From “Boardwalk Empire” to behind the camera, Jack Huston considers the turning points that shaped his career, his approach to character and his expanding creative ambitions
Raised in and around film sets, Jack Huston’s path into acting runs between inheritance and intent. Growing up in England, he was somewhat removed from what the Huston name signifies in America, even as he found himself on set from an early age. One of his earliest memories dates back to “The Witches,” where his aunt, Anjelica Huston, starred as the Grand High Witch—a formative glimpse into a world that would later feel second nature.
Being surrounded by storytellers and directors like Nicolas Roeg gave him an early understanding of the craft—not just as performance but as part of a larger creative ecosystem. There was also a sense of inevitability; much of it felt familiar. Yet it wasn’t only acting that drew him in but the entire process of filmmaking—an evolving relationship with storytelling that, as he puts it, he has only grown more deeply in love with over time.
DAMAN: Was there ever a point when you considered stepping away from acting altogether?
Jack Huston: Yes. I remember being about 28. I had been in America for nearly eight years, going up for a lot of auditions but not necessarily finding the roles I really wanted. I wasn’t going to quit entirely but I was seriously considering stepping away for a while.
I had this idea of going to Brazil, living on a beach and trying painting and writing. Then, about two weeks before I was going to tell my manager, the script for “Boardwalk Empire” came in—originally for a different character. When I read it, I came across the role of Richard Harrow. I assumed they wouldn’t see me for it so I decided to take matters into my own hands. I put myself on tape, stuffed gauze in my mouth, created a voice and really went for something transformative—something I’d always wanted to do but hadn’t been given the chance to.
Somehow, it worked. I got the role. I’ve always seen that as my real break—not just because the show was successful but because it reignited my love for performance and character work. It brought me back to why I started in the first place.
DA: Looking back, when did things begin to click for you?
JH: “Boardwalk Empire.” Playing Richard Harrow was a turning point. I remember feeling so much while working on that character—going back to my trailer between takes and having these emotional moments, realizing just how deeply a role could affect you.
Over time, being given the opportunity to really explore characters helped build my confidence—not just in being on set but in bringing something original to a role and pushing it as far as I could.
DA: You often gravitate toward complex, sometimes darker characters. What draws you to them?
JH: I wouldn’t necessarily call it darkness—it’s more about complexity. I’m drawn to characters who are going through something, who are facing adversity, who aren’t immediately transparent. There’s no such thing as a completely straightforward villain. People are layered. Good people can do bad things, and bad people can do good things. That’s what makes characters interesting.
For me, it’s about digging deeper, trying to understand the root of who someone is. And the exciting thing about character work is that it can surprise you. Sometimes a character reveals itself in unexpected ways. There’s something very beautiful about that process.
DA: What still unsettles you—in a good way, that is—when you take on a new role?
JH: I think some people see fear as a negative thing. I don’t necessarily see it that way. When I take on something significant, there’s always a sense of pressure—you want to do it justice. But that feeling can be motivating. Life isn’t simple and it isn’t easy. It’s full of complexity. So, I like taking on challenges—things that don’t come naturally or easily. If you want to stay relevant, you have to keep pushing yourself, putting yourself up against something that requires effort and growth. The best work often comes from that place.
If you want to stay relevant, you have to keep pushing yourself, putting yourself up against something that requires effort and growth
DA: You’ve worked across film, television and stage. Does one feel more like home or do you enjoy the shift between them?
JH: I grew up on stage. Any chance I had to perform live, I took—it felt like food to me. I haven’t done theater in about eight years, but I was just saying the other day how much I’d love to return to it. There’s an immediacy to stage work, that direct exchange with an audience, that’s incredibly special.
That said, film has offered me some amazing opportunities, and I find that process equally exciting. I also really love writing and directing. Making “Day of the Fight” was one of the most rewarding experiences I’ve had. I wasn’t in front of the camera at all—it was about building something from the ground up. When you’re able to create something that’s entirely your own, it’s incredibly fulfilling. Every part of this industry has its highs and lows. I try to appreciate all of it.
DA: Your upcoming project “Spider-Noir” has such a distinct tone. What drew you to that world?
JH: I loved that it embraced classic film noir—the movies I grew up watching. My grandfather, John Huston, is often credited as one of the figures who helped shape that style in American cinema.
Film noir itself was heavily influenced by German Expressionism—the use of light and shadow, that heightened sense of drama. So, stepping into that world felt both nostalgic and exciting. And then, of course, working with people like Nicolas Cage and Brendan Gleeson made it even more special. From the first page to the final scene, it was a wild ride—funny, unpredictable and constantly surprising. What’s exciting is that the show gives audiences the option to watch it in black-and-white or color. It feels like we’re still finding new ways to do something original within a classic form.
DA: You’re currently in production for “Treasure Island,” a literary classic. What makes this version feel relevant now?
JH: It’s a really interesting take. There’s a lot of creative freedom in how the story has been expanded. Working with actors like David Oyelowo, Hayley Atwell and Tom Sweet has been fantastic. And personally, it’s a story I remember vividly from my childhood.
There’s something joyful about stepping into that world—being out on the ocean, playing pirates. It taps into that sense of adventure and imagination. It has that spirit of classic swashbuckling films—like the old Errol Flynn movies or even more recent things like “Pirates of the Caribbean”—that sense of escapism.
DA: What can you share about the series and your character?
JH: Aaron Graham is a bit like if James Bond existed in the 18th century. He works for the Crown and operates largely on charm and intelligence. But as we developed him, he became much more layered and complex. What’s exciting is that he doesn’t exist in the original novel so we had complete freedom to create something new.
DA: You’re also set to direct the indie biopic “Joseph Merrick.” How is that process coming along?
JH: I can’t say much but we’re deep in the process—working on the script, putting the film together. It’s something I care about very deeply. This story focuses on Joseph’s childhood and the final month of his life—areas that haven’t really been explored on screen. There’s a real opportunity to tell a more intimate, human story about him.
DA: Has directing changed the way you approach acting?
JH: Absolutely. It made me realize that there are many different ways to approach a role. Every actor has their own process. As a director, I try to create an environment where actors feel free—where they can explore, breathe and enjoy the work. Because that’s what it should be. The best moments on set are when you’re actually rolling and creating something. That’s the magic of it.
DA: What kinds of stories are you drawn to right now?
JH: Right now, I’m working across horror, biographical drama, adventure—even broad comedy. I don’t like to put limits on it. It really comes down to what sparks my interest. I try to stay open, keep reading, keep exploring—because you never know when something great is going to come along.
DA: If everything stopped tomorrow, what would you feel most proud of?
JH: “Day of the Fight,” probably—because of what it took to make it. But honestly, I’m proud of all of it. And more than anything, I’m proud of my kids—watching them grow, watching them discover their own paths. If one day I get to work with them, the way I’ve been lucky enough to work with my own family, that would mean everything.
Photography Lensbymi
Styling Kimberly Yvette Goodnight
Grooming Kim Bragalone at Redefine Representation using Kypris Beauty and Roz