GRUMPY MAGAZINE - Jack Wolfe (Solo Edition) by Grumpy Magazine

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ABOUT Grumpy Magazine is an international digital and print publication founded and curated by Jasmine Perrier. Selfpublished from France since 2016, we aim at covering the cultural landscape across the world and sharing a genuine vision of life to get you out of your grumpy mood. More than just a magazine, we are interested in aesthetically pleasing a modern take on traditional staples and thus offering a unique book capturing thoughtful stories and stimulating sceneries. This standalone feature is taken from Grumpy Magazine’s IN CONVERSATION series and exclusively available as a solo story featuring one talent and 20+ pages of interview and photos.

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COVER | Jack Wolfe wears Kata Haratym shirt Gant pants | Ray Chu skirt (worn as belt) | Mi Manera jewelry

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SPECIAL THANKS BACK COVER | Jack Wolfe wears Gucci suit from My Wardrobe HQ | Tamar Keburia shirt Lage necklace

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he fantasy lives of Jack Wolfe

It’s magic all the time. The Shadow and Bone newcomer has a conversation with his co-star from The Magic Flute Iwan Rheon about lessons learned from acting, music, and self-love.

INTERVIEW BY Iwan Rheon PHOTOGRAPHY BY Makiyo Lio VIDEOGRAPHY BY Rodney Rico STYLING BY Ruta Jane GROOMING BY Nadia Altinbas POLAROIDS & PRODUCTION BY Jasmine Perrier at Studio J•T•P STYLIST ASSISTANTS Jonathan Bekantoy & Amelia Connolly LOCATION The Portobello Hotel

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IN CONVERSATION WITH

Jack Wolfe 06

hen Jack Wolfe walks into The Portobello Hotel, he is in high spirits, immediately filling the Marvellous Room with his effervescence and

genuine kindness. It is an early afternoon in January and he is gearing up for the next enchanting phase of his career, which is none other than the global fantasy phenomenon Shadow and Bone. Following his lead performance and dual role in the musical film The Magic Flute, based on the opera by Mozart, the actor will bring to life a beloved and long-awaited character in the second season of Netflix’s adaptation of Leigh Bardugo’s bestselling book series. In conversation with fellow actor and musician Iwan Rheon, Jack reflects on his promising year, the beauty of performing arts, and the power of being authentically yourself. This interview has been edited and condensed for clarity.

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‘‘

As an actor or a creative person, when you have the space to honor those quirks, those parts of yourself that you were afraid of, you put them on a stage so other people who feel that way can see that represented.

JACK WOLFE: Are we kicking off?

’’

IR: It was really strange. I don’t think we should focus too much on the pandemic [laughs], but I remember being in Munich and feeling a sense of relief to be there doing something creative again.

IWAN RHEON: Just so you know, this is about you, not me. Ok, Jack? I’m going into podcast mode. JW: Podcast mode is great!

JW: Absolutely. It’s obviously nice not to focus on that, but it’s also important because I feel like it’s such a part of the fabric of the film we made. Because the whole thing is about live performance, music, and community. That’s something that all of us were missing. Also, I was nervous to even just meet new people again during that time. I’m a very big people pleaser, so making your first impression on someone is scary enough, let alone after a year of sitting in my room [laughs].

IR: To start, we should talk about how we know each other. We first met in Munich in 2020 after the first major lockdown. JW: Yes! What’s so interesting is that The Magic Flute took off during the time where it felt like the world was crumbling and unsure. So, it was a very strange time to make a friendship [laughs]. IR: It was nice to get out of the house, wasn’t it? Then, we were doing rehearsals for The Magic Flute.

IR: A lot of actors have this imposter syndrome. I certainly have that feeling. I think experience helps, but coming out of a period where you’ve not really been out and you’ve not really met people — did you feel like that was a lot of pressure?

JW: And we were starting to get to grips with the musical aspect of it. It was also the first time that I’d seen somebody in real life who was also connected to the film, because I auditioned for it years prior when the project was something completely different. And then, lockdown happens and you know that you’re doing a project which is exciting, but also quite scary. I feel like you remained very much like a grounding force for me the whole way through. So, it was great that I met you at the beginning.

JW: I did feel pressure but again, that’s indicative of my personality. I think I do have a lot of imposter syndrome, and it was definitely amplified by that time away and a lot of overthinking. So, meeting a cast that was [probably] frightened in their own way, but also welcoming and excited to jump into something, was really beneficial

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for me and it was the best way to throw off that imposter syndrome. I’d never taken on a project of that size before and I didn’t know that film was ever going to be a part of my creative journey. But also, I know now from that project that the best way through is with the help of other people. Our vocal coach, Sam Kenyon, was not just helping me sing in a way that would honor the material, but he was also so great to talk to as a person. And then, I met you and the cast who were all ready to face the challenges together. The whole theme of The Magic Flute for me is lessons and learning.

about collaboration, and your work is only as good as the work of people around you. Coming onto a film set for the first time, you get stunned by the vastness of it and how many hundreds of people there are.

