Rising star George Jaques is one of the most exciting names in British cinema. A polymath who finds new heights with each passing project, Jaques has become notorious for his captivating work both in front and behind the camera.

Only breaking through into mainstream attention since the turn of the decade, last year offering a promising performance in the captivating drama The Serpent Queen, and then more recently fully breaking through in the savvy crime caper, A Town Called Malice, earlier this year.

Acting is only one of the creative disciplines that Jaques has proved himself adept within; following a series of critically acclaimed short films over the past few years, the multi-disciplinarian has now stepped forward into conceptualising and creating a feature length effort in the shape of Black Dog, a film that has received a glowing reception at this year’s festivals, and looks set to skyrocket the young talent to stratospheric heights.

We had the pleasure of connecting with Jaques. Delving into his craft and future goals, we discuss his production company, Athenaeum Productions, upholding excellence across all of his creative pursuits, and the making and meaning of his debut feature flick.

Watch the trailer for Black Dog…

Read the full interview…

Hey George! How are you doing?
I’m good, thank you. Shitting myself and buzzing about the London Film Festival in equal measures… but good.

It seems like you’ve been in the industry for a long time, though you’re still so young. How did you first get into film and which sector of the industry initially called out to you?
I founded my production company, Athenaeum Productions, when I was 16-years-old. When I look back on it now, I realise that’s quite a weird thing to do at that age! But when you’re 16 you’re sort’ve fearless in some ways. I had never done it before so I think I was less afraid of failing. 

I wanted to be an actor at the time. I had never written anything let alone directed something. But I knew I needed to make my own work if I wanted to get a break. So I ended up writing a play called Dilate which was based on the teenage drug culture I had seen growing up in South West London. Truthfully, I had no idea what I was doing. I knew no-one in the industry.

My teacher’s best friend was a script editor and he agreed to read my play. He asked if “I was writing it to be good or writing it for my friends”, I said to be good, and he told me to “re-write the whole fucking thing”. It was a tough lesson but a vital one. I did re-write it and the show was fully sold out. I staged it in an abandoned railway arch in London Bridge and it started in a live rave. In the interval the audience went next door to a bar and when they came back in, the set was transported into a hospital. It was mad, but it really struck a chord with my audience. I think it was relatable and showed it in a reality that hit home for people. That’s how Sky first heard about me. Dilate really did kickstart everything for me. 

I got into film after that. Well, I did another play called Breathe and then had my writing performed at the National first. But during that, I met an actor called Jason Flemyng (Lock, Stock And Two Smoking Barrels) who became a mentor to me. I then co-wrote a short film called Silence. I had never been on a film set but I knew I wanted to direct it. So Jason and I produced it and I directed it. Jason made chilli con carne for the crew and we somehow pulled it off. It was a proper baptism of fire for me. I can’t really believe we managed to get a crew to come down to the park in London and help me make it. I’m forever grateful to everyone for just believing in me.

How does working in a cross-disciplinary way enhance your work or keep things fresh and interesting for you?
I never imagined myself to direct, write, act and produce. But now I can never imagine myself not doing one of those disciplines. I love being an actor on a set from The Serpent Queen where I played Samantha Morton’s sickly son to playing a tough gangster in Sky’s A Town Called Malice. I feel free when I’m acting, it’s so fun. It does feel like such a responsibility though to the people you are embodying. I think because my first co-lead was opposite Jude Law in HBO’s 12 Hour Live Epic The Third Day: Autumn where Jude and I had to literally go through all the trials for real; from digging our own graves to being buried alive (it literally all happened for real). I now always try to recreate that freedom when acting. I do a lot of prep so it means I’m able to just be in the moment. I’m not method though as that seems far too intense for everyone else around you.

When I put my directing, writing, producing hat on it’s totally different. It’s so rewarding seeing something you’ve created come to life. It’s also a huge responsibility as I have a whole team working with me and I’m under a huge amount of pressure to deliver the vision. 

I think this waffly answer is me trying to say I get something out of each of the hats I wear, I love them all differently. There are days, with each of them, that are so hard and it makes me question it all. But then there are days where I feel like the luckiest human alive doing what I do. 

Speaking of working across all parts of a film, congratulations on winning Screen International Star of Tomorrow for all four categories! What was that moment like?
Well this was very surreal, especially being the first person to win for all four categories (eeek!). I always find success really odd because imposter syndrome sometimes sneaks in and I think I’m always slightly scared that I just keep getting lucky. I had the same with being nominated for the Sutherland Award for Black Dog or for winning Breakthrough Creator at the Soho House Awards. 

I always remember where I was when I find out any good news and how happy it makes me feel. For Star of Tomorrow, I was on the way to stunt rehearsals on A Town Called Malice to rehearse being thrown off a cliff (it was mental). I called my agent who was so proud, and Ken Petrie, my producing partner. I think we all cried a little bit – I never expect to win anything. Then obviously I called my family!!!

