Will Sharpe Went Too Hard on Himself in the Too Much Finale

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In a voice-over that concludes the first episode of Too Much, we hear, “My Mr. Darcy, my Rochester, my… Felix.” This line sets a high bar for Felix as the leading man in an English romance, given his predecessors. The series from Lena Dunham often references classic Jane Austen novels and beloved ’90s and 2000s London-set rom-coms like Bridget Jones’s Diary and Richard Curtis’ work. For the stories to succeed, their captivating heroines must find themselves attracted to intriguing characters who are deserving of their affections. Fortunately for us, Will Sharpe is more than capable of carrying this role.

Actor Alec Sharpe, who starred as Ethan in “The White Lotus” season two and James in Jesse Eisenberg’s “A Real Pain,” has been cast as the leading man for a Netflix series opposite Megan Stalter. The role isn’t an exact replica of Lena Dunham’s love story with her husband, Luis Felber, but is certainly inspired by it. Sharpe developed a connection to his character, Felix, in Dunham’s scripts and collaborated with Felber on writing the songs for the show that Felix performs. In interviews, Sharpe has praised Stalter, Dunham, and another vital female collaborator – Mia the dog – for their work on the series. Felix is depicted as a deeply sensitive individual with a dry wit, battling his inner demons while falling in love with Jess (Stalter).

How did you come to be part of Too Much? It was during a coffee meeting with Lena that I first got introduced to the project. At that point, I hadn’t read any scripts. She explained the concept of the show, its origins, the character of Felix, and his potential storyline. Given my admiration for her work, especially “Tiny Furniture,” which resonated with me during my own micro-budget filmmaking days in the U.K., I was eager to meet her. I recall thinking, “That’s a kindred spirit on the other side of the pond.” Lena’s writing is unique – it’s specific, empathetic, witty, and funny all at once.

From the initial stages itself, Lena had sketched out a path for Felix. She shared her process of creating a mixed-race character, as she herself is married to Luis Felber who is half Peruvian. We exchanged some insights about our heritage – being half Japanese, half British in my case, and discovering similarities. For instance, the character participates in five-a-side football at one point, and I found myself saying, “I play that on Mondays!” After reading the scripts, I was struck by how humorous and touching they were, and I felt there were ample elements to connect with Felix. From the get-go, Lena demonstrated a high degree of collaboration, openness, and curiosity towards everyone’s perspectives.

What particularly caught my attention about Felix’s characterization in the script was how his messiness, imperfections, and baggage were portrayed. Even though he appears to have turned over a new leaf, by being clean, composing his own music, and striving for self-improvement, it’s not effortless for him. He encounters obstacles in his relationship that aren’t just external but also stem from within himself. In essence, he can’t smoothly navigate this relationship without encountering some of his own challenges.

She wrote scenes and episodes from his point of view, which I believe is incredibly valuable for viewers. There’s something intriguing about him – he has a hint of darkness, but he manages to maintain a light demeanor. He’s got an appealing charm, but with a touch of geekiness. Interestingly, it doesn’t take long to realize that his guard is always up, and as the series progresses, you start to comprehend why. By the end of filming, I found myself feeling quite protective towards him, as well as Jess, and their vulnerabilities. Moreover, the show had a palpable romantic undertone, which undoubtedly influenced the overall production process.

How did elements from your personal experiences influence the character you created?

Lena aimed to make the character feel authentic and relatable, and it was intriguing to discover shared aspects between us. For instance, Lu and I both moved to England at the same age, having left Japan and my home country respectively. This sense of searching for a place to call home often found its way into my writing.

Felix’s last name is Remmen, and I suggested that given this surname, it would be unavoidable for him not to have been called “Felix Ramen” at school. Lena incorporated this idea into the wedding scene, where there was a line such as, “The groom is the only one who doesn’t call me ‘Felix Ramen.'”

I also recall jokingly asking Janicza Bravo and David Jonsson if they thought it would be excessive if they referred to me as “Felix Ramen” in the show, despite my previous assertion that they never had. They found this amusing, but indeed, the nickname appears in the series.

