Welcome to Ella Hunt Fan, the latest online resource dedicated to the talented actress Ella Hunt. Ella has been in films like "Robot Overlords", "Anna and the Apocalypse", "The More You Ignore Me" and "Kat and the Band". She has also been in TV shows like "Cold Feet", "Endeavour", "Lore" and is currently starring in "Dickinson". This site is online to show our support to the actress Ella Hunt, as well as giving her fans a chance to get the latest news and images.
30/12
Dickinson S03E10 screencaps

I made screencaps of Ella in the last episode of “Dickinson”. Click on the gallery link below to see all caps.



18/12
Dickinson S03E09 screencaps

I made screencaps of Ella in this week’s episode of “Dickinson”. Click on the gallery link below to see all caps.



11/12
Dickinson S03E08 screencaps and new photoshoot

I made screencaps of Ella in this week’s episode of “Dickinson”. Click on the gallery link below to see all caps.

And I added 10 new photoshoot photos to the gallery taken at Acne Studios yesterday. Click on the gallery link below to see all new photos.



09/12
Story and Rain Interview

Screened | Ella Hunt
Getting Into Character With Ella Hunt

Ella Hunt doesn’t believe in fate, but she believes it’s no coincidence that the Dickinson cast collective is so passionate about music. Artists tend to fall into the right projects at the right time, she says. An accomplished musician, Ella loves the way the series uses music to heighten themes and connect to present-day America. She uses her singing chops on the critically acclaimed show, and recently experienced another kind of serendipity when time alone spent during the pandemic in a “long-distance relationship with humanity” caused her to explore how to continue developing her musical style and sound. The result of which can be heard by listening to her debut song Holding On and across her upcoming EP, titled Triptych. In reflecting on her experience as the show’s final season airs, Hunt recalls she was instantly attracted to the unique writing by Dickinson showrunner, Alena Smith. Playing the complicated and progressive character of Smith’s reimagined Susan Gilbert—confidant, muse, speculated lover—to prolific and groundbreaking American writer Emily Dickinson has been a thrill. During the course of Apple TV+’s three-season series, the 23-year-old says that being a part of it has caused the “floodgates inside of her to open”; she now has access to emotions she did not have access to in the past. Ella Hunt describes her Dickinson experience as foundational and meaningful, not only for her but for the show’s other younger cast members like Hailee Steinfeld, who plays Dickinson herself. Ella spoke in depth with Story + Rain about playing Sue and about her profound experience on the television production whose goal was and is to inspire and empower, especially artists and young people, to live their lives and make their art exactly the way they choose to.

What was discussed, or what did you know about Sue Gilbert coming into this character three seasons ago?
I knew very little about Emily Dickinson coming into this character, and so I knew nothing about Sue Gilbert. When I auditioned, I’d only read the first episode of the show. I had no idea what direction this character was going to go in, but I was pretty enthralled from the moment I started researching. Sue and Emily had such incredible and profound dialogue and friendship, as seen through their letters to each other, and they had a romance. I was super intrigued by who Sue was as a person; she was this infamous hostess, and she brought extraordinary people to the town of Amherst where Emily lived. The hostess is not the person we meet on the page in the first season. She grows into that during the second season, and then she grows to a point where she’s still that marvelous hostess, but she’s not using the hosting as a medium to push her feelings away.

Describe the relationship between Sue and Emily in three words.
Profound. Heady. Messy.

What is Sue feeling for Emily at the end of season two? ‘The only time I feel things, the only time I’m alive is when I’m with you’ is what she says when she finally declares her love for her. And she says, ‘I will never let go of you again.’
Sue has had so much loss and trauma in her life, and she’s living during a time of great restraint to all women. Finally, at the end of season two, she allows the chains of restraint to be broken, and allows herself to fully acknowledge that the only time she’s able to connect to her emotions and feel like a full human being is when she is with Emily. She’s kind of at this momentous place at the end of season two. It’s huge to see her stepping into her feelings for Emily, and into her feelings towards herself. Alena [Smith, showrunner] talks a lot about how during the current season, we get to see both Sue and Emily stepping into their queerness. There’s a beautiful episode where Emily comes out to Walt Whitman as queer, and she fully declares her love for Sue. We had so many gorgeous conversations behind the scenes about wanting to see that in these characters, both individually and together.