IR: It feels like our film is a coming-of-age story, doesn’t it? Going onto something like Shadow and Bone, did you feel the same way? Or did you feel that because of your experience, you were able to take what you’ve learned and make it easier? Because it’s a completely different set of circumstances, a different country, different people...

IR: That helps when you feel like you’re part of a team rather than being an individual in a massive machine. The best work comes from being a good team member, and then getting on with the job. Have you been doing any music?

IR: It is overwhelming, isn’t it? JW: Yeah! So, you were teaching me that and that’s something I took in Shadow and Bone. Your job [as an actor] is your job, but your job is also to make everyone else’s job as easy as possible for them so they have a good working day.

JW: That’s a good question. Have you been doing music?

JW: I think there are lots of reasons why it felt different. I’ve never been somewhere for a really long time and had to really face it. I knew more technical things which also makes you more confident. But I was super lucky that the cast and the whole team of Shadow and Bone were like a huge family. And I was stepping into something where they already knew what they were doing. I just had to play my part as best I could, literally and figuratively. I was also excited to get back onto a set and play a character that felt far away from Tim and The Magic Flute. I think Wylan and Tim share certain aspects, but ultimately, they are completely different characters in a completely different world. I think the excitement of that definitely made it easier as well.

IR: Yes, but this isn’t about me, Jack! [Laughs] JW: I know! But it’s good to know because it’s something that can often take a backseat and become something else. I was writing a lot of music in lockdown, and then it goes away and you neglect it. Recently, I’ve been writing more for myself, but I don’t know if it will ever see the light of day outside. IR: Were you writing on the guitar, the piano, or both? JW: A bit of both. I’ve been moving house, so mostly guitar at the moment. IR: Cool, we should do a little gig.

IR: Who taught you what to do about looking at what everyone else is doing?

JW: Definitely. That would be fantastic. IR: As your life changes, you’re becoming a working actor, busy moving house, how does it influence what you write about?

JW: I remember the day you taught me that. We were on set in front of a massive green screen in the Bavaria Film Studios in Munich. I remember you were teaching me the practicalities of what certain people are doing. And the most important thing was, ‘‘This is how we make that job as enjoyable as possible for them.’’ This was a huge lesson for me because in theater, which is a world I’m a bit more accustomed to, it’s all

JW: It’s difficult to explain because I think it becomes less about what’s going on around me and more about what I want or what I am aiming for. I’ve always been someone who wrote stories about things that were far away from myself and I wanted — which

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JW: [Laughs] I wish I felt that more. You can feel it though, when you finish something and that feels right, or when it doesn’t feel right. I think our job is to find out what those things are and then make it work. On stage, when you visit a story every night and you become more comfortable with the words and with people around you, you can definitely feel it.

is why I think I was always drawn to things like high fantasy or circus. But like you said, as life is happening around me, the stories I want to tell get a little bit closer because I’ve experienced more life than I had when I was a kid, so that stuff becomes interesting. IR: It’s interesting. And when you look back at what you’ve written, it will tell you a lot about how you felt at that time of your life. But for people that don’t know, music was what you did before you became an actor. Am I correct in saying this?

IR: Because you have an immediate response from the audience. There is a horrible feeling when you’re getting a laugh every night, and then, there is one night you don’t get a laugh and you don’t know how to get it back. Then, maybe three weeks down the line, you get a laugh again and it’s a weird thing. With film, you have to hope for the best because it’s out of your hands.

JW: Yes, you are very correct. My mom teaches piano and singing — she was my ultimate piano teacher — and runs a community choir. My dad works a lot with brass bands. Collective music was a huge part of my upbringing. I was super lucky because when I had sights on writing music and wanted to take that further, I was supported by them both. And then, I went to a youth theatre every Saturday morning in Wakefield, run by this incredible practitioner called Sarah Osborne, and I found that all exciting. She was inviting people who were drawn to theater or people who might not be fantastic communicators in day-to-day life to create together and amplify our voices — not only as drama does, but also on a very basic level. Looking back now, I talk about it so much because it was so fundamental for me. I was shy as a kid and I couldn’t get past what that feeling did. And I joined the National Youth Theatre for a bit as well. It was such an exciting pool for me, which is why I went away from music. It’s ironic that my first project was an alternate universe in which I go to music instead of acting.

