Last Rites’ Star Ben Hardy on Horror and Hollywood

It was a week after his departure from EastEnders, and Ben Hardy was screen testing for one of Hollywood’s most anticipated films of the 2010s. He’d been tapped to take over the iconic role of Peter Beale from Thomas Law in the long-running British soap — and did so for two years — but, eventually, Hardy had bigger plans.

“Look, it’s a great gig,” the 34-year-old tells The Hollywood Reporter about his early career aspirations. “But I was keen to drop in and then drop out.”

He’d set his sights much higher than EastEnders, and it wasn’t long at all until the actor was rewarded for his tenacity. The following week, Hardy was in L.A. and preparing to make his feature film debut as Angel in X-Men: Apocalypse next to Jennifer Lawrence, Michael Fassbender, James McAvoy and Oscar Isaac. “I was trying to be like: ‘These are just people,’” Hardy admits. “But undoubtedly, I was starstruck by these people. I was very nervous.”

After X-Men, it’s fair to say the Devon-born star’s portfolio has varied. From James Krishna Floyd and Sally El Hosaini’s low-budget queer indie Unicorns to Netflix’s smash hit romcom Love at First Sight with Haley Lu Richardson, Hardy’s nearly done it all. He’s even been privy to the height of Hollywood glamor after his role as Queen drummer Roger Taylor in Bryan Singer’s four-time Oscar-winning Bohemian Rhapsody (2018).

One genre he is yet to conquer, however, is horror — until now. Hardy stars opposite Patrick Wilson, Vera Farmiga and Mia Tomlinson in the final installment of The Conjuring universe, aptly titled The Conjuring: Last Rites. Wilson and Farmiga once again play real-life paranormal investigators Ed and Lorraine Warren, who are forced to take on one last case in Michael Chaves’ film. Hardy plays Tony, the new boyfriend of Tomlinson’s Judy Warren, who dares not confess to her parents how strong her connection to the supernatural world really is.

“For fans of The Conjuring universe, I’d like to think of him as a breath of fresh air,” Hardy says about Tony Spera. “He gives you moments of reprieve, I hope, amidst the scares. I like to think of him as the golden retriever in the movie.” For those not familiar with The Conjuring franchise, now totalling four films with Last Rites, Tony’s your access point: “He’s never seen a Conjuring movie either, you know?”

Below, Hardy catches up with THR about his career up until now. He discusses being a newbie on a star-studded set like X-Men, why the film industry should be making more movies for $10 million and finding himself trying to impress Patrick Wilson like the man is his real father-in-law: “Sometimes those lines can get so blurred… Tony was also desperate to get Ed’s approval. So did I, in a strange way, become desperate to get Patrick’s approval? Maybe.”

I want to start on EastEnders because I read that you were a little bit claustrophobic, perhaps, on that set — keen to get out.

I think I was very aspirational. Look, it’s a great gig, and you make a good salary in an industry where there’s so many actors that aren’t working. We’re so oversubscribed. But I was very ambitious, yeah, so I was keen to drop in and then drop out. But I learned so much in terms of acting for [the] screen.

In hindsight, do you think starting on a soap was quite a valuable experience for your career?

I definitely do think so, because — maybe it’s changed now — but when I went to drama school, you do two weeks of TV and film training, which is just nuts, really. I hope that’s changed. [It’s learning] the basics of what you shouldn’t be thinking about, just hitting marks and knowing where the camera is. The more experienced you are, the better you are at this, but [just] having an awareness of where the cameras are so you know what audience you’re playing to but also not being so aware of it that you seems self-conscious in your performance… Things like that. But that just comes from time and practice, which you get on a soap, you know?

How did that enormous leap from EastEnders to X-Men happen?

X-Men, that was wild. God, I was overjoyed. I was young and it is exciting. It was a very surreal experience at the time, to go into that world that you’d witnessed from afar as we all do in the West: Hollywood.

When I was in EastEnders, maybe six months before I left, my U.K. agent was basically trying to help me get a U.S. agent by sending out a show reel to American agents. I then went to L.A. for a couple of weeks and met a bunch of U.S. agents. Got a U.S. agent and manager, and then from there, they started putting me up for things. And [the X-Men audition] was just one of the many tapes amongst thousands of people that probably auditioned for for X-Men, so I was very fortunate. And also did a good job, I like to think, through the audition process. But so I did a tape and then I met the director and then had a screen test literally the week after I left EastEnders.

Was that daunting or were you trying to take it all in your stride?

I think I was trying to take it all in my stride. I was trying to be like: “These are just people.” But undoubtedly, I was starstruck by these people. I was very nervous. And actually, day one, this was horrific… My first day on set, I was in this superhero costume and they all cost about at least $100,000 to make — these custom, made-to-measure superhero suits. But mine decided to split right by my ass, basically. So I had this gaping hole in my ass and Helene, a lovely woman, sewing up my rear whilst they were calling for me to be on set. And I didn’t want to seem like a diva to be late to set, but I also didn’t want to come on set and meet your Jennifer Lawrences and Michael Fassbenders with my ass hanging out. So I was in a real conundrum.

