A Conversation With ‘Sweet Tooth’ Actor Neil Sandilands

It is clear—from his body of work, from the breadth of his body of work, and even from his answers to my questions—that there is something otherworldly about Neil Sandilands. In addition to acting, he is an accomplished writer, director, cinematographer, editor, and musician, whose approach to art comes from a place of being, as he puts it “naturally curious” and “wanting to manifest things.”

And yet, extraordinarily, there is also something grounded about the way he approaches work, art, and, by extension, life. He talks about working hard, being prepared, and embracing the ups and downs of the artistic journey, all the while having fun and, above all, being grateful for every opportunity.

Perhaps that is why Sandilands excels at playing characters that are either from a different place or a different time (or, sometimes, both). Whether it’s the cybernetically enhanced supervillain The Thinker in The Flash, the spiritual leader Titus in The 100, or most recently, the witty General Abbot in Netflix’s new fantastical series Sweet Tooth, Sandilands finds the humanity in the superhuman, drawing us in and making us care.

Sweet Tooth, co-produced by DC Entertainment, Warner Bros. Television, and Team Downey (yes, the incomparable Robert Downey Jr and Susan Downey), tells the story of emergence of hybrid babies born part-human and part-animal as a result of an event called “The Great Crumble” that wreaked havoc on Earth. The dystopian series follows a young hybrid deer-boy (Christian Convery) and the wandering loner he befriends (Nonso Anozie) as they travel across the ruins of America in search of answers. The series is based on the DC comic of the same name. Sandilands, as previously mentioned, plays General Steven Abbot, the leader of The Last Men, a group who views hybrid humans as, in Sandilands words, “an evil mutilation.”

Congratulations, first of all, on the upcoming release of Sweet Tooth! How did you initially become involved with the series? What drew you to the story? What was it like to be part of a Jim Mickle creation again? 

Thank you! It was a blast and fans should buckle up. They’re in for a ride. Heck no! What am I saying? There are no safety belts!  Firstly, my agent, Jay Schachter secured an audition for me on the basis of having worked with Jim before on Hap & Leonard, six years ago.  I was in South Africa at the time and did the audition remotely. Haha! I was visiting with friends who had very limited command of English. It was during strict lockdown protocols in South Africa and was the first of a few rounds of auditioning. Right of the bat Jim and I felt we had something and fortunately it went my way. The idea of reuniting with Jim Mickle & Linda Moran was a big draw card. Secondly, I was rather unfamiliar with the comic, so I focused primarily on the script – Jim’s adaptation. Having played “big bad” before, I thought the script – certainly General Abbott’s presence – read very intriguing to me, precisely because I could imagine having fun whilst playing it. There is something even more chilling about an antagonist who kills with a smile, than a straight-up bad guy. I liked the script’s wit and quirkiness.

What can you tell us about your character General Steven Abbot, who is described as the Leader of the Last Men? Who are the Last Men? And how did you ultimately connect with Abbot—or, perhaps more correctly, how did you approach playing the character?

Hmm, I have to consider that for a second. Never really thought about the metaphorical value of “The Last Men”. It seems particularly apt for the time we’re living in. Perhaps the last representatives of a particular way of thinking? In Sweet Tooth, the troops who work for Abbott are known as The Last Men. One could say they are militarized, but more to the point, they are representative of a particular way of thinking. I’d like to suggest a kind of fundamentalism. Abbott certainly believes the advent of Hybrids, or Mongrels as he likes to point out, is an evil mutation and he will not have any of it. He believes his position is in the best interest of humanity, or at least, his interpretation of humanity. When I approach a role like this I work initially from the most objective position I can possibly create. I allow all sorts of things – ideas, influences, words, colors – you name it – to inform me whilst I’m approaching production. I like to have conversations with co-creators, I look up references, I think a lot. I set up hypotheticals. It can go anywhere. The set, the wardrobe, the props, the design all informs this process. But once on set, that first day of filming, the first scene, it all changes. Then I’m subjectively involved. All the thinking and considering is done. You hammer a peg in the ground and start building the puzzle. For me, the biggest trick is to make the pathology work. Yes, I call it pathology because let’s face it, I’m not the good guy here. I’m the opposite of good. Still, I need to have utter conviction and believe I’m the hero of my particular narrative, no matter how abhorrent on set, I need to be. Thinking is done.

You are no stranger to the sci-fi / fantasy drama, having worked on such series as The 100 and, more recently, The Flash, but the sheer scale of Sweet Tooth, being both a Netflix and Team Downey production, feels much grander—how did it feel being on set in New Zealand? What, if any, are some moments during production that stuck with you?