How do you decide which projects to work on? Are there certain things you look for in them? Does this differ whether you’re up for an acting role or a director position?
I really trust my gut and my team. With acting, I really look at roles that are going to push and excite me. It’s not about the line count, it’s always about the director or the story. I think all the best actors are driven by that. I want to play interesting roles that really catapult me out of my comfort zone. Maybe not as hard as being buried alive live on TV but still.

As a director I’d be lying if I said I was sent loads. I usually direct my own writing. But in the times I do get sent scripts (which is always very flattering) I always read them and think am I really the best person to direct this story. There are so many incredible directors out there and for me to take something on with Athenaeum, or me at the helm, I really have to feel like I can add value. 

We’d love to hear about Black Dog! What can you tell us about this film?
I’ve been told not to spoil the big ending (Ha!). Jamie Flatters (Avatar: The Way of Water) and I met when we were both 16. He then, played the lead in my first short film Silence. We then ended up co-writing Black Dog when we were 18 and I directed it last year. It’s a coming-of-age road movie set between London and Scotland and explores themes on love, grief, sexuality and friendship. 

Two teenage boys from very different London backgrounds embark on a road trip North together. As they start to open up about their pasts, the boys learn they have far more in common than they first thought.

It stars Jamie Flatters, Keenan Munn-Francis, Nicholas Pinnock (For Life), Ruby Stokes (Rocks), Paul Kaye (After Life) and Hattie Morahan (Hijack). 

Oscar-winner David Parfitt (The Father) was our Executive Producer which always blows my mind. In May 2023, It was part of the Great8 Competition at Cannes and is now World Premiering at the 67th BFI London Film Festival where I’ve been nominated for the Sutherland Award (which recognises the most original and imaginative directorial debut). We fully sold out in 5 minutes of the tickets going on general sale and somehow I got 2 million views on the trailer in the first 24 hours of it dropping.

I’m beyond proud of it. I’m really nervous for the world to see it as it’s so close to me. It feels like you’re ripping my head open and watching my brain on the big screen right in front of you. But I am very excited. 
 

What are you most proud of with it or what was the most challenging part when working on it?
In terms of the most challenging, I think for a film, the budget was very low which makes everything very hard. Especially as my vision for the project was bigger than the budget. I constantly pushed myself and my team to find creative ways of getting the vision on screen.

I’m most proud of the performances in the film. There’s one scene in particular shot on the rooftops in Brixton Market where we had a mixture of rappers and actors. I think what was so exciting was just getting rid of the clapper boards and not telling them when we were filming, it made everyone feel at ease and we got such natural chemistry in those performances.

Then with Jamie and Keenan (the film’s leads) there’s a scene where we discover why Sam (Keenan) is headed up North. It’s a performance that broke me on set and still breaks me everytime I watch the film back. I’m so proud of what we created in the 4 weeks we shot Black Dog. 

What do you hope people take away from the film when they see it?
I really hope that people walk away thinking it was not what they expected.

My biggest inspirations were the likes of Fish Tank, Little Miss Sunshine, Good Will Hunting. I’ve always found those films really make you laugh and cry, and they hit you when you least expect it. That’s what I want people to say about Black Dog. I also hope it feels relatable to audiences. It’s a film that doesn’t give all the answers, there’s lots of room for you to fill in what happened, but it should make you question your own life. I wanted to show the compassion and complexity of two young men on screen who aren’t perfectly masculine cowboys. I hope you see there’s things in the characters you see in yourself (good or bad) even if you can’t totally relate to them. 

I think the best thing that someone who has seen it said to me so far is: “You know what it did, George, it reminded me of what it was like to be 17 and 18. I wanted to go with my mates to the pub and talk about the road trips we had.” That made me cry. That’s all I’ve ever wantedBlack Dog to do. 

You have had such a busy past few years — has there been a highlight of your career thus far? 
It’s always the people that are the highlight for me. Whenever I look back at my 7 years of doing this and running my company, all the highlights are always with the people I’ve met. Whether it’s Jason Flemyng and I running through Wandsworth Common with Chilli Con Carne for a crew or walking onto the wrong set when filming in a studio and putting the wrong George’s costume on. It’s always the people who are there for you when you need them and the moments you create together. Acting, writing and directing for me is just making moments on set and stringing them together. I am most proud of the relationships I have with my team and my co-stars, all the way from when I started to now. 

What’s next for you or what are you looking forward to moving forward?
There’s a top secret film that I’ve written and am working on that I’m not allowed to talk about yet as well as a couple TV shows I’ve created. It’s all very exciting! I can’t wait to get back to filming. I’m directing a music video, I can say that, but not who for!  Then as an actor, there’s some amazing roles that I’ve got my eye on. It sounds cliche but I’m really not allowed to talk about anything and I’m really bad at that…