How was your adventure with composing the music for this? As a teenager, I was in bands, the first one being Phosphine, which my friends mercilessly made fun of. In London, I occasionally performed at open-mic nights, so I wasn’t starting from scratch. I found Lu’s music appealing, and we collaborated closely on the songs. Many of them were played live in the show, creating a slightly textured and less overly produced feel. To achieve that, I would often request, “May I make minor adjustments to the guitar part so I can sing with confidence at the same time?

I proposed to perform the final song on the piano as I’m more skilled there, and I thought it would add a unique touch. I altered the key to push my vocal range into an uncomfortable zone, hoping it would convey a sense of vulnerability. During our pre-recording for the heavy metal flashback, while doing some intense screaming, I ended up damaging my voice. If you pay close attention, particularly at the end of episode two when I join with the mixtape, my voice sounds quite strange. Prasanna Puwanarajah quickly learned to play the drums within 48 hours, and Carlos from Fontaines D.C. was part of our band, as well as Dave Ashby from Sleaze. We even held real band rehearsals.

What are your thoughts on the nostalgic romantic comedies that the series seems to be referencing? Lena appreciates and recognizes those familiar romantic-comedy elements, but she infuses her own unique take into it, giving it a slightly more bitter edge. However, for me to play Felix authentically, I felt he needed to be oblivious to the fact that he’s in a romantic comedy.

Inquire if you could share insights on collaborating and refining on-screen chemistry with Meg during our work together? I found her portrayal in ‘Hacks’ captivating, making her my favorite character. Our initial encounter was at Working Title during rehearsals, where we conversed with Lena for a while before discussing the show and trying out scenes. We approached it delicately, not pushing too hard or rehearsing intensely from the start to avoid overdoing it. This ensured that in those early scenes where our characters were getting acquainted, it felt more organic and less predictable, as if we hadn’t already played the scene multiple times. Much of this natural flow was due to Lena’s direction and the warm, secure environment she created on set.

How did it feel on that seventh day of filming, having Kaori Momoi and Stephen Fry as my parental characters? It was an incredibly fulfilling experience. I’ve long admired Stephen Fry for his contributions to comedy, so collaborating with him was truly extraordinary. Moreover, my mother was genuinely thrilled about working with Kaori. She was captivating, radiating charm in a distinctly unique way.

How about we shoot episode four featuring Richard E. Grant and Naomi Watts? I found out during our rehearsals that Richard Grant is quite formidable. We intentionally made it seem messy. And let me tell you, Naomi gave a fantastic performance as well.

Discuss with me your experiences filming the intense fight scene between Jess and you in the final episode. Meg and I would often chat and joke around in the makeup trailer, but Lena kept us apart for the entire morning before shooting this scene to create a sense of tension. This separation actually helped us stay focused on the scene’s gravity. Lena used two cameras during filming so we could talk over each other, while still adhering to the script, she encouraged us to expand upon it. I recall her instructing us to make the fight feel like an irrevocable end between the characters, not a moment where they might reconcile later. After each take, she’d suggest, “It’s getting close. Let’s push harder.

In the process of enacting this intense scene, I ended up inflicting a bruise on myself, which required makeup to conceal for a while. However, it was an unusually moving experience to film, given the unspoken tension between the characters. It’s also quite nerve-wracking to improvise dialogue that isn’t scripted. Lena often encouraged us to repeat the scene, and we could push it as far as we wanted. Interestingly, Astrid was initially intended to die at home, but I suggested that Felix should make a futile attempt to save her so that he would still feel responsible for her death, yet know he tried. I’m particularly fond of that episode, and Meg delivered an outstanding performance during our heated confrontation.

Did you intentionally perform that action in the script? No, it wasn’t planned. I only realized I would do it when I did. Lena wanted a specific emotion for the scene, and I felt there was more to mine from his frustration about not being able to express himself as he wished – the feeling of, Here we go again.