JW: And so many other people are involved in your performance, people you might not get to meet. IR: What are you up to now? What’s in the pipeline after you’ve moved? JW: Shadow and Bone comes out in March. I’m currently gearing up for what that involves. IR: I look forward to seeing it. I really enjoyed the first season. I can’t believe you’re doing the next one. It’s definitely going to be watched in my household. But there is no theater or anything in there? JW: I’d like to. We’ll see because there are so many exciting things happening. IR: I guess now you’re in a place where you can have a bit more time, be more relaxed about your choices, and do what you want.

IR: Do you think that acting is your way to be able to fully release and be present? JW: That’s a really great way of putting it. I think that’s true, and the presence is a huge part of that. I always feel far more present when I’m on stage. It is also fun to collaborate with people to play and create something that isn’t real. When it goes right and you’re all in agreement that it’s working, it feels amazing.

JW: I definitely aspire to that. But there is something fun about the fact that as actors, especially at the beginning, you don’t really get to choose. I’m like, ‘‘What kind of opportunities are coming my way? Are they going to push me to something, or do they frighten me in a way that is exciting?’’ I think you have that choice, but there’s so little that’s in your control unless you decide to focus on your writing.

IR: Do you feel that when you’ve nailed a scene or whatever?

IR: Do you have aspirations to write a script or stage play?

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JW: That would be great if one day I could be brave enough to take those things out of my bedroom and onto a stage. But that’s a whole journey because I would wonder where to start. There are a lot of things that would have to happen for me to be ready for that, but that is definitely an aspiration.

IR: It’s ok to be whatever you are. JW: I think we’re all trying to find some authenticity, whatever that means. We’re all trying to discover what makes us individually happy and comfortable. It’s a really magic thing when you’re able to accept those things and not hide them. It’s like, ‘‘This is who I am and I know there are a million other people who are like that.’’ In its way, it’s been really helpful and made me less scared because you know that you’re saying things that other people will be grateful to hear, I hope.

IR: It’s quite scary. I started writing something the other day. I don’t know what it is yet, but that’s one way for us actors to fill that creative gap when you’re not actually doing the job. JW: For me, it’s always about what other things I can put that creative energy into. What’s great about writing is you get the chance to explore things that you really want to explore, or things that you might find interesting that other people don’t yet.

IR: How do you feel about 2023? Do you feel positive? JW: I’m excited to see what it brings and to reconnect with people from before. I’m excited to catch up with you at some point in real life. I think this spring is going to be exciting, and it’s great when you see all the hard work come to something. Also, we haven’t seen Shadow and Bone all together. I can’t wait to see all my friends’ hard work on it, and then, to see how people receive it because they have been waiting for it. I hope that they’re happy. It’s an interesting feeling when you’re doing an adaptation of something and you see people’s excitement about how their favorite part of a book is going to be adapted, how their favorite part of a character is going to be adapted. And you take that with you a little bit, it’s a feeling of, ‘‘Do I pretend that doesn’t exist or do I try and honor that?’’

IR: I remember you said something which I thought was really good, when we were doing the press for The Magic Flute. You said you always tried to fit in as an actor, but then you realized that your individuality is what makes you interesting. You put it a lot better than I just did, but I thought that was a cool thing to discover. JW: Thank you. I think that is a huge journey for anyone who feels that way. Now, especially with Shadow and Bone, it hasn’t come out yet so people haven’t seen what I’ve done with Wylan. But people who’ve read the books really care about that character. And I see a lot of myself in that character. As an actor or a creative person, when you have the space to honor those quirks, those parts of yourself that you were afraid of, you put them on a stage so other people who feel that way can see that represented, and then they don’t feel like they’re alone. Ultimately, I think we are all connected, but we are all connected in our differences and the things that make us unique, strange, or whatever. It’s a really hard thing to do because it goes against all of your natural instincts to be vulnerable in that way, but it’s something I always want to do.

IR: I’m sure it will be explosive. What’s nice about being the interviewer is you can take a little step back and go, ‘‘It’s weird.’’ This was not that different to a normal conversation. JW: You’re really good at it. IR: You’re really good at speaking because you have things to say. It’s been an absolute pleasure speaking with you. JW: Thank you so much.

shadow and bone season 2 premieres globally on march 16, 2023, only on netflix the magic flute is currently released in the us and many countries around the world

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‘‘

Ultimately, I think we are all connected, but we are all connected in our differences and the things that make us unique, strange, or whatever. It’s a really hard thing to do because it goes against all of your natural instincts to be vulnerable in that way, but it’s something I always want to do.

’’

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