Okay, so I just finished watching Return to Silent Hill, and it’s pretty messed up! The movie follows James Sunderland, played by Jeremy Irvine, who’s seriously heartbroken over the loss of his girlfriend, Mary. He gets this weird letter that pulls him back to Silent Hill, and things just spiral from there. He’s trying to figure out what happened to Mary, but the town is full of terrifying monsters and, honestly, it starts to mess with his head. It’s based on the Silent Hill 2 game, and Christophe Gans, who did the first Silent Hill movie, directed it. It really gets into James’s own darkness as he tries to survive, it’s a wild ride!
In a recent interview with ComicBook, Irvine discussed his passion for the Silent Hill game, as well as his work on the character development, creatures, the ultimate destiny of James, and the cancellation of his Green Lantern comic series.
As a longtime player of the Silent Hill video game series, what specifically captivated you about its story and artistic style?
Jeremy Irvine recalls receiving the email about the project and being immediately struck by the game’s atmosphere. He’d played it as a teenager, around 14 or 15, and remembered a strong, melancholic feeling that really connected with his feelings at the time. More than the story, it was that atmosphere that stayed with him, as the game was a significant part of his youth. When he was offered the job, he thought his younger self would be thrilled, and that’s why he accepted.
Playing James, I really had to dig deep into the character’s trauma. To get into that headspace, to feel that pain and vulnerability, especially while filming in all those dark and gritty environments, I focused on understanding what specifically caused his emotional scars and then letting those feelings naturally influence my performance. It wasn’t about acting sad, but genuinely feeling the weight of his past while navigating those tough locations.
It’s crucial to deliver your performance accurately. Getting emotionally invested isn’t enough if it doesn’t translate on screen; it just makes things unclear. I revisited the game for ideas and realized the character of James is essentially a starting point. As the player, you project your own emotions onto him. The movie version is different – the audience expects the actor to show those emotions. That’s when I understood we needed to give James a wider spectrum of feelings to portray.
I wanted to add some new elements to the character. For the story to be believable, he had to have an existing inner darkness that would eventually turn him into a monster. I aimed for a subtly sinister side to his personality. There were specific scenes – like the mirror scene and the one at the rest stop – that I really focused on getting right, as they’re so memorable. Ultimately, I felt we needed to add more depth and complexity to make the story work well on the big screen.
The Nurses and Pyramid Head, beloved characters from the video game, were brought to life on set. What was it like working with these iconic creatures as practical effects instead of relying on computer-generated imagery?
Everyone involved was incredibly skilled and committed to their roles as these creatures. It was wonderful working with actors who truly embodied their characters – something I really appreciated after years of acting opposite props! I believe audiences can sense that authenticity too; when performers are fully present, it adds a realness that makes a big difference.
The nurses in the game were portrayed by a Serbian ballet troupe, and they were incredibly frightening while in character. As soon as the director called “Cut,” though, they’d all burst out laughing. I especially remember ‘The Armless’ – it genuinely scared me when I played the game. I filmed the first scene with that character, and then the actor took off the prosthetic pieces, revealing a beautiful Italian dancer underneath. It was a really strange and unexpected contrast – this terrifying creature turned out to be a very graceful performer.
What about Pyramid Head, who is associated with this game?
That performance was really impressive! The actor did a fantastic job – you can tell they’re a professional. They seem to do a lot of work playing characters like that, and they were incredibly convincing and intimidating. I love the costume so much that it’s exactly what I’d wear to Comic Con if I ever went.
This game has different endings based on the choices you make. What did you think of how James’ story ended? Did it feel like a fitting conclusion for his character?
I recall Christophe discussing how the ending was intentionally open to interpretation, which always puzzled me. I believe that was the goal – to allow the audience to draw their own conclusions. The game lets you replay it, offering the established world or the freedom to create your own meaning. That’s a major reason for its popularity; the possibilities for interpretation are vast. You can find countless discussions on Reddit about the symbolism and metaphors within the game. That’s what makes it so engaging – everything operates on a metaphorical level. The entire world of Silent Hill is rich with symbolism, and I think the ending fits perfectly within that tradition.
We deliberately left some questions unanswered – like what everything means, where the characters ultimately end up, and even whether James is still in Silent Hill. We wanted to create something open to interpretation, and I personally enjoy that approach. A lot of TV shows today feel the need to over-explain everything. I’ve recently worked on projects where the studio insisted on characters constantly explaining their past and current actions in every scene. It’s a nice change to work on something that trusts the audience to draw their own conclusions.
You previously auditioned for the role of Alan Scott in the Lanterns TV series. Can you describe what that audition experience was like? Also, what aspects of Greg Berlanti’s concept for the show really stood out to you?
I’m a big admirer of his work and really loved the scripts. The project had a lot of talented people attached, and I was thrilled to be considered. It’s common in this industry to commit to projects that ultimately fall through – it happens all the time, though usually without a public announcement. In fact, I often sign on to around twenty projects a year that never actually get made. This one was something I was particularly enthusiastic about, and I’d definitely be happy to work with them again if they asked.
There is a lot of meat to the Alan Scott character. What were you eager to delve into?
To be honest, it was quite a while ago, five or six years, so the details are fuzzy. I always do a lot of research when I’m considering a role, but you quickly rule out the ones that aren’t a good fit. I’ve moved past that phase now.
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2026-01-22 20:13