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Fresh from the whirlwind of the Emmy Awards, Christopher Chung is still running on L.A. time when he sits down to chat with Schön!. Now back in jolly old London, the energy from the glitz and glamour of awards season still lingers. ‘Slow Horses’ had an impressive night, earning five nominations — including Outstanding Drama Series, Outstanding Lead Actor in a Drama Series for Gary Oldman, and the award they ultimately took home: Outstanding Directing for a Drama Series, awarded to Adam Randall for his work on the episode “Hello Goodbye.” Chung recalls the electric moment when Randall’s name was announced, describing how the entire cast and crew erupted in celebration. He admits that, going into the night, he saw them as underdogs among heavyweights like ‘Severance’ and ‘The Pitt’. But much like his character Roddy Ho, he believes underdogs should never be underestimated.
With season six now wrapped, Chung is already gearing up for season seven. Despite the breakneck filming schedule, he’s deeply grateful for where he is today — especially considering he was once ready to step away from acting altogether. Slow Horses came into his life just as he was preparing to pivot to something new. But, as he reflects, life has a funny way of handing you exactly what you need at exactly the right time.
Schön! sits down with Christopher Chung to talk all things ‘Slow Horses’ — from making the character of Roddy Ho his own and embracing creative freedom, to whether Kristin Scott Thomas ever breaks during takes, and much more.
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Christopher, thank you so much for your time today. You were at the Emmys, right? How was that experience? It seemed like such a whirlwind.
It was mental. We were nominated for five awards — Best Director, Writer, Show, Gary [Oldman], and Casting. We definitely felt like the underdogs this year. Everyone was talking about ‘Severance’ and ‘The Pitt’. So to win Best Director with Adam Randall at the helm for season four was an absolute coup. I was up out of my seat as soon as they called his name.
Funnily enough, I had that same feeling in my stomach last year when Will won for writing. This year, I thought, “I think Adam’s going to win it.” Then, they called his name — it was brilliant. To walk into the afterparty with a trophy for the show felt phenomenal.
It’s so well deserved. The show is a huge success — my mom and I have been binging it. Because of my job, I can watch ahead, and she’s always like, “Don’t tell me anything!” That being said, take me back to when you first read about Roddy in the scripts. Can you talk about how he’s evolved from those early drafts to where he is now?
I think what’s interesting about ‘Slow Horses’ is that the characters don’t grow exponentially. They do evolve in their own ways, but the fun of the show lies in this sort of purgatory they’re all stuck in — they can’t escape it. That’s especially true for Roddy. He’s very much a man-child who doesn’t really learn from his mistakes or his past transgressions.
That’s always something I keep in mind when going into a new season — how to colour Roddy with the history of what he’s already been through, while still staying true to the tone of the show. When I first read the scripts, I picked them up and immediately thought, “This is flawless.” It’s rare to read something and take it all in, in one sitting, like that. I’d always been a huge fan of Veep and The Thick of It, which Will [Smith] worked on, so I immediately understood the tone.
It wasn’t like any other audition I’d done before. It was such a joy to take the work of someone I admired, show him my interpretation, and then get to collaborate closely with Will to develop Roddy. We’ve kind of developed a hive mind now [laughs]. We’re constantly sending each other things — stuff we see in the real world that feels very “Roddy.” Like if I see someone wearing something ridiculous or trying to look cool but missing the mark, I’ll message Will straight away.
I love Roddy because he’s so borderline cringe — but he has no idea that he is.
Exactly! Our costume designer, Guy Speranza, and I really worked together to build that. Roddy’s style is almost cool — almost — but there’s always something just slightly off. We love playing with that.
What took me out was in the club sequence in the first episode, he had those metallic Nikes on, and I was just like, “Oh my God.”
Yeah, but to him, they’re so cool, right? They’ve got that little pocket where he can stash a condom or some cash. That’s just who Roddy is.
Of course, and at the beginning of this season, it seems as though he’s basically at the centre of a shitstorm.
That he’s caused [laughs].
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What were your initial thoughts when you read that? Were you able to read ahead? How much were you told?
