British actress Remmie Milner has captivated audiences with an impressive range of roles in shows such as BBC’s The Hour , HBO’s Whitechapel and Amazon’s Electric Dreams. In addition to her on screen success, her notable stage credits include Henry V and Contractions at the Trafalgar Theatre in London’s West End.
You have most likely seen her play the role of Daisy in Lennie James’ critically lauded Sky thriller Save Me and Save Me 2, opposite Stephen Graham, Jason Flemyng and Suranne Jones; Lena in HBO/BBC’s His Dark Materials with Ruth Wilson and Dafne Keen; and Martha Cratchit in FX’s drama mini-series A Christmas Carol alongside Guy Pearce, Andy Serkis, Vinette Robinson and Joe Alwyn.
For the past two seasons Remmie has played Shirley Campbell in Apple TV+’s acclaimed sci-fi series Silo. She now returns for the series’ highly anticipated third season this summer. In this new chapter, Shirley is plunged deeper into the silo’s labyrinthine world, where hidden dangers, shifting loyalties and high-stakes decisions test her ingenuity and courage.
We sat down with Remmie to discuss stepping stones, the stage, and four seasons of Silo.
How has your on-stage experience and early screen roles shaped you into the actor you are today, and are there any particular lessons you applied whilst filming season 3 of Silo?
I’ve been really lucky with the stepping stones I’ve had along the way. Starting out on stage, mainly doing regional theatre, gave me the opportunity to play lead roles in exciting new writing and larger-scale classical productions, where I could really hone my craft and develop my instincts for exploring character work.
I then went on to work mainly in television, where my very first role was acting opposite Ben Whishaw – what a national treasure. He’s one of the kindest, most generous and talented British actors working today. I’ve been so fortunate with the people I’ve shared a set with and learnt from prior to Silo, including Suranne Jones, Lennie James, Stephen Graham, Jason Flemyng, Ruth Wilson and Guy Pearce. Their talent and approach are so inspiring. They showed me how to conduct yourself on set, collaborate with other creatives to get the best results, and how to stay spontaneous and authentic in your performance. I feel extremely grateful to all those who have paved the way before me because I’m still using those skills every day. With Silo spanning four seasons, there was never more of an opportunity to put them all into practice.
Preparation is key, and that’s been invaluable on Silo, as almost everything we shot was out of sequence. I always arrived on set with my lines learnt, as well-rested as possible (which was interesting with a newborn in the mix!), and ready to truly listen, both in and out of the scene.
The majority of actors I’ve worked with are incredibly passionate, inquisitive, intelligent and proactive people who have strong opinions when it comes to shaping a scene or building a world, and I’d like to think I’m doing the same.
Dress: The Frankie Shop
Necklace: Alessandra Rich
How has multiple years working on the set of Silo impacted your career; do you feel you have developed as an actor since the first season?
Oh, I think – and hope – that I’ve massively developed since the first season of Silo. Partly because, as the world of Silo has grown, I’ve had more of a chance to explore the many branches of the story and how to weave Shirley in and out of the ones she’s involved in.
The process requires your full focus, not only in getting to know your new family of creatives and feeling comfortable on set, but also in being confident enough to ask the right questions to unlock deeper layers of both the character and the incredible sci-fi world that author Hugh Howey has created so well.
I feel like Shirley is now woven into my very being. I understand how to manoeuvre her on set and through different groups of people, and I’ve also learnt how to navigate huge filming sequences while maintaining energy, precision and stamina – it’s a workout in itself! One that I’m absolutely obsessed with and love.
Dress: The Frankie Shop
Necklace: Alessandra Rich
Shoes: Gina
Following on, how is your process different on the set of Silo as opposed to past projects such as Save Me or His Dark Materials?
We’ve always known with Silo that seasons three and four would be filmed back-to-back, so whilst I had to focus on Shirley’s journey in season three, I was also holding the trajectory of a season that won’t air until later. It’s quite the puzzle! A really interesting and rewarding one to plot and act though, as it gives each scene a deeper emotional layer and a greater sense of where the character is heading. That said, I had a very thorough timeline that I wrote out and checked before filming every scene. It meant I could be confident in the sequence of events and accurately map Shirley’s emotional and physical journey throughout the story.