That doesn’t sound like $100k’s worth…

Something went wrong!

Then you’re in an Oscar favorite movie, Bohemian Rhapsody, playing Roger Taylor. What was that like, with the proximity to Queen too?

I was absolutely overjoyed to get the part because Queen are so huge, right? Especially over [in the U.K.], but also worldwide. But I don’t think any of us really expected the heights that that movie would reach. There were moments where we thought the movie wasn’t even going to get finished — that it was going to get shut down [disgraced filmmaker Singer was sacked before the film finished shooting, and replaced with Dexter Fletcher]. The storm that ensued afterwards was… I very much took it in my stride, but I kind of wish in hindsight that I had a better awareness of just quite how special that experience was. It was a whirlwind, and it was incredible, and I look back on it and think very fondly of it, but it was definitely something that was a seminal moment for me, for sure.

Do you feel like you didn’t stop and soak it up as much as you should have?

Exactly, yeah. Maybe through imposter syndrome. I think I so wanted to belong in this Oscar buzz season that I sort of tried to downplay everything I did through a lot [of the] early years in my career, to feel more like I belonged there. Every actor has imposter syndrome. Everyone on the planet has bloody imposter syndrome or [are at] different degrees along that spectrum. I was trying to be cool as a young man. But I think if I was to go through a similar experience again, I would definitely pause more often to take it all in. It’s definitely good to appreciate being in those moments.

Is the film industry Hollywood in Hollywood an enjoyable one right now? How has it changed since you entered 10 years ago?

It’s such good question. It’s hard to really gauge because it’s always constantly in flux, but more so than ever, considering the events of the past six years — with COVID-19 and then also with the strikes in Hollywood… I think especially in America, but also in the U.K., it definitely still feels like everyone’s finding their feet and getting a sense of the landscape. What does this look like now? I do feel that. And I think, obviously, you know, with the introduction of streamers, it does feel very different to what it did 10 years ago. The model feels very much different. It’s tough for me to gauge because I was a young man doing X-Men. There was definitely much more excitement around certain things, because they were new and they were fresh. [I’m a] man in my mid-30s now. Not that I don’t enjoy it anymore, but [I] enjoy it in a different way. I’m less intoxicated or overwhelmed by the thrills of Hollywood.

I think people have made such losses in our industry that the money men want sure things. If I was to try and be clairvoyant about the whole thing, I think they [should] probably look at the business, change up the business model, especially with streamers, and take [a lot] more punts on lower budget movies, especially when you look at like the success of independent film, things like Anora. If I was the man investing in these movies, not that I’ve analyzed the data, but that would be where I would go: “Let’s try and make some $6-$10 million movies [or] throw $20 million at the wall and see what sticks,” rather than spending $50 million on a movie where, unless it hits big, it’s not gonna necessarily make it back.

Love at First Sight was of course a Netflix film that did brilliantly. Were you surprised by the reaction to it?

For sure. People loved it. You never know when you make a movie. That was an independent film, but Netflix picked it up. It was 28 days shooting days and it was all pretty frantic, coming out of COVID. Haley and I were there with our visors, doing rehearsals together and stuff. I had zero idea [how popular it would be]. But I saw the movie and I love a romcom, and I managed to objectively find it quite heartwarming. Quite moving. I did think, I’m proud of this and happy with this. So when it did so well and people had those reactions, it was really rewarding as well. Because that’s why I do this in the first place, because movies have given that to me. So I want to try and give that to other people, too.

Would you return to the romcom world?

Fuck yeah. I love romcoms for sure. It’s tough — it’s hard to find something original within that genre because it’s been done so many times. But the right thing? For sure.

Lastly, before we get onto The Conjuring: Last Rites, I do want to touch on Unicorns, which was a real foray into queer cinema and lauded by critics as well. I can imagine that was a really artistically satisfying experience. Were you proud to put that one out into the world?

Yeah. That’s probably the work I’m most proud of, that film. Just in terms of how I think the film turned out and my performance and the feedback from viewers who it seems to have had a profound impact on — [especially] some people who are marginalized or feel marginalized. That feels like something I’m truly proud of. Also just from an artistic perspective, I was a big fan of Sally [El Hosaini]’s work, one of the directors, so to get to work with her… she’s very inspiring. She’s a tough one to top for any director I would ever work with. She’s truly spectacular.

The Conjuring, then… This is a huge franchise. Do you remember when you watched the first film in 2013?

I watched it at the cinema. I think it was 2013. I would have been 21 or 22, fresh out of drama school. I suppose I’m getting more into it now, but I’ve never been a huge horror buff, you know? But that’s one I went to watch. And I do think [The Conjuring] films are truly special. The “based on a true story” aspect within the horror genre is nuts. It just makes it that much more chilling and disturbing.

