor, and how do you shake that off at the end of the day? I can imagine this was pretty intense at times.<\/strong><\/p>\n

\nMACKAY <\/strong>I wouldn\u2019t go as far as Dylan goes in my own life, but I think there is a lot to question. Also, Paul is so incredibly well-read. He got me to read a bunch of books and texts and [listen to] music. I think so much of the extraordinary discoveries in history about people pushing beyond boundaries and going, \u201cWell, why is it only this? Why not this way?\u201d There are so many things like that. In my own head, I\u2019m confounded by it still. I\u2019m trying to think of the term. (Pauses<\/em>.) I\u2019m on the hamster wheel as much as everyone else, trying to make a good living, do good work and the steps that that takes. But reading the text, capitalism does not make sense. It\u2019s a race to the bottom, and so many things that we participate in\u2026 we do that knowingly. What I loved about this story is it really looks at someone who\u2019s deemed, essentially, to be off the track and wayward for having a very clear understanding of [his path].<\/p>\n

\n\tSo much of what we do does not make sense and I think if you put it to most people, they would agree. How we live our lives, what we value, how we value it, the means with which we go about it. The imbalance of the world is so extraordinary and yet we are thrilled to continue participating it, and I include myself in that bracket. But this is why the character was so interesting, because there\u2019s a bunch of things which I think I feel, but don\u2019t go towards. It\u2019s so worthwhile to explore them in this rather extreme example. [Mission<\/em>] is almost at the end of the story. It becomes about an understanding of compromise and things that were maybe there all along, or things that went too far. But the attraction of Dylan was, I guess, playing an extreme example of someone who was committed to a way of thinking and experimenting within that, without saying it\u2019s right or wrong necessarily.<\/p>\n

\nAnd Rosy, what angle is Claire coming at this from? How do you envision they\u2019ve become estranged?<\/strong><\/p>\n

\nMCEWEN <\/strong>I think they are examples of people feeling probably the same thing, but dealing with it in very different ways. I don\u2019t think Claire has the fearlessness that Dylan ends up personifying. I think she feels probably more saddened by life. I see the irony of that, because obviously what happens to Dylan at the end, but I think she accepted her fate, and she feels like quite a sad person to me because of that. I think she feels like life is about going through the motions, and, \u201cYes, I feel everything that you\u2019re feeling, Dylan, but there\u2019s nothing that you can do about that. This is just life.\u201d<\/p>\n

\n\tWe talked a lot about what trauma they have been through. I don\u2019t know if we ever put full buttons on exactly what they\u2019d experienced, but there was obviously something there in their childhood which had bonded them and dampened any magic that they\u2019d found as kids. There are a lot of layers there. She\u2019s probably a bit jealous of Dylan that he deals with it in the way that she doesn\u2019t really know how to break free from. And when we were shooting a lot of the scenes of Claire in her bedroom, there was a lot of crying and there was a lot of screaming and there was a lot of internalizing everything that Dylan externalizes in the end. I think they\u2019re cut from the same cloth. But yeah, they\u2019re just two examples of how you cope. Neither one right nor wrong, really.<\/p>\n

\nHad you guys worked together before this?<\/strong><\/p>\n

\nMACKAY <\/strong>We hadn\u2019t! Had we even met? I think it was the first time.<\/p>\n

\nMCEWEN <\/strong>No! It was the first everything. George and Paul are the reason I did it. I didn\u2019t know anything about it. I hadn\u2019t seen the script. They were like, \u201cDo you want to do a few days on a film with George?\u201d and I was like, \u201cYeah, absolutely. I think I can do that. When do you need me?\u201d Then I learned about everything, I got up there and it was explained [to me]. I didn\u2019t even really know how it was going to be shot. I didn\u2019t know the freedom we were going to have. So the whole thing was this very beautiful surprise.<\/p>\n

\nAlso: A great Scottish accent from both of you in this. Did you guys have an accent coach?<\/strong>\n<\/p>\n

\nMACKAY <\/strong>Yes, yes, but also that was one of the biggest things about working with Paul the first time. I played a Scottish character in Paul\u2019s first film many, many moons ago. It was the first time that I did an accent for a whole job. From when I got in the car to leaving the set, I was always in the accent. So there was a fundamental Scottish connection with Paul. It was nice to dust it off. <\/p>\n

\nMCEWEN <\/strong>I\u2019m sure [MacKay\u2019s] is much better than mine.<\/p>\n

