Jack McMullen is no stranger to stories that cut to the bone—gritty, grounded, and gripping. From his early days on Waterloo Road to standout turns in Time, Hijack, and Joanna Hogg’s The Souvenir, the Liverpool-born actor has built a career rooted in emotional honesty and fearless range. In his latest role as Jamie in This City Is Ours, McMullen steps into the heart of a high-stakes power struggle, blending the intensity of British crime drama with the vulnerability of a man desperate to be seen. Speaking to us about the show’s ambition, working alongside Sean Bean and James Nelson-Joyce, and his evolving relationship with performance, McMullen offers a grounded, thoughtful take on what drives him—on screen and off.
1. This City Is Ours brings you back to the world of intense, character-driven crime drama. What drew you to this project, and how does your character fit into the story’s gritty landscape?
I read the first episode and loved it, then I met with Saul Dibb (director) and Simon Maloney (producer). They outlined the vision they had for the show, referencing shows like The Sopranos and The Wire but set against a Liverpool backdrop, and I knew it was going to be a really exciting project. Stephen Butchard was writing the series as we were shooting, and as each episode came in it kept getting better and better. It’s got that kind of high stakes British crime drama feel to it, but it also focuses on family and relationships and how far people can be pushed to protect the people they love. It’s fast paced and entertaining yet you see the human side to these characters in a way that’s maybe uncommon for the genre. I play Jamie, who is the son of organised crime boss Ronnie (Sean Bean). When Ronnie announces he’s planning to retire, it sets off a battle for power between Jamie and Michael (James Nelson-Joyce). Michael has been Ronnie’s right-hand man for years and is probably a more legitimate candidate, but Jamie knows if Michael takes over he and his young family will be sidelined. Jamie’s reckless and impulsive but you can see the child in him, just wanting to be accepted by his family.
2. You’re working alongside actors like Sean Bean and James Nelson-Joyce in This City Is Ours. What was it like sharing scenes with them, and did you take away any new insights from their approach to acting?
I’ve had the privilege of working with them both before and was excited to hear they had been cast. James and I have been close friends for a long time, and getting to work with him on something like this was really special. Sean is a phenomenal actor, we’ve all grown up watching his work and I think we were really lucky to have someone of his calibre leading the show. I was really impressed with the whole cast to be honest; it’s a real ensemble piece and something we’re all really proud of. The first 6 weeks of shooting were in Spain, we were all away from our families and that really helped create a bond between the cast and crew. I think this stood us in good stead when we took the show back home to Liverpool.
3. Your career has spanned everything from high-stakes thrillers like Hijack to emotional dramas like Time and Common. How do you prepare differently for roles that demand such distinct emotional depths?
Every job is different but for me the approach is generally the same. The aim for me is to try to understand the writer’s vision and then see what more I can add that may not be obvious on the page. It all starts with the script, and then it’s our job to build on the world the writer has created and see what layers we can add. Then when it comes to shooting it’s just about feeding off each other’s ideas and trying to be as truthful as possible.
4. Looking back at The Souvenir and its sequel, what was the most rewarding or challenging aspect of playing a lead role in Joanna Hogg’s acclaimed films?
Joanna has a unique way of working in that her films are mostly improvised, which was different to anything I’d done before. It was challenging in that there was very little script, we’d know the general shape of a scene and then find it ourselves. We had the luxury of shooting really long takes, sometimes up to 40 minutes – Joanna would leave the camera rolling long enough for you to almost forget that it’s there. I think the reward is that this approach lends itself to more naturalistic performances, which it gives her films a real immersive quality.
5. Many of your projects tackle powerful, real-life themes, from Little Boy Blue to Common. Do you feel a responsibility when portraying characters in these stories, and how do you balance authenticity with performance?
There’s definitely a responsibility when you’re making something based on real-life. I think it puts extra emphasis on making sure you prepare properly and you’re as informed as you can be on the subject matter you’re dealing with. Fortunately, there’s a lot of hard work from producers and writers before you begin shooting to ensure that the script is as truthful and accurate as possible. That gives you the freedom then to go about your work knowing that the story is being approached respectfully.
6. You’ve also built an impressive stage career with Henry V and the Witness for the Prosecution. How does working in theatre compare to film and TV, and do you have a dream role you’d love to perform on stage?
You can’t beat the buzz of performing in front of a live audience. There’s a certain time pressure with film and tv, you can be preparing for months to shoot a scene and you might only get a couple of takes to get it right. Whereas with theatre you usually have a few weeks rehearsal period to work it out and then you get to experience it over and over again. There’s something nice about each show being different, and only experienced by the few-hundred people in the room at a time. I wouldn’t say there’s a particular role I’ve always wanted to play. I really like new writing, knowing that you’re making something nobody has seen before.
7. You’ve been acting since your early days in Moving On and Waterloo Road. What’s the biggest lesson you’ve learned as you’ve grown in the industry, and how has your approach to acting evolved?
I think it’s just about enjoying it as much as possible and not overthinking. It can be hard work sometimes when you’re away from home and working long hours but these experiences can be fleeting, and it’s a privilege to do this for a living. One of the great things about this job is it’s allowed me to travel around and meet some really interesting people and I’m grateful for that.
8. As a rising star in British cinema and television, what kind of roles or projects are you most excited to explore next? Is there a genre or director you’d love to work with in the future?
I’m in it for the new experiences. I love working with new people or pushing myself to do things outside of my comfort zone. I’ve been watching a lot of British independent films recently, maybe it would be cool to do something like that next. The great thing about this job is you never know what’s coming next, so I just try and stay open and ready for whatever comes my way.
Photography – Lee Malone