Sue’s perception of Emily’s family comes up at several points, and in one particular moment, she’s agreeing with her brother about how they are stifled by their father. How exactly have you portrayed Sue’s opinion of Emily’s upbringing and family dynamic?
It’s a very complex space that Sue inhabits with Emily because she’s so entwined in the family, yet always, since day one, she’s been the outsider in the family. She’s always been overwhelmed by the Dickinsons and able to see them for who they are. In a way, she oftentimes plays the role of the audience: she’s the watcher; she’s the eyes. It’s difficult for Sue to tread the line, to be respectful of Emily’s family while trying to show Emily how they stifle her, and especially when it comes to how Emily’s father has treated her. Sue also has her own unconscious bias. There are many layers to their dialogue around family this season. Sue really wants to build a family with Emily and her baby, and at the beginning of the season, she wants to completely erase Austin from the family dynamic. Austin is an irresponsible father; we find him as a drunk at the beginning of the season. Sue has had such negative experiences with men in her life, so she’s only seen negative role models for the patriarch. She can’t imagine how she could build a beautiful family dynamic with Austin. At the beginning of this season, Sue is so keen to build a family with Emily and just run away. Emily, quite understandably, can’t see how that could be possible. I love that we get to see Sue and Austin working to find an unconventional dynamic.

Is Sue being realistic about her and Emily being together and raising her baby together?
Something I think about a lot is how difficult it must have been to be queer during a time when there were no conversations about how you can conduct a queer relationship. And so, in some ways, they are pioneers. Sue is dreaming up a way of being together. Maybe it isn’t realistic given the time they’re living in, but in terms of building a relationship with someone—it’s completely realistic to want those things and to push your partner to see it. Sue’s heart is in the best place this season, in terms of what she’s asking of Emily. The two of them, unfortunately, are ahead of their time.

Emily calls herself “Uncle Emily” when addressing Sue’s baby.
I remember having a conversation with Hailee [Steinfeld] and Rachael [Holder], who directed that episode, about how lovely it was to shoot that scene. It was a special day. The writing was so open for Hailee and I to interpret. I had a few days on set this season where I felt my heart pouring open. We shot this season mid-pandemic, and I felt very much in a new chapter of my own life. I felt so emboldened by the love in my life and I wanted to imbue my character with it. I’ve not felt able to do that before, and I really led with that this season. I led with being playful, allowing my character to feel as much as she could possibly feel. I both felt the least prepared I have ever felt, and the most feeling that I have ever felt.

One of my favorite lines is when Sue won’t let Mrs. Dickinson hold her baby, and she says, ‘let him be a Gilbert for now.’
That is one of Alena’s favorite lines too. There was a very specific note in the script about how that line affects Emily. Up until that point, she’s trying to understand why Sue is being the way she is about her baby. That line provides the context that Sue doesn’t have a family of her own. A stark contrast between Sue and Emily is that Sue is an orphan. Having this baby in her life means that for the first time ever, she has family. That was a line that really needed to hit home.

‘What if I need more than your poems?’ is a statement from Sue to Emily this season. How do you think that made her feel?
It can be frightening and upsetting in a relationship when you think you know how to give love to your person, and you learn that it might not be enough. It comes from a beautiful place. She wants Emily to give in the way she knows she can.

‘Fathers are not good nurturers’ is another statement by Sue this season. She’s progressive, but in this way she sounds very traditional.
The patriarchy affects everyone. It affects how even the most forward-thinking, liberal of thinkers think. In this instance with Sue, because she has only seen negative examples of fathers and men in the world, it makes sense coming from her character. In that moment, she isn’t able to see past her own experience of 1860 and the patriarchy.

In real life, Sue received many of Emily’s poems and was a real sounding board for her. What do you think it is that Sue sees in Emily’s art, specifically?
Sue is able to see something that the other people around Emily at the time do not because of the lens of the patriarchy and the time they’re living in. People aren’t able to look at Emily as anything more than her being a strange girl, unconventional, essentially a spinster, someone who doesn’t leave her room very much and writes strange things. Sue was always able to look past that and see brilliance and the ahead-of-its-time quality of Emily’s poetry. Emily’s writing broke so many boundaries of poetry at the time and has really informed so much of how people write today. Something that excited me about my character, coming into the show, is that Sue was someone who had incredible taste and attraction towards genius. She invited so many extraordinary people to visit Amherst. I couldn’t believe that these two women found one another! For their time, they were both quite ‘difficult’ women. Their values and the way that they chose to conduct their lives would definitely have been seen as difficult. We see during seasons two and three that Sue’s conducting her life in a way the Dickinsons don’t deem proper. Sue is conjuring a different life for herself. She’s ambitious and willing to look past the box that people like to put women in.



06/12
Dickinson S03E07 screencaps

I made screencaps of Ella in last week’s episode of “Dickinson”. Click on the gallery link below to see all caps.



02/12
Dickinson S03E06 screencaps

I made screencaps of Ella in last week’s episode of “Dickinson”. Click on the gallery link below to see all caps.



20/11
Dickinson S03E05 screencaps

I made screencaps of Ella in this week’s episode of “Dickinson”. Click on the gallery link below to see all caps.



