Q&A with Alex Roach who plays Fran Da Silva

What first attracted you to the script for Hunting Alice Bell?

It’s a gripping psychological thriller, but what makes it unique is that the story is told through a woman whose life changes overnight. Fran has a very stable, normal life, and suddenly everything is different. She has to reckon with that and decide whether to use her voice, and what it might cost her. I found it thrilling. I read the first three episodes and immediately wanted to know what happened next.

It’s challenging to watch, too, because it feels so close to reality. 

How would you describe Fran before the accusations begin?

She’s family orientated and wants the best for her family. She’s stable and happy with what she has; she isn’t looking for thrills and kicks. She’s worked hard and is quietly proud of the little life she’s created.

What was it like working with Rudi to build Fran and Nick’s relationship?

I loved working with Rudi. The schedule was intense, and we were thrown together in Ireland, so we had to make it work. He was very open to working out their relationship.

There’s so much love between them. Nick was married before, and his first wife died. Then he and Fran found each other and fell completely in love. They came together as a blended family, and they have a little baby. They’re happy with their life; there’s a lot of humour and love in the house. And then all of that changes.

Did you film the story chronologically?

It’s usually dictated by location: if you have the house for a month, you shoot all the house scenes then. We did those as much in order as we could, and then we’d move to another location and pick up the scenes set there. 

You get into a flow, then have to switch gears when you move somewhere new.

There are a lot of twists and turns in the story. What was the biggest challenge for you as an actor?

I had to keep asking, “Where are we in the story?” There are so many twists, and the suspicion shifts between different people, so it was a challenge to keep track of that and work out how to play the intrigue.

The pace was intense, too. We were shooting around 13 pages a day, and the subject matter meant there was a lot to hold on to.

Did you research mistaken identity or online harassment?

I did look into it. I was sent a documentary about women whose identities had been mistaken, and it really shone a light on the effect that can have on people: on their lives, their jobs and the way they move through the world. I was fascinated by women whose lives had changed overnight, and how they dealt with it. That gave me a way into Fran.

What does finding the other women in the same situation mean to Fran?

It’s solidarity, and it’s these new friendships with women she would never normally meet. They’re thrown together in a high-stakes situation, but there’s a union in experiencing this very unusual thing. It draws them together.

That started to mirror what was happening in Ireland while we were filming. It’s rare to tell a story surrounded by so many women so we became really close, and there was an openness between us. It felt empowering to tell a story about women finding their voices and coming together.

The series explores hostility directed at women. What conversations did that prompt during filming?

We all have our own experiences and stories that we carry with us. What drew me to the story was the question of what those experiences cost us: our lives, our families, our health and our mental health. What does it cost women to speak out against misogyny and use their voices?

Fran is in an impossible situation. Does she retreat and stay silent, letting the rumours take over and jeopardise the life she’s built? Or does she speak out, knowing that can bring more hate and doubt? She’s really backed into a corner. I was interested in wrestling with that decision, both for the group and for Fran individually.

What did the ensemble bring to the scenes between the accused women?

We filmed a lot of scenes of the women talking and trying to decide what to do next, especially when seeds of doubt were being planted. They’d be sitting in a circle in a village hall, or away together in Dublin. There’s power in women coming together, sharing their stories and speaking about their experiences. I believe there’s healing in that.

I felt that while we were filming in Ireland, too. These women had my back, and there was a solidarity that felt quite unique to this job.

The story combines high-stakes thriller with social satire and humour. How did you balance those tones?

It did feel quite unique to be juggling such huge, relevant themes alongside moments of comedy and lightness. Sometimes it was a challenge, but as humans we lean on humour when things are rough – it’s one way we navigate hard moments, especially when everything is falling apart.

Humour can also be a way in for people. These are huge subjects, and sometimes you don’t feel you have the energy to look at them, but humour can make a story relatable and act as a bridge into something that might otherwise feel very heavy.

Which scenes challenged you most as an actor?

The scenes where Fran decides to use her voice. I don’t think she’s ever done that before, so it’s a big leap for her: speaking out, becoming the centre of this group of women and putting herself in the spotlight isn’t in Fran’s make-up, while some of the other women feel more comfortable doing it. I enjoyed the challenge of showing her nerves and adrenaline, and the journey she goes on to find confidence in herself. Those scenes brought out a different side of Fran.

Was there a lighter moment on set that stays with you?

The Dublin hotel scenes, when the women go away together. It was lovely to shoot them letting their hair down, getting a bit tipsy and dancing – it felt as if we were in a completely different show. We were in Dublin having the time of our lives. It felt freeing, and like something to celebrate.

How did you switch off after filming the more intense material?

It was my first time filming in Ireland, and I loved it. I had a little house by the sea and on the heavy days, I’d finish work and run off to jump into the sea. It was heavenly. There’s nothing like it to wash off a day’s work, though the Irish sea temperatures certainly humble you!

Has making the series changed how you think about stories and accusations we encounter online?

As an actor, I’m always interested in different perspectives and the effects of people’s decisions on them and their families. This story really blurs the line between investigation and entertainment.

We often get one side of a story, but I’m interested in the effects and consequences for the people involved in real life. 

What do you hope audiences will be discussing after watching Hunting Alice Bell?

I hope they come along for the ride. It’s a psychological thriller with lots of twists and turns, and I want people to enjoy this unique story.