With Fleabag, Killing Eve and more recently the HBO Run series of which she is a producer, Phoebe Waller-Bridge is now a renowned designer, screenwriter and actress who transforms everything she touches into gold. His talent, rewarded with 3 Emmy Awards and 2 Golden Globes, even opened the doors to a famous cinematic saga: the James Bond franchise. Back on the meteoric rise of Phoebe Waller-Bridge, an artist with multiple hats who is now one of the women who matter in the community.
Born July 14, 1985 in London, Phoebe Waller-Bridge, passionate about theater, follows the courses of the Royal Academy of Dramatic Art from which she graduated in 2006. She goes on stage performances in several plays in different theaters of London and founded the DryWrite theater company with his best friend Vicky Jones. At the same time, Phoebe Waller-Bridge also appears in several films and series including Broadchurch. The actress even had a casting for the role of one of the Crawley sisters of the famous series Downton Abbey without success because her test on a dramatic scene made laugh the realizer. A first clue to his comic potential undeniably comes from this anecdote.
Phoebe Waller-Bridge, an assumed “fleabag”
In 2013, she launched out with her one-woman show, Fleabag (flea bag, in French), created in Edinburgh on the occasion of the Fringe Festival where she won an award. Phoebe Waller-Bridge portrays her personal life and her daily life with a very British sarcastic humor and an authentic and modern tone. In an interview for The Guardian, the actress explains her desire for sincerity in the writing of this character, who will become a heroine of series later: “I write from the point of view that I would like to see. I satisfy my own desires. So I think I am attached to transgressive women, controversial friendships and pain. I love pain”.
Writing this female character, and all those who will follow, is a cathartic exercise for her, almost a form of therapy. It’s also a way to break free from his Catholic upbringing, as evidenced by Fleabag’s Season 2 and his passionate relationship with “Hot Priest” (Andrew Scott), without outrage but irreverent. Phoebe Waller-Bridge explores and dissects the darker, more complex and therefore much more interesting aspects of the fairer sex by moving away from stereotypes and by twisting the blow to ultra sexualized and reductive representations which are commonplace in cinema and on television . At the Guardian, she never fails to recall that nothing would have been possible for her without the unfailing support of her best friend Vicky Jones, who staged her play. Their meeting “gave meaning to his life”. It is thanks to this powerful spirit of sorority that Phoebe Waller-Bridge got on stage, supported by Vicky Jones who convinced the artistic director of the Soho Theater in London to give them a chance.
After this one-woman show, the first stone to the successful edifice of her unique universe, Phoebe Waller-Bridge uses and abuses her sense of words, raw but fair, which allow her to write her very first series, Crashing, in 2016 for the BBC. Much appreciated by critics, this refreshing and avant-garde series, in which she played the main role, narrated the lives of six young eclectic and little lost roommates who squatted an abandoned hospital when the housing crisis raged in England. Even if this fairly unique sitcom has only one season, this first try on television is a success for Phoebe Waller-Bridge, which will push her the same year to adapt her single in series.
Is born then Fleabag, transgressive and ultra modern series that breaks all codes until its fourth wall to stage a Phoebe Waller-Bridge funnier and more incisive than ever. The British actress recounts her funny and touching daily life from modern, lost and sarcastic Londoner to liberated sexuality. This scathing and intelligent series hits the mark and allows Phoebe Waller-Bridge to be a resounding success with a tasty first season and an excellent season 2 critically acclaimed. A French remake worn by Camille Cottin but quite bland, Mouche, was even released on Canal +. The British actress confirmed her talent thereafter and continued her rise on the BBC network with Killing Eve, produced by BBC America. More withdrawn this time, she created, produced and scripted this adaptation of the literary series Codename Villanelle by Luke Jennings. This dramatic thriller, carried by Sandra Oh and Jodie Comer, impeccable duo in osmosis, narrates the game of bloody cat and mouse, dangerous, exciting and erotic between Eve Polastri, an agent of MI-5, and Villanelle, a murderer psychopath.
With Killing Eve, Phoebe Waller-Bridge confirms her talent and passion for writing unique female characters. The screenwriter tells the Guardian his secret: “rage”. This burning fire, this passion, this fighting spirit, this strength and this intelligence which emerge from the characters written by Phoebe Waller-Bridge come from there: “Good things can come out of a rage. It is galvanizing. A director once told me that I had this gift of rage and this feeling has not left me”. As Fleabag ends after 2 seasons and Killing Eve begins its third burst of episodes, Phoebe Waller-Bridge continues to exercise its talent behind the scenes by producing Run, an HBO series created and written by Vicky Jones, his lifelong friend. Although she is only executive producer on this new series, aired since April 12, the aura of Phoebe Waller-Bridge hovers over Run so much the tone, humor and spirit resonate with her previous creations. This series tells the story of two former lovers who honor an old pact and run away together to escape their complicated lives. The actress even made a small appearance, neat and tasty, a sign of her undeniable talent.
Her verve and her touch of madness attracted big productions since she lent her voice to the droid L3-37 in Solo: A Star Wars Story even though she didn’t know much about it in Star Wars. But it is another franchise that will allow him to realize a crazy dream: Daniel Craig, James Bond in person, asked Phoebe Waller-Bridge to improve the scenario of Die Can Wait, directed by Cary Joji Fukunaga and scheduled for 11 next November. First woman to work on a script for the famous cinematographic saga, Phoebe Waller-Bridge was called to the rescue to revise the script for this 25th installment which was lacking in fantasy according to the interpreter of agent 007. Often accused of misogyny, the character of James Bond does not have to be modified according to the principal interested. In an interview for Deadline, she spoke about her role in helping out the screenplay while adding that she was treated with the utmost respect and as a full-fledged screenwriter:
There has been a lot of discussion about relevance or not [de la franchise] today, especially what James Bond stands for and how he treats women. These are rubbish! I think it is absolutely relevant. The franchise just needs to evolve and the most important thing is that the film has to deal with female characters properly. [James Bond] doesn’t have to do it. He has to stay true to what he is.
To the British newspaper The Independent, she admits that this is a dream come true. He was offered to take a real look at the scenario of Dying Can Wait: “It was really about offering different alternatives. I was given several scenes asking me to write other possibilities, to have another idea of the direction they could take in the middle, or how they could end “. While waiting to discover this twenty-fifth installment of James Bond, eagerly awaited by fans since its postponement in November following the epidemic of coronavirus, the only-in-scene Fleabag that Phoebe Waller-Bridge took over in 2019 for final performances was filmed at Wyndham’s Theater in London and has been available online recently. Offered at different prices, this recording of his one-woman show made by Vicky Jones will see part of the profits be distributed to two associations which come to the aid of people who are struggling to treat the sick with Covid-19.
With productions well present at the moment and despite a stand by film and audiovisual industries due to the pandemic, Phoebe Waller-Bridge will once again be in the spotlight when Dying can wait will be released in theaters and in new projects which we hope will be just as exciting thanks to its Wells production box Street Films. She will supervise it with the help of Jenny Robbins and Charlotte McBrearty, two former collaborators, to produce films and series for Amazon, following an exclusivity contract of 20 million dollars per year over three years that Phoebe Waller-Bridge signed a few months ago. Proof, if there was still one, that nothing can stop Phoebe Waller-Bridge.