15/11
Dickinson S03E04 screencaps

I made screencaps of Ella in last week’s episode of “Dickinson”. Click on the gallery link below to see all caps.



05/11
Dickinson season 3 episodes 1,2 & 3 screencaps

I made screencaps of Ella in the first 3 episodes of Dickinson season 3. Click on the gallery links below to see all caps from each episode.



05/11
Nylon: As Ella Hunt’s ‘Dickinson’ Chapter Ends, ’Triptych’ Begins

Ella Hunt is obsessed with the rule of three, she says. As the third and final season of Dickinson premieres, she’s getting ready to release Triptych, her debut EP containing three songs exploring the breakdown of a long-distance relationship, along with a video accompaniment.

For the last three years, the 23-year-old has starred alongside Hailee Steinfeld in the Apple original series about the reimagined life of Emily Dickinson. The show stylishly blends eras in a universe that gels traditional costumes with a modern soundtrack and contemporary dialogue and speech patterns to create a stylized, offbeat world that feels wholly original. Steinfeld’s Emily can be awkward, unlikeable at times, sentimental, self-righteous, strange, and sad. (In one episode, she’s referred to as “the original sad girl” to capitalize on our current Sad Girl Fall obsession.) Hunt plays Sue, who in real life was married to Emily Dickinson’s brother but is said to have had an affair with Emily for years — and it’s the representation of their relationship that’s earned the show an LGBTQ+ cult following.

“The more I think about the show, the more I see it as a three-act play: the third and final act is the meatiest,” Hunt tells NYLON over the phone from New York City. “We go to the darkest places with the characters. We see them at their greatest highs too.”

Dickinson’s third season premieres November 5, but as one chapter ends, another begins: Triptych is going to be released later this year. Hunt has been acting professionally since she was a child and writing songs forever, she says, but her professional foray into music is more recent.

“I’m laughing at your tweet,” Hunt tells me, before reciting: “I’m not in his DMs, but I am on the Ultimate Guitar app, which is worse.” Hunt can relate: She says she’s been using an app called Guitar Tricks. “I’ve played the acoustic badly for a long time,” she says. “Recently I bought a really beautiful Telecaster electric guitar and have told myself I’m actually going to get good at it.” For someone who’s had a successful acting career for the last decade, it’s funny to hear Hunt talk about being mediocre at guitar. Her approach to talking about music is less polished than when she talks about acting, which she’s done for most of her life.

“Music was my first love,” she says. “I’ve been so nervous about talking about music stuff. With acting I’ve done the junket so many times, but with music I’m just like, I don’t know how much of a script I want there to be,” she says.

It’s fitting that Hunt is pursuing this new chapter of music as the show ends. Dickinson is ultimately about boldly following your dreams and pursuing art against all odds; it’s about how when the world is falling apart (in Emily’s case, hostilities between the Union and the Confederacy), art can save us.

I know you have an EP coming out. Tell me about that and your journey to music from acting.

I’m so excited about this EP. Having been writing music for a long time all through my childhood, music was my first love. It’s taken me quite a long time to work out how I want to introduce my music, both sonically and visually. I’ve been working on a full-length LP for a while and somebody suggested the idea of the triptych, like three songs all exploring the same theme from different perspectives. I was excited by the idea of making a short film in three parts that could stand alongside the tracks because three tracks adds up to classic short film length of 12, 13 minutes, so that ended up being an exciting way for me to introduce the emotional landscape of the music to people. I’m so excited about getting it out.

I haven’t seen the triptych as a concept in music before. What inspired that?

I grew up in a family of artists and triptychs are a big thing in visual art. In religious paintings, you’ll often see three paintings. The term is less familiar. Francis Bacon has done some incredible triptychs. The idea can be explored through visual art, writing, music, and there are some musicians that have done triptychs in the past, but I was just looking for a unique way to introduce the emotional landscape of music. I grew up on film sets too, so the visual aesthetic of the music is always going to be important to me, so this felt like an exciting way to say hello.

Who inspires you musically?

My ultimate musical hero is Loudon Wainwright III, who is a fairly old country folk singer and I just think he’s the greatest lyricist of our time. When I was 14, I was starting a new school and my best friends were really into British indie music and they sweetly introduced me into it and it took me a minute to get into it. They were all really in love with Bombay Bicycle Club and I was like, “I can get down with this but it’s not my favorite thing ever,” and they had one track and I was like, “I really like this.” I went on YouTube to watch a live version and this one track — “Motel Blues,” — it wasn’t their track, it was a Loudon track, and I found myself in a deep Loudon wormhole that lasted for years. I am super influenced by people like Joni Mitchell and Bob Dylan, and more contemporary influences, Phoebe [Bridgers] is a huge influence. James Blake, Bon Iver, that old school of atmospheric, experimental, but very focused on storytelling, that really excites me and I’d love to be a part of it.

