Alexander Johnson doesn’t talk like someone chasing an image.
Photo Credit: Ruben Davies
He talks like someone who’s put in the hours. At 6’4”, with a calm intensity that reads immediately on screen, Johnson has begun to surface in a run of prestigious projects. From The Chronology of Water, a Cannes Un Certain Regard selection, to Wizard of the Kremlin, which premiered at the Venice Film Festival, and most notably Out of This World, where he takes on a substantial supporting role under director Albert Serra, often described as Cannes’ darling, Johnson’s story is less about overnight success and more about preparation meeting opportunity.
Physically, he carries the kind of presence casting directors describe as “frame-ready.” Tall and athletic, with strong bone structure, clear blue eyes, and dark, slightly unruly hair that softens a square jaw, Johnson has the rare combination of approachability and authority. There’s an ease in the way he holds himself, shoulders relaxed, gaze steady, that suggests control rather than effort. He dresses with understated precision: tailored coats, sharp knitwear, clean silhouettes. Off set, he moves through the world with the polish of someone already accustomed to attention, maintaining privacy without hiding, living with the quiet confidence of a man who understands that image is an extension of discipline, not ego. In many ways, he already lives like a movie star. The difference is that the industry is just catching up.
“I’ve always loved films,” Johnson says. “I was a total movie geek growing up. The first thing I learned to do as a kid was operate the VHS tape machine so I could put films on myself.” That fascination never faded. “To this day I still watch a movie a day.”
Acting wasn’t a carefully engineered plan. “I actually ended up at acting school by chance,” he explains, recalling how his parents sent him to the same school his sister attended, only for it to have evolved into a performing arts-focused environment by the time he arrived. “I was a quiet kid and I hadn’t grown into myself yet. I was the smaller kid compared to the others, which is ironic now because I’m 6’4”. Being around performing arts opened a door for me.”
At home, instability shaped his outlook early. “My dad’s career went up and down like a yo-yo. We went from doing really well to losing the house,” Johnson says. “That teaches you early that nothing is guaranteed. You have to adapt and keep going.”
Like many actors, his breakthrough didn’t come young. “As almost everyone knows, it’s a very hard industry to break into, and I didn’t get my opportunity at 22. It came later.” In the years between, he did what was necessary. “I had bills to pay, so I grafted. I worked a lot of different jobs, including being a stockbroker when I was younger. It wasn’t glamorous. It was about getting by and building a life.” That period proved formative. “It taught me discipline, pressure, and resilience. When the acting opportunities came, I was ready for them, because I’d already done the hard miles.”
On set, Johnson approaches each project as an education. “The biggest learning is being around great actors and great crews. It raises your level,” he says. Reflecting on The Chronology of Water, he adds, “Imogen is immensely talented, and she’s a genuinely lovely person. Watching her work was an education in itself.” For Johnson, progress is incremental. “Practical experience like that is priceless. It’s how you move up another layer in the layer cake.”
That steady ascent is about to shift gears. Johnson’s next film will see him step into his first full leading role, and firmly into action territory. For the first time, he won’t just be the grounded presence in the room; he’ll be the engine driving the story. The role leans into both his physical stature and his controlled intensity, positioning him not only as a dramatic lead but as a bona fide action star.
Alongside acting, Johnson is writing and developing his own films. “I’ve always wanted to make films, but for a long time survival had to come first,” he says. “Over time I realised you have to find your flow, and for me that came from building the right partnerships.” His instinct is action-oriented. “I’m a doer. I like to be working hard and getting results. Creating films is a natural extension of that.”
That work ethic extends beyond cinema. Johnson is also the owner of Johnson Reserve Whisky, which last year broke the Guinness World Record for the greatest variety of flavours in a whisky. “The Guinness World Record came from a passion project,” he says. “I wasn’t chasing a title, I just wanted to create a great product. Proper whisky is hard to come by, and I got obsessed with getting it right.”
For the past seven to eight years, Johnson has served as a visiting lecturer at Oxford University on leadership and entrepreneurship. “Oxford didn’t take me on because I was some hot shot businessman,” he says. “They took me on because I think they could see I’d be honest, about failures, mistakes, and what it actually takes to overcome setbacks.” That philosophy carries onto set. “Film sets run on trust, preparation, and emotional control. Not ego.”
His composure has been tested in real life, too. After intervening in an incident to protect a woman from thieves, Johnson later received a mention in the House of Lords for bravery. “Your fight or flight kicks in,” he reflects. “I learned I’m a fighter. That’s just my instinct.”
Looking ahead, Johnson is clear about the lane he wants to occupy. “I’m drawn to grounded characters. People with competence and calm under pressure,” he says. Festivals matter, but only insofar as the work deserves to be there. “The goal isn’t to attend. It’s to turn up with films that genuinely belong in those conversations.” Above all, he remains focused on longevity. “The dream is to be able to do this for decades and keep improving with every job.”
If the last chapter was about preparation, the next looks very much like stardom.
Photo Credit: Ruben Davies
