Imogen Poots young
June 3, 1989
5 ft 4 in | 163 cm
34-24-34 in | 87-61-87 cm
52 kg | 115 pounds
8 US | 38.5 EU
Imogen Poots was born in Hammersmith, London, England, on June 3, 1989, is an English actress.
Young Imogen Poots first started acting as a member of the Young Blood Theatre Company, at the Riverside Studios in Hammersmith.
She got her television debut in British medical drama series Casualty in episode "Love Bites" (2004) in role as Alice Thornton.
She made her big screen debut in mystery thriller film V for Vendetta (2005) in role as Young Valerie.
Her breakthrough performance came as Tammy in thriller horror movie 28 Weeks Later (2007), for which she was nominated for the British Independent Film Award for Most Promising Newcomer.
Prisoners of the Ghostland (2020) action horror thriller with Nicolas Cage and Sofia Boutella
The Father (2020) drama, opposite Anthony Hopkins and Olivia Colman
The Art of Self-Defense (2019) dark comedy in role as Anna, opposite Jesse Eisenberg and Alessandro Nivola
Vivarium (2019) mystery science fiction in role as Gemma, with Jesse Eisenberg
Castle in the Ground (2019) drama in role as Ana, opposite Neve Campbell
Black Christmas (2019) mystery horror in role as Riley, with Aleyse Shannon, Brittany O'Grady and Cary Elwes
She won a British Independent Film Award for Best Supporting Actress for her role as Debbie Raymond in biopic film The Look of Love (2013).
Me and Orson Welles (2008) period drama opposite Zac Efron and Claire Danes
Fright Night (2011) horror thriller with Colin Farrell and Anton Yelchin
Jimi: All Is by My Side (2013) drama in role as Linda Keith
A Long Way Down (2014) black comedy opposite Pierce Brosnan and Aaron Paul
That Awkward Moment (2014) romantic comedy with Zac Efron and Miles Teller
Need for Speed (2014) action thriller with Aaron Paul and Dominic Cooper
Knight of Cups (2015) experimental drama directed by Terrence Malick
She's Funny That Way (2014) comedy opposite Owen Wilson and Jennifer Aniston
Green Room (2015) horror with Anton Yelchin and Patrick Stewart
Jane Eyre (2011) romantic drama opposite Michael Fassbender and Mia Wasikowska
Filth (2013) crime comedy drama opposite James McAvoy
A Late Quartet (2012) drama music with Christopher Walken and Philip Seymour Hoffman
Frank & Lola (2016) noir thriller with Michael Shannon
Sweet Virginia (2017) thriller opposite Jon Bernthal
I Kill Giants (2017) fantasy drama with Zoe Saldana and Madison Wolfe
Mobile Homes (2017) drama opposite Callum Turner and Callum Keith Rennie
She played Kelly Ann Mason in comedy drama television series Roadies (2016).
Y (2020) FX drama television series in role as Hero Brown
I Know This Much Is True (2020) drama TV series in role as Joy Hanks
Attended Bute House Preparatory School for Girls, Queen's Gate School for Girls and Latymer Upper School in London.
Has an older brother, Alex.
Has English, Northern Irish and Scottish ancestry.
She was nominated for the Laurence Olivier Award for Best Actress in a Supporting Role for her performance as Honey in a play Who's Afraid of Virginia Woolf? (2017), at Harold Pinter Theatre in the London West End.
Featured in advertising campaigns for H&M, Miu Miu and Chloe.
Good friends with actors Matthew Beard and Aaron Taylor-Johnson.
She dated actor Anton Yelchin (2011).
She started dating English actor James Norton in 2017.
I love America a lot. I really do.
San Francisco, coolest place ever.
It is a difficult one, as you get scripts where women are just objects.
The business is so international now; you'll be working on an American film and you'll start chatting to someone, and it's like: 'Oh, you're English, too.'
I don't think anything's ever simple. Everyone's just trying to understand each other, and whether that's because you're in a relationship or because you're meeting their friends or because their meeting your brother or whatever it is, nothing like that is ever smooth running.
I can scare myself like a pro.
If a role has been too one-dimensional, I have turned it down.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.