This is just an observation, but a lot of artists aren’t super good at talking about their art, partly because it’s not really their job. But you are good at talking about your art and art generally.

I started acting at such a young age and I used to go into audition rooms and casting directors would ask me classic platform questions like, “What have you been up to, Ella?” and I’d ramble on about my dog and weekend and best friend’s pet iguana that had just passed. My mom caught wind and was like, “Ella’s rambling in casting,” and wrote me a script of how I was supposed to answer those sorts of platform questions and it led to a broader conversation with my parents, who are in the arts, about how slightly annoying it is, but a big part of the art is talking about the art and making peace with that side of things. I feel really grateful to have had parents that taught me how to do that at a young age. Before the Dickinson press junket, I sit down and think through the season and I write myself a little script. I’ve been so nervous about talking about music stuff. With acting I’ve done the junket so many times, but with music I’m just like, I don’t know how much of a script I want there to be, but I need to somehow know how to talk about the music.

On that note, how does it feel to be wrapping up Dickinson?

We’ve all thrown around the word bittersweet a lot. That is the most accurate word for the emotions we’re going through. It does feel like a momentous moment in my life. It’s such a big closing. It’s a closing of what has been such a big chapter for me as an artist and as a person.

When I got Dickinson, I’d just turned 20. I was moving to New York. I had never been to this city; I didn’t know who I was or how I wanted to identify. I’m still answering those questions on a daily basis, but Dickinson created such a safe space for me to try on different versions of myself and get to learn and play amongst the most amazing company and inside the most creative, playful writing from Alena [Smith, Dickinson’s showrunner], writing that’s been such a joy to sink my teeth into and it’s one of the things I’m most sad about letting go of is playing within Alena’s sphere. It’s such a treat to get to work with writing as good as Alena’s is. She really writes for the actor; she’s a playwright at heart. The more I think about the show, the more I see it as a three-act play: the third and final act is the meatiest. We go to the darkest places with the characters. We see them at their greatest highs too. The universal feeling for the whole cast is that this season is the most fun of all.

In this season your character is pregnant with Emily’s brother’s baby, but she still loves Emily. Situations like this were the reality for so many women in this time who couldn’t come out. What is it like to hold those two things as an actor? Why is that an important story to tell?

I was delighted that Alena chose to take Sue’s story in this direction this season. There is a world where we could have avoided Sue getting pregnant, but I’m really glad we didn’t avoid that because it was a fact of her life. It did happen in this time and there’s so much growth that happens with Sue between Season 2 and Season 3 of the show, and a huge amount of that is accepting her love for Emily. It allows Sue this new sense of ease and playfulness and messiness, and acceptance of the messiness of her life, and it’s beautiful to see these characters that are so repressed feel things. Having this pregnancy storyline allows us to have these conversations about non-traditional family dynamics, which is always going to be a conversation within the queer community and as humans these days. I have so many friends in completely non-traditional parenting dynamics and it’s such a fact of our day to see people grapple with co-parenting in a non-traditional way and it was really exciting for Hailee and I to play with how both Emily and Sue are approaching the idea of womanhood in unconventional ways. Emily feels strongly that she doesn’t want children and Sue, having not envisioned it for herself but accepted it was part of her lot as a woman, is not conjuring any way of being a mother. She’s allowing herself to see that motherhood doesn’t have to mean she can’t be with the person she loves who happens to be a woman. There’s lots of conversations that go on about, “Why can’t a baby have two mothers?” Just because it’s not what’s done [at that time] doesn’t mean it’s not what’s possible. It’s such delicious material to dive into and it gives me so much admiration for LGBTQ history and the journey we’ve gone on to get to a point where we can create family dynamics in all the ways we want to and identify and feel safe in outwardly expressing our identity.

There’s a line in the show about how Emily Dickinson was the original sad girl. That’s so funny. What do you think about that? What else can we learn from Emily?

I think what the show wants us to learn from Emily is to be fearless in our life choices and in our artistry and to not let the world put you in a box. I think it is about empowering the women of today to take courage in our artistry, because look at this woman in 1850, who all the odds are against her. Everyone thought she was crazy. She didn’t do things by the book and she wrote some of the greatest poems of all time because she was different. She was extraordinary. Because she was brave enough to be guided by her instinct, we have some of the greatest poems of all time. I think that is at the core of the show.

Source: Nylon.com




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Dickinson
Ella as Sue Gilbert
News Photos IMDb
An inside look at the world of writer Emily Dickinson.



Master
Ella as Cressida
News Photos IMDb
Two African American women begin to share disturbing experiences at a predominantly white college in New England.