ISSUE Nº21: INTERVIEW HARRY TREVALDWYN

JUNE 13, 2025

Harry Trevaldwyn Enters The Myth

By J.L. Sirisuk

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“Creating a place that shows humanity better is always a wonderful thing, even though it’s a world with dragons and Vikings and it’s a fantasy world.”

- Harry Trevaldwyn

Harry Trevaldwyn x THE AMAZING Magazine steps into the scene for his digital cover ISSUE Nº21! STAY TUNED for more of this Issue 21.

Harry Trevaldwyn grew up in Oxford, a city that feels like a fantasy realm even without the dragons. As a child, he lived in books, building inner worlds with the quiet intensity of someone who knew imagination was a kind of survival. That instinct stayed with him. It just shapeshifted—into comedy, into writing, into characters so finely observed they bordered on uncanny. Trevaldwyn’s rise began online, where his quick-witted sketches became a kind of modern folklore. From there, he moved into scene-stealing turns in Ten Percent, Judd Apatow’s The Bubble, and the emotionally charged pages of his debut novel The Romantic Tragedies of a Drama King, a story as sharp and tender as the title suggests.


Now, he enters a different kind of mythos—the live-action How to Train Your Dragon, playing Tuffnut Thorston, one half of a feral, inseparable twin duo. For Trevaldwyn, fantasy has always offered more than escape. It’s a way to better understand the world we’re in. On set in Belfast, surrounded by full-scale dragon arenas and meticulous puppetry, he found a creative rhythm rooted in collaboration and curiosity. At its heart, the film is about family, identity, and change—universal themes wrapped in scaled creatures and sky. “If people can change in Berk,” he says, “why can’t they do it here?”


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JS: I'm so excited to chat with you today. I watched the film and I'm one of those emotional Pisces, so I shed a few tears. 

HT: I don't know much about astrology, but apparently I'm on the cusp of a Pisces. I'm right at the end of Aquarius, so I feel your emotions. 


JS: How to Train Your Dragon is a world rich in fantasy, and it’s special to so many fans. What does this movie means to you?

HT: It means so much to me. All of us that were in it knew it and watched it growing up. It’s such a special place, and the Isle of Berk means so much for so many people. It’s a world that people care about. We had Dean [DeBlois] who directed the animated films - the fact that we had him at the helm and he trusted us to do our own interpretation, really helped get over those nerves. I think you can tell through every part of the film - from the set to the costume to the puppetry workshops that we did with the dragon - every single person wants to honor that universe. It's an expansion of it. To walk on set, you felt like you were in Berk. 


JS: You play Tuffnut - how did the role come to you, and what was it about the character that drew you to him? 

HT: To be honest, Tuffnut is unlike any character I've ever played, so it was fun. I remember going through the audition process — I had a pretty good idea of who he was and how I would play him — but it really clicked for me when I was doing a chemistry read with Bronwyn [James], who plays my twin. So much of those characters is that they exist together, and even though they're always at each other's throats, that competitiveness drives them. I remember meeting Bronwyn and doing the chemistry read, and we did some improv exercises, and that was when it really clicked. I’d be like, “I get who he is now. I understand who he is” — because I was only seeing half of him before Bronwyn came along. Then it all made sense. We looked nothing alike, and subconsciously or not, we kind of played into that during the improv exercises, thinking that we looked identical. And Dean and the casting director obviously saw that it kind of worked. When I found out I got the job, I was so excited, and I was like, “Did Bronwyn get it?” I was so happy that she did, because I feel they exist together.

JS: You felt that real connection that drove your excitement. What was the dynamic like on set each day? 

HT: It was so much fun. I think we were delirious for so much of the shoots - early mornings, long days, it was shooting in Belfast, cold. You could tell very quickly that the dynamic really worked, and we were lucky that we had a month of rehearsal in Belfast before we started shooting. We did all sorts of things together – we had meetings with Dean, we did horse riding, we did fitness, and we did stunt training. It was always so much fun when we were all together.

JS: You’ve written and performed in stories that tend to be rooted more in sharp, modern wit. How did your instinct as a creative and a writer meet this world of dragons and fantasy? 

HT: I'm obsessed with fantasy. The books that I always read are fantasy books, because I find them so escapist. There’s a reason that people find so much solace in fantasy worlds, and it's because they’re so fully realized, and you can exist however you want to exist. The way that I interacted with it was sometimes we got to do bits and bobs of improv, that line between saying what you wanted to say to make someone laugh, but also keeping it grounded in the world that you were in, and in Berk. Even though it's a fantasy world, it's so easy to stay connected to the humanity of the story, because it's got such a heart in it. It's about family, and it's about masculinity, and it's about changing your perception of the world, and I think those are such themes. It’s so interesting that often you need to be outside the real world and those themes to see the real world clearer, and How to Train Your Dragon does that really beautifully.

