IN CONVERSATION WITH WILL MERRICK

interview by JANA LETONJA

British actor Will Merrick will star as Nickleby, the tech adviser to Brad Pitt’s character, in Warner Bros. highly anticipated film ‘F1’, out on 25th June. Will is currently also filming for his retuning role on Apple TV+’s Season 3 of ‘Silo’, and is best known for his role in E4’s BAFTA-winning drama ‘Skins’. 

You’ll be playing Nickleby, the tech adviser to Brad Pitt’s character in the highly anticipated film ‘F1’. What drew you to the role, and how did you prepare to enter the high-octane world of Formula One?

I mean, to be advising Brad Pitt in any capacity is pretty ridiculously surreal. It was the job description of a lifetime. The whole team is like a fever dream. Joe Kosinski, off the back of directing an unbelievable action movie, ‘Top Gun: Maverick’, the legend that is Jerry Bruckheimer, Kerry Condon, who blew my mind in ‘Banshees’, Javier Bardem, I mean.

Securing the job then meant cramming in learning as much about the technicalities of the sport into a very short space of time. I realised pretty early on that it was unrealistic to scratch the surface of necessary information to play an F1 engineer. They are rocket scientists. I then focused on understanding race strategy, track conditions and why there are so many different kinds of tyres for one car. A lot comes down to tyres. I talk about tyres a lot.

What was it like working alongside Brad Pitt and Javier Bardem on such a massive Warner Bros. project?

I watched them shoot a scene together, just the two of them. It was all reactions for me in that scene so I was just staring at this thing playing out. Toe-to-toe, two legends of the game was like watching Nadal and Federer battle it out, but, you know, with emotion. Not that tennis isn’t emotional. And not that Brad and Javier wouldn’t have a good game of actual tennis, I reckon they would. They’re very athletic. I was struck by how much fun they were having. Just goes to show, however high the level, however big the production, the key is to keep having fun. That’s where the joy comes out. That’s what we want to watch. 

The ‘F1’ film explores mentorship in a high-pressure environment. Did you find any personal parallels between Nickleby’s role and your own journey in the industry?

That’s a good question. I was actually talking to someone about this the other day. Brad’s character, Sonny, comes into this team and turns it around. But he is incredibly humble about it. He seems himself as a facilitator and brings a message into the operation “Why settle for last? Why settle for second? Why can’t we win, every race, every moment?” The movie hones in on self-belief and self-confidence, of focus and execution. This is the largest production I’ve been on and so, without a doubt, the most potential for overwhelming moments. But I guess the movie is all about stepping up and ignoring the noise. I thought about that a lot. Forget the hype, just go do your job. Serve the story. Team effort.

You’ve also finished filming Season 3 of ‘Silo’ for Apple TV+. What can we expect from your character Danny in the upcoming season, without giving away too much?

Danny has seen things, man. He’s now at the centre of a conspiracy and is determined to let the people know what’s going on. He has felt the full weight of what happens when you stand up to it and the powers that be and has now seen behind the curtain. He’s a changed man.

He was very sassy and plucky in season 1. The sass is still there, you can take the boy out of the silo, you know. But the shine has definitely worn off him. He’s seen that the world is ruthlessly controlled by those with power and those who are terrified to let it go. He’s a freedom fighter now.

From ‘Silo’ to ‘Dead Pixels’ to ‘Bodies’, your TV roles span sci-fi, comedy, and crime drama. Do you approach genre roles differently, or is there a common thread in your process?

Yes and no. I think tone is everything, whether you’re creating the work or playing a role within it. My job is about understanding the tone and supporting the piece with my contribution. Serving the script. That’s what I love about what I do, the variety of style and tone we get to play with. I always want to transform as much as possible. But the goal is ultimately the same. I have a great friend, Laurence Mitchell, who talks about how every character has a fire in them. Everyone. It’s just about finding it.

‘Skins’ was a cultural phenomenon. Looking back, how did playing Alo Creevey shape you as an actor, and what does that role still mean to you today?

‘Skins’ was the start of my screen work experience. I always thought I was going to be on a stage. I thought of professional actors as theatre actors. Never crossed my mind I’d work in screen, so ‘Skins’ was a class in technique every day we were on set. Learning how it works to play characters when the lens is the audience. It was a long time ago and I’ve got great memories from it. It was my childhood job.

You’ve worked with iconic directors like Richard Curtis and acted in global hits like ‘Barbie’. How has your approach to performance evolved with each of these diverse experiences?

Learning never stops. I don’t love watching my work back, but find sometimes, not always, even if it’s a little uncomfortable, I learn something. Richard taught me to throw things away. Moments, lines. Not everything has to be pointed.

‘Barbie’ was my first blockbuster set, I guess. The scale was arresting. Greta knew exactly what she wanted from us. It was one of the smoothest jobs I’ve ever had. She told me precisely what she wanted and we did it. 

Winning an RTS Award for Best Actor so early in your career was a big moment. How did that recognition change your career trajectory or confidence?

It was a real honour for the performance to be recognised. I felt like I was at least doing something that someone connected with. Which was a boost at that very early, insecure point in my career when I felt like I was sort of fishing in the dark. But beyond that, I don’t really think about it. The imposter complex soon returns. Never gone for too long. That’s the battle.

How do you feel British television has evolved since your time on ‘Skins’, and what excites you most about its current landscape?

British TV has always been about breaking new ground, innovation and bravery. Telling unique stories in unique ways. I believe the industry must always continue this tradition. We can’t stop taking risks. I think when we play it safe, we corner ourselves in doubt and that’s a really hard place to be creative from. 

Channel 4 has always been a bastion of new writing and I hope they continue to chase that accolade. From work like ‘It’s a Sin’, ‘Years and Years’, ‘Mobwan’, it feels like they are still pursuing that goal. Evolution-wise, stories have become more diverse, more personal. Many storytellers now write, direct and perform their own work. I love that. I want to be a part of that movement. That’s my goal.

Looking ahead, do you see yourself stepping into directing, writing, or producing at some point?

I’m about to go into development with SunnyMarch for a feature I’ve written and am also producing a few projects which we hope will materialise next year. My dream is to one day front a production company. A house where we can facilitate loads of people’s work and develop projects that personally inspire myself and the people I work with and respect.

Writing is now a huge part of my life. It’s another journey that will take years to get a handle on, let alone master. But I’m in for it. I think if you enjoy writing, as an actor or otherwise, this is a great time to go for it. The public feels motivated for personal stories, so let’s tell them. 

Outside of acting, what are some of your other biggest passions?

I love to cook. If I wasn’t in this industry, I think I would be doing something around restaurants. There’s a romance to the whole show of it. I’m always excited by menus and service and the concept of places. A good friend of mine works in restaurants and he’s taken me on an odyssey since we started hanging out. There’s a rough plan to open a tiny kiosk restaurant one day. Let’s see.

CREDITS:

photograpy BARLEY NIMMO
styling NATHAN HENRY
grooming CHARLIE CULLEN
styling assistant DIEGO TARABAL