\nMACKAY <\/strong>No, no! You\u2019re sweet.<\/p>\n

\nMCEWEN <\/strong>I think there were many times during this that I was like, \u201cPaul, this is really bad. You\u2019ll cut it, right?\u201d So I think the editors helped me out.<\/p>\n

\nWhat do you hope resonates with audiences watching Mission <\/em>in Edinburgh?<\/strong><\/p>\n

\nMACKAY <\/strong>I hope that people question a way of being. There are no answers in it really, just more questions. I think genuinely, the biggest thing is about a process of work. Whatever people think of the film, it was endeavored to be made with purely with the process at its heart. The most important thing was the way the film was made, rather than what the film became, and I think that is so so valid. And films like that need festivals to hold them because they are harder to grasp some of the time. I\u2019m so grateful that Edinburgh is celebrating it and championing it. But I hope that people are thrilled by the experimentation.<\/p>\n

\nMCEWEN <\/strong>I think you\u2019re right. I hope people leave with questions. And to me, the film is about freedom. Are you asking yourself questions about the way you\u2019re living your life? Are you actually happy? Are you doing the things you really want to be doing? I think the literal context of what Dylan gets up to is not necessarily the most important nor the right answer, as you said. But I think it\u2019s more like, what if I just said that thing that I\u2019m really wanting to say? What if I actually break up with that person? We can get so subdued in the monotony of life and big changes feel scary. I hope it helps people ask themselves questions about freedom.<\/p>\n

\nBoth of you have extremely big projects currently out or coming out \u2014 big studio stuff. George, you have Sense and Sensibility<\/em>. Rosy, you have Scarpetta<\/em>. What pulls you back to independent film?<\/strong><\/p>\n

\nMACKAY <\/strong>For me, this project was really about Paul. I\u2019m so grateful to Paul for the first project that we did together 14 years ago. It really did change my life in four weeks. It was so special. So I always want to work with Paul, and I feel so privileged that he\u2019d asked to work with me again. In terms of independent film, the very nature of independent film is they are oftentimes smaller, and inherently in the way they\u2019re put together, you can be a bit autonomous in your creative choices. Because you\u2019re not bound financially to a higher power, and that has its merits for creative experimentation. And I think it\u2019s really important that we keep experimenting, whether those experiments always come off perfectly or not. The value is in the experimentation in itself. Without those experiments, you don\u2019t get new stuff. So I think that\u2019s a reason to always come back to it<\/p>\n

\nMCEWEN <\/strong>To be honest, I think you\u2019d be hard-pressed to find an actor who wouldn\u2019t want to solely do great indie films. I just feel like that\u2019s actually most people\u2019s dream. But the reality of life is that you have to make money. And I\u2019m not downplaying these studio things. We endeavor to pick jobs that inspire us, but these things that happen in a more intimate setting \u2014\u00a0that is where I learn. You\u2019re right, George. Experimentation. It\u2019s where I feel like I grow. That\u2019s where I feel like I\u2019m not just moving through the motions. These big studio ones, it\u2019s a totally different beast. It uses a different skill set, whereas the freedom you get on these smaller sets. This is where I become a better actor. And if you\u2019re not growing, what are you really doing?<\/p>\n

\nThis interview has been shortened and edited for clarity.<\/em>\u00a0The 2026 Edinburgh\u00a0International\u00a0Film Festival runs Aug. 13-19.<\/p>\n

Read more \u201cI\u2019ve Disobeyed the Film God Laws\u201d: Lindsey Ryan on Shooting Her Debut Feature at Sea, With Kids, a Boat and a Hamster<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

George MacKay and Rosy McEwen discuss the making of Paul Wright's 'Mission,' and why they'll always come back to British independent film.<\/p>\n","protected":false},"author":1,"featured_media":5356,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[2199,2200,2004,2,3432,98],"class_list":["post-5357","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-edinburgh-2026","tag-edinburgh-international-film-festival","tag-george-mackay","tag-international","tag-rosy-mcewen","tag-united-kingdom"],"yoast_head":"\n\u2018Mission\u2019 Stars George MacKay and Rosy McEwen on Capitalism, Creative Freedom and the Eternal Allure of British Independent Film - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=5357\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Mission\u2019 Stars George MacKay and Rosy McEwen on Capitalism, Creative Freedom and the Eternal Allure of British Independent Film - 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