JS: And that’s what provoked my Pisces tears during certain parts. 

HT: Which bit was it?  There's so many tear jerky bits.

JS: A scene involving Hiccup’s dad Stoick the Vast. The look in the father's eyes, that human moment. 

HT: Yeah, it’s amazing that you can have so many human moments in such a wild world. 


JS: You grew up in Oxford, and I spent some time in that enchanting place. It’s like being back in time. As a child, did you imagine dragons and build your own worlds? Did this project tap into other forms of expression and creativity you had as a kid? 

HT: Firstly, I always have to talk about nostalgia, I’m the most nostalgic person. I was always in my own world. I think every photo from ages five to 13 my nose would be deep in a book. And also growing up in Oxford, obviously, Northern Lights and Philip Pullman's trilogy I felt so connected to because I was like, “My gosh. I'm basically there.” It’s so special as an adult being able to still engage with pretending and making a fantasy world. I will tell you what, it is much easier to pretend to be in a fantasy world when you've got the most talented set designers and costume designers. And I got a lovely long ginger wig. That was gorgeous. I loved that. 

JS: You're also an author. Congrats on your book The Romantic Tragedies of a Drama King. When you're acting in a story someone else has written, especially one as beloved as this film, do you ever feel the writer in you itching to reframe a moment, or do you enjoy the freedom of surrendering to someone else's world? 

HT: I really enjoy the surrendering of it. It’s so nice not to worry about how a sentence is constructed or something. I really think that they work so naturally together and if I didn't have one, I wouldn't love the other as much. I love acting - I'm not in charge of how the script goes, I can go out and play and just pretend and be with people. A writer's experience is much more alone. Well, I say alone, I always write in a cafe. I'm like an exhibitionist writer. What’s lovely is that I've been so lucky to work in a couple of projects that kind of blend the two. I've done a lot of films that encourage improv and that's really lovely, because I think it's the writer and the director kind of trusting you with character. 


JS: How was it working in a world with CGI elements? Were puppets used?

HT: You would be so surprised. I thought there would be so much CGI, but there really wasn't. It was nuts that they just had these like 360-degree views of the set. So everywhere we were, you could see the full sets, you could see the dragon training arena, you could see the hall. With the dragons, we worked with this amazing puppetry team who had worked on War Horse and things like that. So there were these really big puppets that we were working with, and each team that worked on each dragon. The dragons would respond, depending on what the dragon was. As an actor, it was such a gift. I think we did like one scene that was with a tennis ball. And that was it. Even when we were doing the dragon riding, you were on the neck of the actual dragon and they did have to sort of disassemble that as we went through. I really thought it would just a saddle on a rig, but they really made it so proper. 


JS: Do you think we need more room for imagination and fantasies in our adulthood with all this chaos going on in the universe? 

HT: I think we need fantasy more than anything else, because the reality is certainly not giving us what we need. Creating a place that shows humanity better is always a wonderful thing, even though it's a world with dragons and Vikings and it’s a fantasy world. To go back to what I said earlier, it's wonderful to show people that anyone can change and if they can do it in Berk, why can't they do it here? That element of it is so important for fantasy. I've always been a fantasy book lover, and I really feel like they're coming up again, especially for adults. It’s so wonderful that adults are engaging with fantasy, because it means that you're engaging with your imagination. One of the best things about being an actor is that you do get to pretend for a job, and you have that sense of play, and I think the more people can do that, the better. I know that it’s hard, people are busy, people have a lot on, but I'm happy that fantasy is having its moment. 



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JS: It’s important for people to remember to have that sense of playfulness and openness in the world towards each other. 

HT: Totally. Yeah, not take yourself too seriously.

JS: What’s lighting you up creatively right now, whether it's something you're writing, or you're dreaming about? 

HT: There’s so many things I'll either be watching or reading that light me up at the moment. Like with my book. I really enjoyed being able to tell a different version of a queer love story, especially for the younger generation. I'm writing the second one, and the messages I've received from that, and the response to that has really lit me up. I want to make the second one to honor those experiences and it’s really lit a fire in me. I’m so excited for that to come out and that’s something I care a lot about, and I think that visibility is so important. I feel like perhaps I live in a bubble where so many people know about these experiences, and are familiar with these experiences, and that's not the case. So the louder and the more stories there are, the better. That and dragons. Dragons light me up. 

How to Train Your Dragon is out in cinemas on June 13th

You can follow Harry on Instagram 


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