IN CONVERSATION WITH JACK BRETT ANDERSON

interview by JANA LETONJA
photography SYDNEY CRAVEN

Jack Brett Anderson will star in the feature film ‘A Night Like This’, releasing this September. He first caught the attention of critics for his debut theatre role as Prince Edward in Christopher Marlowe’s ‘Edward II’. He has also starred in several BBC productions, including ‘Casualty’, and his best-known role as teen wolf Matei in the critically acclaimed and award-winning fantasy series ‘Wolfblood’. 

‘A Night Like This’ has been described as existing somewhere between ‘Before Sunrise’ and ‘Weekend’. What was your emotional entry point into Lukas, and what drew you to this script?

I think those films, along with ‘A Night Like This’, are a great example of showing how so much can happen in such a short period of time, if you allow it. Lukas is probably at the lowest point he has ever been. I felt for him and wanted to be the navigator of his story and show it in the best way possible, with as much of my own life experience weaved into the character.

The film explores connection, redemption, and vulnerability over the course of a single night. What challenges did that compressed timeline present in terms of building chemistry with Alexander Lincoln?

I suppose getting to know each other personally in rehearsals and then to be able to come together and be vulnerable as actors to make the movie what it’s become. Our own start was really the same as to how our characters started to know each other, thrown together in some ways, and it felt very authentic. Challenges were the cold nights while filming and then making sure we executed our parts the best we could. We had open hearts and a lot of love for our characters and the story, so fortunately all the elements that came together made what we see now on screen. 

There’s a quiet intimacy and aching realism to the story. How did you and the director cultivate that atmosphere on set?

A lot of that quiet intimacy came from us being very present and centred to our story. The camera shots were carefully planned, the takes and the movements designed to capture the intimate moments and tension between the characters. The story is pretty much centred around Alexander and I, and with the shooting order mostly chronological, we all travelled that road naturally together, with everyone wanting to capture the story just right. We were all aligned. 

‘A Night Like This’ premiered at BFI Flare and has been on an international festival run. What has the response meant to you personally, especially within LGBTQ+ audiences?

Premiering at the BFI was such a special start for the film and especially winning the Audience award in Italy. It shows there’s a real space in people’s hearts for this story and it means so much that is being well be received. This is a raw story of a not so typical gay/bi story and sometimes that is what is needed. ‘A Night Like This’ is a fresh take on male relationships. It’s a privilege to be a part of it.

You made your stage debut as Prince Edward in ‘Edward II’ and were called ‘electric to watch’. What did that early critical recognition mean to you at that stage in your career?

I haven’t thought about that for a long time, but not being a classically trained actor, being cast in a classical play and then seeing words describing my performance like that was and will always be an overwhelming memory. It will always be a special and lasting feeling to have work like that have such a great response. It was an early sign for me to believe that perhaps I had a shot at this industry and that I should keep going. 

What inspired you to transition into directing and how did your experience as an actor shape your directorial approach in ‘Syndrome’, particularly working with actors tackling trauma and conflict?

I think directing is a form of leadership, and as a former army cadet, I believe it’s always been a part of me. That combined with Tina Jay giving me the opportunity to showcase those skills felt very timely and right for me to explore that side of the industry. The story of ‘Syndrome’ is a heavy topic, and required iron will and strength to portray it. We had to work with intelligent actors and multitude of experienced individuals to achieve it. I wanted to be a director to my actors that I hadn’t really ever had myself as an actor.  

You’ve played wildly different roles, from the teen wolf Matei in ‘Wolfblood’ to a con man in ‘Genius: Picasso’. What do you look for in a role?

I suppose, something different from what I’ve done, something raw and anchored in truth, a new challenge because with doing something I’ve already done, I don’t find much more to discover. I also think what is meant for us will happen and I suppose the life experiences I’ve had have equipped me to draw on those emotions and apply them to the different characters I’ve been fortunate to play and explore. Sometimes a role has or hasn’t come my way and mostly it has nothing to do with what I want, but what is wanted of me. 

Your work often touches on intense, even uncomfortable themes. What responsibility do you feel as an actor tackling socially charged narratives?

I think life can, for many people, be intense and uncomfortable, and art reflects life. Working on projects that tackle difficult or topical themes means being ready for the challenge of doing those stories justice, allowing viewers to be informed or to bring them some kind of escapism. I feel as an actor, taking on such roles and projects, we have a duty to know it can have emotional and long-lasting effects on viewers, so we have to take that seriously. 

Outside of acting, you’ve also walked the runway for Dolce & Gabbana and appeared in a Wolf Alice music video. How does working in fashion and music differ from acting? What do you take away from those creative intersections?

I think fashion and music are an extension of acting. All are a type of performance with different requirements. Walking for Dolce & Gabbana was a highlight, something very special. What a time and thing to be a part of. It’s electric up there and I loved every moment. Same goes for music. I’m no musician, but getting as close to what singer or musician does, is also very special and a great insight into the industry as a whole. We all have different mediums of art, and they all ask different things, but ultimately commitment to the craft is the common theme for me. I have also just performed in Perrie Edwards’ latest music video ‘If He Wanted To He Would’, - which was really fun to be a part of

What grounds you personally in the midst of a career that spans so many different kinds of work?

Grounding? I mean, don't we all want to fly? Well, getting to do so many different things is a form of flying, I think. And picking up new things as I go along and ultimately getting to do what I love. I guess I love what I do more than flying so that keeps me grounded. 

What can you share with us about your other upcoming projects?

‘A Night Like This’, which I am very proud of, is coming to cinemas on 26th September, and I’m truly excited for the world to see this story. I will also be seen in Season 2 of ‘Citadel’ on Prime Video, directed by Joe Russo, and a new film about mental health called ‘The Insect Life’.