I also found working with an American creative team to be fantastic. It was new to me to have the writers on set with us all the time, and what an incredible part of the process that was. Being able to check in with them whenever it was needed – whether about certain lines, the meaning behind a particular moment, or the overall story arc of a specific thread – was invaluable. In a sci-fi world where everything has such an intentional place, it feels incredibly important to keep that web of storytelling watertight, so you don’t unintentionally alter future events or create an alternate ripple effect without even realising it.
Silo explores themes of power and control; do you feel audiences are able to resonate with this due to their relevance within the real world right now?
Silo is a powerful reminder that questioning the information we’re fed by leaders or figures of authority is not only useful but can contribute to a happier society at home and at large. We’re living in a time where misinformation is everywhere, and I think that’s reflected in the cover-ups and lies we see throughout the storylines in Silo.
It’s been really interesting to draw on those comparisons throughout rehearsals and filming over the years, especially as the world around us has continued to change alongside the show. What author Hugh Howey, showrunner Graham Yost and the fantastic writers have achieved is giving every character a very clear voice and perspective when questioning these themes, and allowing those viewpoints to develop over the course of the seasons.
Dress: Simone Rocha
Bra and underwear: Intimissimi
Earrings: A Sinner in Pearls
Shoes: Sophia Webster
Have you developed a close relationship with the cast, and have they taught you any lessons that you carry with you?
I love the cast of Silo! There’s not a bad egg among them, which helped maintain a family feel throughout all four seasons! We’re incredibly respectful of one another and genuinely inspired by each other’s work and ideas. We spend quality time together off set too, and I think that always says something.
I’ve soaked up so many gems from both the cast and creatives over the course of each season, and it’s clear that I’ll always carry forward the need to really interrogate the text – in a brilliantly productive way – to make sure every opportunity has been squeezed out of it and every relevant question has been asked. That way, the moments truly live in 3D, and all the fine details support the wider tapestry of the show.
There is power in the minutiae!
Are there any particularly memorable days that occurred whilst filming season 3 of Silo?
So many! One that springs to mind is filming the sequence by the airlock in episode five and placing ourselves, story-wise, in a flashback. I’d imagined for so long what that scene must have felt like – to see your friend trapped inside a vault with a roaring fire – so getting to play it out in the moment was really powerful. It’s a group scene, so everyone brought their own flair, and Aric Avelino’s direction was so thoughtfully plotted whilst also allowing room to play in the moment and for new ideas to spring up. It felt like we achieved something that was both carefully crafted and completely spontaneous that day, which I think comes across in just how connected and energised the scene is.
Dress: Simone Rocha
Bra and underwear: Intimissimi
Earrings: A Sinner in Pearls
Shoes: Sophia Webster
How has your character, Shirley Campbell, evolved from season 1? Do you relate to her character?
Shirley has evolved hugely over the seasons. Her world continues to grow in ways that surprise her every time we enter a new chapter. She began with a singular focus on maintaining the running of the Silo, something she did passionately and without hesitation. That then grew into leading the rebellion alongside Knox in the quest to discover more of the truth behind why they exist underground. And now we see a much more tender side to her. That was so appealing to me. What happens when someone who’s been categorised as guarded because of certain events has to start opening up emotionally, and where could that lead? It’s been such a fulfilling role to play, and I’ve loved every minute of it.
I grew up around a lot of people with similar qualities to Shirley, so I feel very comfortable playing her, and maybe when I was younger I possessed some of those qualities myself. Ironically, though, I’m very different from her now. So there’s both an enjoyment and a challenge in playing her, which is incredibly exhilarating and interesting.
Are there any new genres you would like to explore in the future?
Yes, always! I’m watching a lot of psychological dramas and thrillers at the moment, and it’s a genre I’m really drawn to. I’m fascinated by the power of the human brain and how our behaviours can influence others and shape the worlds around us. The filmmaking techniques used to tell these stories can be so original and intriguing too, which makes them such a thrilling experience. That said, I also love the language of more classical texts, and I adore speaking the rhythm of those words. Plus, I’m a romantic at heart, and that’s so often steeped in tragedy – I could definitely see myself playing that.
Follow Remmie on Instagram @remmiemilner
Team:
Photographer: David Reiss
MUA: Min Sandhu
Stylist: Harriet Nicolson
Hair: Liam Curran