When I was first cast in the show, I went through a mix of what Mick [Herron] had already written, because at that point Slough House hadn’t been released, and he was in the middle of writing Bad Actors. There were still two books that hadn’t been published when we started production on season one. I’d read all the way up to his sixth book because I wanted to know if there was going to be a central storyline based around Roddy — and that turned out to be London Rules.
I really hoped we’d get commissioned through at least season five so I could play that storyline out. Honestly, I also wanted to know if I died [laughter]. I needed to know if I was going to have a job past season three. Knowing where the character was headed helped me use that as a guide through the earlier seasons. I’ve always treated the books as a bit of a blueprint — Mick writes them so specifically. We deviate a little, but whenever there are questions, the novels serve as a kind of Bible for us.
I was going to ask how much creative license you’re given to deviate — and it sounds like quite a bit?
Mick, Will, and the showrunners are always in consultation with him. He’s very generous in letting us do our own thing. His only rule is that we can’t kill characters who haven’t been taken care of in the books, just in case he wants to bring them back later.
That seems like a fair trade-off. Moving forward a bit — when asked if Roddy is okay, Lamb says, “Physically, yes, but everything else is up for grabs,” which really stood out to me. How would you describe Roddy in your own words?
I think he’s a misunderstood soul. When I go into the edit after filming to record additional dialogue, I’ll watch the playback for the first time and often think, “Poor Roddy, poor Roddy.” It’s a fine line playing him — he can be so obnoxious and unlikeable that it risks disengaging the audience.
It’s about adding just enough empathy throughout the season so people still feel, “I’m on your side.” But then he’ll say or do something that flips it the other way. I think that’s why audiences are drawn to him — he’s such an oxymoron of a person. It’s a constant balance between being likeable and unlikeable. He’s great fun to play. He gets to say whatever’s in his head, completely unfiltered, much like Lamb — though his worldview is far more adolescent.
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How many times did you have to listen to “Simply Irresistible”? Was the dance choreographed, or was it more improv? Are there takes of you doing different dances?
I worked with a choreographer called Johnny White. And we worked very closely together for that sequence, the club sequence. And then also he helped choreograph a bit of the stuff when I’m in the cell with Tavernard, just so that I could figure out some movements. When we were in the club, that was a bit freer flowing. So that was very much his doing.
It was exhausting, because doing all the different angles, it’s a long day. That whole courtyard is, it doesn’t look that big when you’re watching it on film, but it’s a long way to dance across. Figuring out how to do that justifiably, as Roddy, that doesn’t feel elevated or out of the real world, was something that I was conscious of. But the thing for him in that moment is that he’s so overwhelmed with joy that he’s got a physical girlfriend. He’s put his hands on her shoulders and nowhere else, because she won’t let him. She’s a tangible thing to him. He’s living on cloud nine.
In terms of listening to the music, I was constantly trying to find beats in it that I could put in. There’s one specific moment just before he lands on the road where Shirley tackles him, where there’s the sound effect in that track that sounds like a sword swishing, which is what he does. I was like, “Oh, I think absolutely, he would have heard that.” It would have been like, he’s got this big lightsaber or this Excalibur that he takes out. If you watch closely, you can hear it time off with the music.
That brings me to one of my favourite scenes, him chasing the attacker in his flat with the two-handed blade. I was like, “Is it a laser sword? Where did he get that?” I was so flabbergasted. Of all the things he could have picked up, of course, it was that.
He’s been to a comic con or two, I can assure you of that.
Okay, so what would be his fandoms of choice?
‘Conan the Barbarian’, for sure. He’s a ‘Star Wars’ fan — you get the reference in episode two when he says he and Tara are like the twin suns of Tatooine. I think it was probably a copyright thing that we couldn’t have an actual lightsaber on set, but he absolutely would have one if he could.
Would he be dark side or light side?
I thought about that. At first, I figured he’d be light side — but I think he’d actually enjoy the feeling of power that comes with being on the dark side. Still, he’s more noble at heart. So maybe not a Jedi, but definitely gunning to be one.
I don’t know if you’ve heard the term “grey Jedi” — someone who walks the line between light and dark.
