Tamzin Merchant Biography

Tamzin Merchant born Zamzan Merchant is an English actress, best known for her appearance inthe film Pride & Prejudice in 2005, on the Showtime series The Tudors from 2009 to 2010 and on the WGN America series Salem.

Tamzin Merchant Age

Tamzin was born on 4 March 1987 in Haywards Heath, United Kingdom. She is 31 years old as of 2018

Tamzin Merchant Parents

Her Parents are not known.

Tamzin Merchant Boyfriend | Tamzin Merchant Dating

She has dated twice. She was first in a relationship with actor Freddie Fox back in 2012 but the pair parted ways in 2013. She is now dating actor Barney Douglas. The couple has not revealed how they met

Tamzin Merchant Game Of Thrones

She was cast as Daenerys Targaryen in the pilot episode on the American fantasy drama television series Game of Thrones.  Her role was filmed in late 2009, with her scenes being filmed in Morocco.

Tamzin Merchant Tudors

She was cast in the role of Catherine Howard in season 3 and 4 of a historical fiction television series The Tudors

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Tamzin Merchant Supergirl

She was cast in a recurring role of Lyra Strayd in the second season of the American television series Supergirl

Tamzin Merchant Pride And Prejudice

She was cast as Georgiana Darcy in a 2005 romance film Pride & Prejudice

Tamzin Merchant Movies

Tamzin Merchant Salem

She appeared in all seasons in Salem, an American supernatural horror television series as Anne Hale.

Tamzin Merchant Twitter

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Tamzin Merchant Instagram

Tamzin Merchant on Q TV

Tamzin Merchant Interview

Brit Takes: Why ‘The Tudors’ and ‘Salem’ Star Tamzin Merchant Went From Acting to Directing

Source: indiewire.com

Indiewire spoke with Merchant about her life as both actress and director — and why she’s really over the gender status quo.

I’ve always been drawn to storytelling, and acting is the most immersive form of storytelling you can get involved with! You’re actually in the story when you’re acting. Writing and directing to me was the logical evolution from my life as an actor: going from telling someone else’s story to actually creating my own. Perhaps one day I will do all three: write, direct and act in the same production. That might get a little hectic though.

What’s the difference between the UK film and television industries?

They’re quite different mediums in the UK, and I appreciate both for different aspects. Something that unifies both is that there is such great writing to be found in each — the scripts I read that come out of the UK TV and film industries are almost always witty, intelligent creations and that excites me. Can you talk to us about how you’ve dealt with rejection from studios?
It’s not something I dwell on, especially after a few years, and it’s just part of the job! Sometimes it still hurts, but for me, it’s not about the studio or director: it’s when I’m auditioning for a character that I really am in love with and want to play, and if I don’t get the part it can feel like a breakup. You got to know this person and love this person and want to spend time with – me – this person and when you’re told you can’t, sometimes all you want to do is shut yourself in your room and listen to “emo” music. Why do you now direct?
Because I love it. When I directed my first short – “American Virgin” – I had no idea if I could actually do it. Like I might just get onto the set, have everyone look at me and just completely freeze and have no idea what to do. But pretty much the opposite of what happened. I was like a fish diving into the sea. I love having this vision in my mind and then seeing what other people’s talent brings to that vision and guiding it into life. Seeing it materialize on set, and then afterward in post-production, is such a thrill. I also love working with actors, and I try to direct actors the way I would like to be directed myself: make the set a playground for them, a safe space for conversation and experimentation. There’s nothing worse than a director who feels more like a cop than a comrade, so I try to never give orders or create an environment where it’s “my way or the highway,” because actually allowing talented people to bring their originality and insight always brings more depth and complexity than if everyone has to do what you tell them to! How did “American Virgin” originate and what did it mean to you?
I was shooting the second season of my TV show “Salem” in Shreveport, Louisiana and there’s an amazing filmmaking community there. I met my wonderful producer Cam on the set of “Salem” in season one and we wanted to make a short. I had the idea of what I wanted it to be about, and when I got back into town for season two I wrote it and we made it, with local actors and local crew. It was a lot of fun. And it meant so much to me that people gathered round and supported us making the film. It gave me the confidence to do my second film, which has given me the fire to do my third! I owe so much to the amazing cast and crew of my first film. Do you think that gender plays a pivotal role in your perspective as a director? As far as being a female director goes, it’s part of who I am and I’ve grown and understood the world as a female and I think it’s important to bring all your knowledge and experience to every film you make so certainly in that sense being a woman plays a role in my perspective as a director. And my first two films have females in the central roles, so perhaps I’m naturally drawn, as a woman, to telling stories about women. My next film, however, has a man in the central role. So I’m branching out! On a different but pertinent note, once you describe someone as a “female director” rather than just a “director” you’re putting them into a sub-category. We wouldn’t say a “male director.” Being sub-categorized is definitely something I’m against. How does your latest film challenge the status quo for the industry? The existence of the film itself challenges ageism and sexism in the industry. Making a film about an older woman who is effectively playing an iconically youthful character — Juliet — in her own mind, shows that all those things that the industry and our culture ascribes solely to the young, are as important to older generations as they are to the younger ones. Love, romance, laughter, passion, impulsiveness – all these things we associate with the young, but these are all the things that Maggie Steed plays so wonderfully in Juliet. The industry is certainly centered around the white male. Still. Just look at the Oscars this year. Film’s safe-zone is in the realms of the youthful heroic white man’s struggle. “Juliet Remembered” is all about an older woman’s inner life. That’s certainly two fingers to the status quo. “Juliet Remembered” has a stellar cast. Can you tell us if there is a particular performance in your film that moves you?
What I love about the cast is that they all had such respect for each other’s performances and worked with such elegance together. I couldn’t have imagined a better cast for my film. They each bring such depth and such lightness to their roles — there are pathos and humor in each of them. I was giggling at Matt’s antics, Rakhee made my heart melt with her subtlety, Josh brought such conflict to his role, James brought such humor and pathos to him, Chrissie was perfectly strict as the matron and Maggie made me cry with her beautiful heartbreaking delivery of Juliet’s soliloquy. I was in heaven with this cast. Would you like to star in one of your own films?

Certainly directing a feature is my goal for 2016, even if it’s just to get a feature off the ground. Starring in it at the same time might be a little hectic though! I love being able to be on set with no make-up, wearing sneakers and jeans and not caring how my hair looks. That would go out the window if I were to also act in the film…But I’m not ruling it out! It would be a pretty cool challenge. I’m terrible at watching myself perform so that would have to change.