That’s interesting that you don’t consider yourself a big horror fan — was this a genre you’ve wanted to sink your teeth into for a while, or has it been more a happy coincidence?

It’s the latter. What I’ve grown to love about horror is the cinematic experience of it. It’s so great to see the cinema. And I’m not just saying this because it’s about to come out, but it’s a really communal experience going to the cinema and watching a horror. Or you don’t even have to be with anyone — go watch it on your own and and you end up collectively gasping and having those jump scares. I’m a big fan of community, I suppose. And there is a real sense of community watching a horror movie.

But as a viewer, generally, my relationship with entertainment was very much… at the end of the day I want to stick on something that’s going to transport me and take me away. That’s what I wanted. I wanted to relax. And I don’t find horror relaxing. So it’s a different viewing experience. But when this came up, [I thought] if I was ever going to do a horror movie, this franchise would be the one to do. I’m a fan of the Blumhouse [Productions] films as well… I like to try new things. I get bored very easily. So to try a different genre was exciting.

I saw it earlier this week, actually, and it was the first horror film I’ve ever gone to see by myself. I was watching it through my hands.

Oh, that’s really interesting. I’m curious how scary it is. I’m genuinely curious, because obviously it’s the first time I’ve acted in one and I watched it, and understandably, don’t find it [scary]… I read the script, but I did still jump at moments.

Well, that’s also interesting. So there were no moments through filming that you found frightening?

The scary moments on a horror film set are not in the filming of it. They’re when you’re caught by surprise, when you see [characters in costume] outside of [their] trailer, unexpectedly. That kind of freaked me out. But in terms of the filming of it, maybe the most you’ll ever get is the first take might be a little bit scary and you get into the realm of imagination, but other than that, that’s the nature of the job.

Sometimes I watch [scenes] I wasn’t a part of and I’d be like, “Oh, that’s trippy. That’s going to play well.” But it’s just very hard [to predict]. That’s probably what studios wrestle with when they make horror movies, trying to work out what’s going to get the scares. But I suppose when you read the script, you go, “Oh, that’s chilling, that’s going to be scary.” The first read of the script is probably more informative than anything.

So how would you describe your character, Tony?

To people that have never seen a Conjuring movie, I’d say he’s your access point, because he’s never seen a Conjuring movie either, you know? He’s new to the Warrens. He’s fallen in love with Judy Warren. They’ve done thousands of cases but to him, it’s all brand new information. So that’s his purpose from a storytelling perspective, I suppose. But for fans of The Conjuring universe, I’d like to think of him as a breath of fresh air. He gives you moments of reprieve, I hope, amidst the scares. I like to think of him as the golden retriever in the movie.

I was actually a little suspicious of him. I don’t know if I was meant to be…

When I first read the script, I was like, “Is that an angle we’re going down?” I think that the director didn’t necessarily want to pursue that, but to throw another element of suspicion into the mix in a horror movie is never a bad thing. But I don’t think I was playing for that… I know what you mean, because he’s asking lots of questions.

Patrick and Vera are legends of the genre now. What was it like to see them in action?

It was both exciting and intimidating. It’s their franchise and you’re stepping into it so you want to make a good impression, because understandably, they would be protective about it. But to be honest, they were just so welcoming from the start. They were very much there to help rather than judge, you know? I spent more time with Patrick, maybe just because I was in more scenes with Patrick, but both were just incredibly generous actors [and] very generous with with their franchise. I can’t really speak highly enough of them, and I think they’re both fantastic.

It almost mirrors the film and your characters a little bit, with Tony stepping into this new world he knows nothing about.

It definitely crossed my mind. It’s always funny whenever you get into that kind of situation when you’re filming something — sometimes those lines can get so blurred. Even to this day, I love Patrick and I think he’s fantastic, but Tony was also desperate to get Ed’s approval. So did I, in a strange way, become desperate to get Patrick’s approval? Maybe. But do I also objectively think he’s a wonderful man, father, actor? Yeah. So those lines do get blurred for sure but it’s quite useful to have those real-life situations mimicking the fiction.

I also only just realized Mia is British, too. Did that help with building your chemistry? Because your American accents are fantastic.

I enjoyed doing one, I’ve not done an American accent for a minute. And this time, I started staying in accents when I film, which can seem a bit wanky, but it’s incredibly helpful. It’s not a method man thing. It’s more just [that the] American accent is much harder work for the mouth. [British] accents are a little bit lazier. [American] R’s are much tougher for us to do, so to stay in it just helps keep those muscles active and alive and help you be less self conscious of it.

But in terms of building chemistry… Don’t get me wrong, I have many American friends that I love, but I think when you meet someone for the first time, if you’re in America and there’s another Brit, sometimes you gravitate towards them because you have these cultural similarities that you can relate to each other with. It’s an easy option. And Mia is great. She’s great in the movie. She’s cool, she’s very hard-working. She really earned the part, and she smashed it.

If the opportunity arose, would you return to the horror world?

I am open to it, for sure. But let’s see…