Oh, almost like Anakin before he crosses over.
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Another one of my favourite scenes early on is the goodbye party. It had such awkward sibling energy. What’s been your favourite scene to film — this season or across the whole show?
Oh gosh, that’s so hard. I love the scenes where we’re all together because we just bounce off each other. We find moments that add depth, and we have the freedom to throw a look, a line, or really get under each other’s skin. It’s great fun to play. In season four, there was a scene that was tricky to get right — when I’m taking River’s computer after he “dies.” It’s me, Louisa, Marcus, Shirley, and the others in the room. When you watch it and Moira comes in, there’s so much going on: Louisa’s having a breakdown because she thinks River’s dead, Shirley and Marcus are trying to make sense of it, Moira’s comforting Louisa — and Roddy’s just focused on commandeering River’s computer. There are so many layers in Will’s writing, and that gives us space to flesh out our characters beyond what’s on the page. It’s brilliant.
But my favourite scene to film this season, because of all the preparation involved, was definitely the nightclub sequence with Tara — or I should say Hiba Minani, who plays her. It was such fun. We had 300 extras, lights, choreography — even the musician who made the track was on the decks. It felt alive, like a real club. I was drenched in sweat by the end of the day.
That must have been exhausting!
Exhausting, but thrilling. Apple’s been fantastic in the way they’ve supported the show. You couldn’t have made that scene with just 50 extras — we needed that many people to make it feel real and elevated.
I love that. It made it all the more believable. If you had Roddy’s ability to “hack the system,” what would you change and why?
That’s a good question. I’d probably hack into some casting directors’ database to make sure I’m at the top of the list for all the jobs I want [laughs]. Which is very self-serving, I know.
What’s been the most eye-opening thing about being in the acting business, both professionally and personally?
I think the most gratifying part of this journey is seeing how much things have changed. I’m from Australia originally, and I’ve been in the UK for 14 years now. I’ve really seen a shift in how people like me are portrayed on screen — and in the roles that are now accessible to someone of mixed heritage like me, being Chinese and Irish.
When I first started out, I was only seen one way — the Chinese takeaway owner, the doctor with three lines. My dreams felt capped. I’d ask myself, Why can’t I play the lead? Why not the romantic role? Over time, I learned that your career isn’t just about the jobs that say yes to you — it’s also about the ones you say no to. Saying no to roles I knew I’d outgrown gave me space to step into the ones I really wanted.
Even with Roddy — he reads one way in the books. I was lucky that Will and James, our director in season one, gave me creative control to stretch him beyond what could’ve been a stereotypical “Asian hacker” role. Honestly, that’s how I initially saw him too. But they encouraged me to bring all of myself into the character — my physicality, my humour — and not play him as this subservient tech guy doing everyone else’s dirty work. That freedom let me lean into both his obnoxiousness and his humanity. It gave Roddy depth — and as an actor, that’s what you crave.
Peeking at your first pinned post on Instagram made me smile — it’s from when you were first cast in the series. What would you say to that version of Christopher, knowing what you do now?
Oh my god. That version of Christopher was closing a lot of doors on himself. I’ll talk about myself in the third person [laughs]. At that time, I felt like the opportunities I’d hoped for weren’t happening. My friends were getting married, having kids, and we’d just come out of the first COVID lockdown. I remember thinking, Maybe I need to redirect course. I started shutting down all the doors I’d been trying to open.
Then Nina cast me in ‘Slow Horses’, and it blew everything wide open. I don’t think that version of me would believe where things are now — leading a Netflix romantic period piece in Australia, guest-starring in Doctor Who, working with Steve McQueen. So many amazing things have followed from that opportunity. Back then, I didn’t know any of it was coming. Now, it feels like everything’s in front of me — it’s incredibly exciting.
To be nominated for a BAFTA — that’s a big one, Christopher.
I always forget about that because it still feels a bit ridiculous [laughs].
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How has playing Roddy challenged you as an actor?
