Jeremy Irvine got the chance to play a mean-spirited entertainer in the form of Ivor Novello in Benediction. The film, directed by Terence Davies, follows the complicated life of World War I-era poet Siegfried Sassoon (Jack Lowden) as he grapples with both PTSD and a love life filled with disappointment.
One of Sassoon's many romantic interests, Novello lived from 1893 to 1951 and both acted in films and created music. Today's Ivor Novello Awards are held annually in London and recognize British achievements in songwriting and composing. Best known for 2011's War Horse, Irvine has held other prominent roles in Mamma Mia! Here We Go Again, The Railway Man, and Billionaire Boys Club.
In an interview with Screen Rant, Irvine discussed his perception of Ivor Novello, his experience singing live on set, and more.
Screen Rant: You’ve obviously been part of war films before, most notably War Horse over a decade ago. That film and Benediction are so unique in their own right. What draws you to these more unconventional stories in such a widespread genre?
Jeremy Irvine: I don't know if it's anything particular. It's just sort of scripts that I like, ones that I go after. I wouldn't say there's any genre in particular. If anything, it's probably the opposite. I'd probably go after something which I haven't done before. It keeps things new and exciting.
At the same time, an actor's career is only really chosen by themself to a certain extent. It's what roles fit in with your schedule and which ones you get cast in. I read this one, just thought that the dialogue was really beautiful, and sort of funny and witty. I enjoyed saying the words, so then I sent of an audition to Terence.
Can you tell me about your preparation process for the role of Ivor in this film?
Jeremy Irvine: I did all the usual stuff — research and what I could find about him online. I watched some of his old movies. Then, I sort of had this realization that I wasn't really playing Ivor Novello as Ivor Novello. I'm playing him as Siegfried saw him. Siegfried kept diaries throughout his life, avid diary keeper, but he destroyed all the diaries from when he was with Ivor. That sort of gives you an idea of how much he didn't like Ivor Novello.
I took that as a great excuse to play him as a real bastard. I'd seen a movie that he did called The Rat, which is a silent film from back in the day, and he's got this very heavy 1920s, 1930s-silent film era makeup, white face and dark eyeliner. I just thought it made him look really sinister. There's something really creepy and scary about him and I sort of latched onto that.
Also, in my career, I've met a couple of older actors that weren't particularly nice and had sort of predatory quality about them, so I sort of used a bit of that, as well. Basically, I took at as a great excuse to just be really horrible and vile for a movie [laughs].
What was the most fascinating thing that you learned about Ivor that you were able to put into your portrayal in the film?
Jeremy Irvine: We all know Ivor Novello now. If you do know the name, you know him from the music awards, which are very famous, but I don't think many people do know him. What surprised me most was learning just how famous he was back in the day. There's footage of his funeral in Cardiff and there's people lining the streets when he died. I think it's a funny look at how fame works.
Siegfried probably wasn't as famous as Ivor Novello was at the time, but Ivor had this sort of pop-y fame, I suppose, which ultimately faded as the years went by after his death and Sassoon's name has lived on. So, it was kind of interesting to learn about that.
When you first appear in this film, you’re playing the piano and singing. You also sang in Mamma Mia 2, so what was it like getting to do it again in Benediction?
Jeremy Irvine: In Mamma Mia 2, we pre-recorded, so you're basically miming along on set. This, we sung live on set. The difference is on set of Mamma Mia, everyone can hear the music, and me singing, and it's been beautifully, I don't know, whatever post-production they do on music between recording it in a nice studio and stuff.
When we filmed for this one, no one could hear the backing track, the piano, 'cause I'm pretending to play piano. I had a little earpiece with the music playing in the earpiece, but no one else can hear it. So, for everyone else, I'm just singing on my own with no backing track, pretending to play the piano. It must have looked really weird [laughs].
Ivor and Siegfried’s relationship is rather short-lived. In your opinion, what makes their differences so irreconcilable?
Jeremy Irvine: Ivor's one of those predatory people who, in this film, uses his fame to sleep with as many people as he can. I've met a few people like that in the acting world and yeah, they exist. So I basically took that and heightened it really made him quite vile.
Both Siegfried and Ivor are artists of some form and each has garnered a level of fame when they meet. How does that play into their relationship dynamic?
Jeremy Irvine: I think Sassoon probably never went after fame, whereas Ivor, recognition for his work is the most important thing in the world. The fact that Sassoon is probably more respected than he is is quite the point of contention for him.
You share the vast majority of your screen time with Jack. What was it like working with him?
Jeremy Irvine: It was great. Like all good actors, he makes life very easy for you. It's ultimately a team sport when you're on set. Terence Davies doesn't do many takes, so you really have to trust the person you're working with. Jack was great. Working with Terence, you've got to turn up and deliver in those first few takes because you might not get many more. Jack delivers every time.
When I watched the movie, the thing I was most struck by was Jack's performance. I thought he did a really good job.
How did working with Terence Davies influence the direction you took with the film?
Jeremy Irvine: Like most of the really experienced directors I've worked with, he knows exactly what he wants. There's what's called the second assistant director on set and the assistant director would constantly be saying to Terence, "Do you not think that we should go and get a closeup as well or we should go and get some coverage shots?" Terence would just say, "No, I don't need it. I won't use." The assistant director would be like, "Maybe we should do it just in case" and Terence would go, "I'm not going to use it. There's no point."
So, he knows exactly what he wants. I found that his writing, the way it's written, just told you exactly how it needed to be said. The script for my character didn't need much stage direction. It was obvious in the language how it should be done. I think that's a sign of a good writer and someone that's been doing it for many, many years.
What does it mean to you to be a part of a story like this?
Jeremy Irvine: I'm reading the script and the tragedy of it all just really got to me and I found it very moving. He has such unrequited love, which is tragic. When I read the script, I found it deeply moving and that was the main reason of pursuing the project.
A year ago, you were cast in HBO Max's upcoming Green Lantern series. Can you give an update on production? How excited are you to enter the superhero genre?
Jeremy Irvine: I am very excited. At the same time, it's been a project that's been around for some time. As far as I know, there's no start date, but when I get the call, I will pop on my green tights and be there. I think it's a very difficult time at the moment to get any project off the ground and I know they want to do that project in a very large scale. I think getting all the stars to align on such an ambitious telling of that story is difficult, and I hope it all comes together at some point. But these things, unfortunately, take a long time and they take a lot of different aspects to all line up.
Benediction Synopsis
Decorated for bravery during World War I, British soldier Siegfried Sassoon returns from service and becomes a vocal critic of the government's continuation of the war. Adored by the aristocracy and the stars of London's literary and stage world, Sassoon's experiences inspire him to write poetry about the horrors of battle.
Check out our other interview with Benediction's Jack Lowden.
Benediction releases in the U.S. on June 3 in select theaters.