Is there any information you could share about working with Mia, who portrays Astrid? Mia is just 11 years old and has been represented by an agent for over a decade. This is her debut role. She can be shy at times but soon grows comfortable, especially when wrapped in a warm blanket. There was one instance where she accidentally soiled the bed while you were inside it, but that’s all part of working with animals, right? Overall, Mia proved to be quite professional during filming.

How did it feel to shoot that intensely emotional scene at the fictional animal hospital with a fake deceased dog prop? Well, it’s much like acting in front of a green screen or similar setup, where you have to fully immerse yourself and trust your instincts. The atmosphere was heavy and somber throughout the day, with me getting deeply invested in the storyline. However, during one particular take, the rigidity of that prop inadvertently caused a moment of laughter for me.

In a chilly, drizzling setting with an undeniably British charm, I found myself captivated by the idea of filming the reconciliation scene amidst the climate protest. It wasn’t overly dramatic or contrived; it simply felt authentic – a mix of excitement and relief that was truly captivating. And yes, for those curious about how we managed to stick our hands together without any actual adhesive, we merely pretended. We just placed our hands on the ground, as if bonded by something more powerful than glue.

What happened in the closing moments?” or “How did things end up at the finale?” In the costume party scene, I felt like a bit of an awkward charmer with my fantasy attire. It had a touch of irony to it, making it delightfully sweet and fitting. Towards the end, he asks that intriguing question, such as “For how long should we remain married?” I recall Lena expressing her desire to subtly challenge the ‘happily ever after’ concept, acknowledging its uncertain nature. So, she suggested we savor the moment with a knowing wink.

Is there any word on whether discussions have taken place regarding the future of these characters and if a second season might be in the works? As far as I know, Lena has been pondering over it, but we haven’t exchanged thoughts on it yet. However, I am aware that there is an intention, with some concepts being tossed around.

You’ve been well-known in the UK as both a writer and an actor for quite some time, with your own series and a BAFTA win under your belt. However, it was “The White Lotus” that introduced you to a wider audience and catapulted you to a new level of American fame. Can you share your thoughts about this transition and the moment when you worked on The White Lotus?

Being part of such a widely viewed production as “The White Lotus” has undeniably opened doors for me that may not have been possible otherwise. What’s particularly impressive about that show, and what Mike White achieves with it, is that it remains authentic to his vision while still feeling refined, sophisticated, yet relatable to the masses. I recall him once saying, “The one thing I’d never want the show to be is boring.” It’s a unique opportunity as a director to learn from others on their sets. In just a week, I will start shooting my own series for Apple, and I certainly feel that I’m carrying techniques and insights from Lena, Jesse Eisenberg, Mike White, and everyone else I’ve worked with.

What’s the upcoming Apple series you’re working on called? It’s titled “Prodigies,” and it revolves around two child prodigies who are now in their early 30s, leading ordinary lives. They were once romantically involved as kids, but have continued their relationship into adulthood. It can be likened to a love story, yet it explores the complexities of long-term relationships. The narrative also delves into themes of potential, questioning one’s identity and purpose, such as: “Am I the person everyone expected me to be? Am I supposed to strive for greatness, or should I find contentment in what I already have?” Ayo Edebiri is involved in it, and I, the writer, will also act and direct it. It’s my first directorial role since “Landscapers.” I’m looking forward to returning behind the camera again.

After this period of working on The White Lotus and A Real Pain (and Too Much), what can I anticipate when I take the helm again? To be honest, I didn’t attend film school or anything like that. I was simply trying to create short films, sketches, even full-length movies with my friends. I’ve even held my own reflector off-camera for some of these projects. At its best, no matter the size of the production, if there’s a positive energy, it feels like, We’re all here, a group of individuals sharing similar passions, working together to tell a story.

I was thrilled when I heard the news about me directing the film adaptation of “Crying in H Mart.” However, unfortunately, that’s no longer the case. The timing for production was quite critical, but due to several factors, including strikes, it became impractical. As of now, I’m not sure where it stands, but I truly cherished that project and the book. I hope it finds its way onto the big screen someday.

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2025-07-11 17:55