Walking onto set for the first time — season one — and being faced with legends like Gary [Oldman], Kristin [Scott Thomas], and Saskia [Reeves] was daunting. Even the other ‘Slow Horses’, who were closer to my level career-wise, felt elevated because of the company we were in. To step up to the plate with actors like Gary — or Sir Gary [laughs] — was a huge challenge.
What I learned, though, is that when you’re in a scene with people who hold that kind of gravitas and mastery of their craft, you can’t help but rise to their level. You have to — otherwise you become the weak link, and no one wants to be that person. It was mentally challenging at first, but once you’re in it, you just rise to the occasion.
Do you ever wake up and think, “I can’t believe I’m acting opposite Gary Oldman or Kristin Scott Thomas”?
All the time. It never gets old. Leading up to filming my scenes with Kristin in episode three — they were some of the funniest things to play. We’d only done one scene together in season one and mostly just passed each other on set. I remember thinking, “Oh gosh, she plays Taverner — she’s cold, direct.” I didn’t know what to expect and was a bit anxious since we hadn’t really worked together.
We actually ran into each other at base a few weeks before filming, and she said, “I’m so looking forward to our scenes together.” That immediately put me at ease. It’s exciting when you get to interact with a character you don’t usually share scenes with — you want to see how they bounce off each other and what that brings out. We had a great couple of days on set.
Did either of you crack?
Kristin’s not really one to crack. She’s so proper — but she cracks in her own way, a proper crack. Sometimes you’ll catch a little smirk, and you know you’ve got her. She’s a consummate professional, though — she’d never ruin a take.
Season five has just started airing, and season six is wrapped. Without spoiling anything, what can audiences look forward to in this season and the next?
Well, I’ve just gotten the scripts for season seven — we go into production in October — and it’s very good. Every season really does pick the characters up right where we left them. You see that with Shirley in season five as she’s grieving the loss of Marcus. Season six picks up from there and elevates everything.
We’ve got Adam Randall back directing — Emmy Award-winning Adam Randall — and he’s got such a strong eye for action. The sequences in season six are jaw-droppingly good. It’s a lot more action-heavy, very high-octane.
Now that you’re heading into season seven, what keeps you busy between shoots?
Honestly, I don’t have time for much else [laughs]. We’re either prepping the next season, doing post-production or ADR for the previous one, or press and publicity for the season that’s about to air. It’s a constant cycle. We wrapped season six in February, and I went back to Australia for four and a half months to film My Brilliant Career for Netflix — a romantic period drama set in the 1900s. It’s not quite the outback, more the bush [laughs]. I learned how to ride a horse, crack a whip — all sorts of things I never thought I’d do.
Luckily, the opportunities keep getting better. Whatever comes after Roddy, I hope it continues to challenge me. When you play such a specific character, you start getting sent a lot of similar roles, but nothing quite compares to what I’ve done on ‘Slow Horses’s. Thankfully, I’ve started to break out and show more range. Hopefully, by the time the series ends — probably when I’m 59 [laughs] — there’ll be something new to sink my teeth into.
What advice would you give to someone looking to enter the industry and grappling with that decision?
That’s such a big question — it feels like shaping someone’s mindset. But honestly, you have to be unapologetically yourself. Don’t try to give them what you think they want — they want you. If I’d gone into my ‘Slow Horses’ audition trying to play what I thought they wanted, Roddy wouldn’t exist as he does now, and I probably wouldn’t have gotten the part. When I left that audition, I didn’t know if I’d given a better performance than my tape, but I knew I’d won over the people in the room.
It’s a people business. It’s about connection, not just landing the role. You’re showing them who you are and that you’re someone they’ll want to work with. If they’d cast me four and a half years ago and I’d turned out to be a nightmare on set, that would’ve been a bad call — but they’re stuck with me now [laughs]. They just want to know that you’re a good person who can act. So give them the best version of yourself possible.
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Series 5 of ‘Slow Horses’ is streaming now on Apple TV.
photography. David Reiss
fashion. Millie Cullum
talent. Christopher Chung
casting. Emma Fleming
grooming. Elvire de la Roux @ Carol Hayes Management using R+Co + Merit & Erborian
fashion assistant. Kezia Warrilow
production. Clara La Rosa
interview. Dana Reboe
