Harry Melling talks about ‘Pillion’ sex scene and boot licking

In the BDSM drama Pillion, Harry Melling trades a world of magic for a world of leather goods, boot-licking, and wilderness orgies.

The actor, best known for his role as Dudley Dursley in the Harry Potter movies, is now 36 years old and will play his first full-fledged leading role in Harry Righton’s Unconventional Romance. In the film, Melling plays Colin, a shy meter maid and barbershop quartet singer who catches the eye of Ray (Alexander Skarsgard), a stoic biker looking for a “sub” to satisfy his sexual (and domestic) desires.

Soon, Colin is cooking meals for Ray and doing household chores. They don’t even kiss, and Ray lets him sleep like a dog on the floor next to her bed. It may sound vulgar, but when Colin appears midway through the film, wearing a leather motorcycle costume and with a shaved head, he seems liberated.

Below, Melling talks to Variety about this year’s kinkiest romantic comedy, befriending Skarsgard, and why he didn’t consciously try to escape Hogwarts’ long shadow.

When you first read the script, did you have any hesitation?

To be honest, I went in without any fear. I think I would have been nervous if the sex scenes, or more dangerous, dangerous moments, weren’t grounded in storytelling. If it was just a sexy interlude, I think I would have been pretty nervous.

But when I read the script, I always felt that those scenes really moved the story forward. They told a very complex story of Colin’s journey from inexperience to experience, and were so embedded in the story that they felt more like a continuation of the acting process than a moment created to create a “beautiful love scene,” if you know what I mean.

What do you think about the research showing that Gen Z rejects sex scenes?

If you take the sex out of a movie like Pillion, it’s not a movie at all. Sex, its representation, and how it helps build the characters and their stories is very important to the DNA of the film. I can’t really comment on the idea of ​​younger generations rejecting sex scenes. I’m 36 now, and sex has always featured in some way in my movie-going experience. Perhaps the problem is how sex is portrayed. Perhaps that is changing. I haven’t seen “Heat Rivalry” yet, but it’s clearly a huge hit in America. Perhaps there is something about sex that is expressed differently than before.

When choosing roles, do you find it appealing to take on projects that feel risky and exciting in order to break away from the Harry Potter-ness?

That’s something I’ve never thought about directly. I never once said to myself, “This is a good decision.” Because it takes me further away from how people saw me when I was younger. That’s not really how I operate. In fact, any attempt to think strategically will always backfire in some way.

What I’m looking for is diversity. I’m always looking for new challenges and the richest and most varied career possible. It may sound strange, but I’ve felt this way since I was about 10 years old, when I started appearing in the “Potter” movies. Deliberately trying to distance yourself from “Harry Potter” will probably be a hindrance. Because I’m too conscious of where I come from. It’s much better to live in a kind of ignorance and just follow your nose and pursue work that really excites you.

You and Alexander Skarsgård met just a few days before filming. How did you build mutual trust?

I did a week of filming before Alex flew in. We met on Saturday and rehearsed the wrestling scene on Sunday. We basically jumped on each other and worked it out for the intimate scenes. And filming began on Monday. It was just, “Bish, bash, bosh, let’s go.”

It was kind of believable for that reason, especially with my character. Colin always puts Ray’s actions on the back burner. How can I please this man? What does he want? Am I in the right place? All those thoughts are constantly running through his mind. The fact that we didn’t have months in advance to sit down and discuss how we would play the roles or the backstories we each envisioned was actually very helpful. That meant that what we were discovering was happening in real time, on set, in front of the camera. It was a happy coincidence – by no means intentional, just a logistical necessity as Alex was away – but it worked in our favor.

We also worked with Robbie Taylor-Hunt, our amazing intimacy coordinator, who was instrumental in shaping these scenes. In many ways, his role is similar to that of a stunt director. It’s about camera placement, angle, and physical location – the practical details that help sell the moment on screen, but it’s also important to protect the narrative beats of the story. He was pivotal in making those scenes serve the character and the arc.

It’s funny to hear that some of the sexiest scenes are shot in very unsexy ways.

Oh, it’s important. If you saw some outtakes of the alley scene where I was giving Alex a blowjob, I was looking at it from completely the wrong angle. It looked interesting. I hope the editing conveys that thrill. But in doing so, it’s often about perfecting the small tweaks and technical details that help sell its appeal.

While some of the sex scenes are quite funny and make you laugh, the film doesn’t make fun of sexual subcultures. How did you straddle the line between shock value and respectability?

A big part of that was working with GBMCC (Gay Bikers Motorcycle Club). They were a real organization, and they played pillions and bikers in the film, but they were also the focus of our research. They introduced me to people in the kink scene and taught me about things like bootlicking. They were a vital part of giving the film authenticity. Many people came to Cannes for the film’s premiere and seemed genuinely excited about the film. It was so important that they felt their stories were represented on screen.

One of the things I enjoyed about this movie is that Colin’s parents are incredibly supportive of him and set him up on dates with men. However, they are understandably protective of their relationship with Ray and feel a little uncomfortable.

The parents’ journey depicted in this film is almost the opposite of the norm. They start with absolute acceptance. They’re almost overly supportive and suffocate Colin in a way — “Do you have a boyfriend yet?” and all that. As the story progresses and they begin to understand, or fail to understand, the true nature of Rei and their relationship, they change. They do not deny the relationship, but challenge it.

The Sunday dinner scene was always one of the most important in the script for me. Because it is a place where all perspectives coexist in one space. Peggy has deep doubts about this relationship and who Ray is and what his intentions are. Dad stands in the middle trying to keep the peace. And Ray says, “This is a consensual relationship. Colin knows what this is. This is how it works. What’s the problem?”

It was very interesting to talk to the audience during the Q&A. Because that’s where people really disagree. Some are firmly on Team Peggy. The others join Team Ray and ask what Peggy’s problem is. They are happy and doing well. For Colin, that conflict becomes the catalyst for the final act. It’s the moment that causes Ray to question the dynamic he’s established and push him to say, “Actually, I think I need more. I want more from this relationship.”

After the relationship ends, Colin understands what he wants and develops the ability to express it. Have you ever had a similar moment in your career when you finished a project with a newfound knowledge about yourself?

Sometimes it can linger. Its characteristics remain visible for some time after the event is over. Pillion was the first film where I was in almost every scene, every shot, and it was a completely different beast for me. What stuck with me was Colin’s optimism and curiosity. That really stuck with me. I had long felt like a much more receptive person as I sought to understand Colin and wanted to put myself together. When I finished playing Edgar Allan Poe in The Pale Blue Eye, I was left with a different kind of aftertaste. Considering the ending of the movie, it was pretty sad. Every movie is a little different in terms of where it leaves you.

What kind of reaction have you received so far regarding “Pillion”? Have you talked to people in sub/dom relationships?

A lot of the Q&As we’ve done, especially in the UK, have been interesting. After the screening, we spoke to a woman who was very interested in talking about consent. We talked about how in some relationships, contracts are created to establish rules, and how that didn’t happen with “Pillion.” It’s interesting because there are so many different versions of how these relationships work. A lot of people come up to me and say, “I understand Colin,” or “I feel like I’m Colin.” And the fact that they feel like they can share that with me is really touching to me.

This interview has been edited and condensed. “Pirion” is currently in theaters.