When I saw the pilot episode I remember thinking this is not just close to the way I had imagined it, it is even better. Having read as many scripts as I have, you know it is scripted and executed well, if this is the case. I think we can all agree from what I’ve seen so far (the first four episodes), that every second of this show is considered work. You can see it, hear it, feel it. To be involved in an imaginative and enchanting project like this, at this point in my career, naturally, is a gift. I have tremendous gratitude for it all: Team Downey, the fellow cast members, the experienced crew and yes, for the people of New Zealand. I enjoyed the time there. Having said that, we had to jump through many hoops to even get to New Zealand under the conditions the world was riddled with in 2020/2021. It felt a little unreal at the time. It still does. Part of me can almost not believe we pulled it off. There’s some magic to it all.

In addition to acting, you are also an accomplished director, writer, editor, cinematographer—essentially, you’ve put on many different hats from the filmmaking closet. What initially drew you to working behind the camera? Has your work behind the camera informed or changed your approach to working in front of the camera? 

Necessity. And being naturally curious. And wanting to manifest things – a particular point of view perhaps. I regard cinema as a monumental art form. To me it still remains the ultimate aesthetic undertaking. Good television can also do that, as we’ve seen in recent years. In short, it involves so many elements: composition, color, interpretation, performance, sound, artefact, rhythm, context, technique, technology, people, ensemble.  I wanted to have an overall understanding. So yes, I feel comfortable with saying I can take a concept all the way through to its final manifestation – being shared with the world. I do think the technological, mechanistic understanding can initially deter from giving authentic, naturalistic performance. One does run the risk of being (too) aware – once one engages in this “behind the scenes” knowledge. However, if one can overcome this awareness and allow it to become sedimented knowledge, in other words, understanding the technology without being aware of it, like second nature; I do think it is a massive advantage to the actor. I’m one of those actors who likes to know what the cinematographer is trying to achieve with a particular way of framing, or simply what the technology is capable of doing.

Interview continues below trailer…

You’re originally from South Africa, indeed, Afrikaans is your native language, and you consistently balance South African productions with Hollywood productions with other global productions. Did you always dream of going to Hollywood and being an actor there? Looking back, now, at when you initially made the move to Hollywood, is there anything you would change or anything you wish you knew more of beforehand?

There’s nothing I’d change. Amor Fati. Yes, I am Afrikaans. I love the idea that disparate worlds can co-exist harmoniously. I’m proud of where I’m from, proud of where I’m at the moment. I love telling stories to the broadest audience possible, so Hollywood is the Matterhorn, if you will. Had I not been a performer though, I reckon I would still have sought the farthest point away from origin. I travel. I seek adventure. Physically and mentally. I would have liked to be a pioneer, discover the Arctic, Atlantis or Jupiter. For an Afrikaans boy from Randfontein, it has been quite a stretch and I would not have wanted it any other way. 

With everything going on in the world, what are you most grateful for? What are you looking forward to the most? And, as an artist, what keeps you motivated?

This past year, for various reasons, has made me newly aware of breath. The idea of it. The Maori people greet that way – with an awareness of the intake of breath. When we stop breathing, life ceases. The fact that Covid attacked the respiratory faculty, drove it home almost poignantly: whilst one still has breath, there is plenty to do. I’m grateful for being alive and breathing. Precisely now. I’d like to be present with every breath, because I know it is finite in this permutation. As an artist, I have come to learn that creativity is not yours to hold on to. In fact, the faster you can commit the creative act and give it away, the sooner your cup fills right back up. Creativity is an inexhaustible well, so don’t put a lid on it.

What’s next for you?

I did three television productions in the last year alone. Sweet Tooth being one of them. As you’ve mentioned earlier, I like to balance international work with local work – local, being South Africa. I think the two experiences inform each other in positive ways. To this extent I’ve also released a music album this year, which is related to a television production (drama) called Desert Rose, which will air later this year, some time after Sweet Tooth. I’ve written and composed most of the work on the album and it went straight to #1 in 24hours! It was a great collaborative effort by arguably the finest South African musicians. The album is called “Sangoma Sandilands & Jou Pa se Posse – Maanskyn”. I’m thrilled it has been so well received and the aim is now to showcase the work on stage. It’s massive, and at times features up to 13 musicians. It is narrative driven, go figure, story teller I am!  I will return to Los Angeles in August. I’m also eagerly awaiting the world’s response to Sweet Tooth. I think we’re in for one hell of a ride. I may not be well liked for some time to come. Hahaha!