Jeremy Allen White’s trophy shelf is already straining under the weight of his accolades. Over the past three years, the brilliant but troubled chef from The Bear has collected three SAG Awards, three Golden Globes, two Emmys, and two Critics’ Choice Awards. This awards season, however, he may need to make even more room—because he’s about to appear in his next bold, big-screen role in Springsteen: Deliver Me From Nowhere, where he portrays The Boss himself.

Directed by Scott Cooper of Crazy Heart fame, this isn’t a typical cradle-to-grave musical biopic. Instead, it draws from Warren Zanes’s book Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska, focusing on a pivotal and transformative period in Bruce’s life. Fresh off the massive success of 1980’s The River—his first album to hit number one—the 31-year-old Springsteen sought to create something quieter, darker, and more intimate. He retreated to a secluded farmhouse in Colts Neck, New Jersey, and while grappling with a depression he couldn’t yet fully articulate, recorded raw, soul-baring demos of new songs at home.

The result was 1982’s Nebraska, an acoustic masterpiece released without a tour, press campaign, or lead single. Bruce didn’t even want his face on the cover. Yet the album climbed to number three on the Billboard chart and is still regarded by many as one of Springsteen’s greatest works.

In the film, Jeremy Allen White delivers a stunning performance as the publicly adored but privately tormented superstar. He stars alongside Jeremy Strong as Springsteen’s manager, Jon Landau, and Stephen Graham as his abusive, controlling father, depicted largely in stark black-and-white flashbacks. While echoes of Carmy’s neuroses are visible in his portrayal of Bruce—the quiet intensity, simmering frustration, and deep devotion to his craft, traits also seen in his recent role as Kerry Von Erich in The Iron Claw—this is a completely new creation. In several scenes, especially the electrifying, sweat-drenched musical performances, White seems to transform into Springsteen before our eyes. His movements, voice, mannerisms, and impassioned singing are so authentic that, if you close your eyes, it sounds eerily like Bruce himself.

I met Jeremy at Claridge’s, where the 34-year-old Brooklyn native was staying during the London Film Festival. Dressed in pale blue jeans, black boots, and a fuzzy dark blue cardigan over an unbuttoned striped shirt and white tank top, with a gold chain around his neck, he was thoughtful, soft-spoken, and exceptionally polite. His bright blue eyes—hidden behind brown contacts in the film—drifted dreamily as he searched for his answers.

Ahead of the film’s October 24 release, he spoke about being convinced to take the role by Bruce himself, the intense pressure of performing while Springsteen watched on set, borrowing Bruce’s clothes, the explosive Season 4 finale of The Bear, his upcoming role in The Social Network sequel, and the flowers he likes to keep with him while traveling.

Vogue: I understand you had some hesitation about taking this role, but both Scott Cooper and Bruce Springsteen persuaded you?

Jeremy Allen White: I’ve been a fan of Scott’s for a long time, and we met a couple of months before I knew about this project. We talked about movies and actors—he’s worked with so many incredible performers, and I had a lot of questions about Robert Duvall, Rory Cochrane, and Christian Bale. I thought maybe we’d collaborate someday. Then Scott asked me to listen to Nebraska. It had been about ten years since I last heard it. I called him afterward, and he told me he wanted me to play Bruce.

It’s such an honor. I’ve admired Bruce for a long time, but… I just wasn’t sure.When I consider roles, I need to feel I’m the right fit. I don’t believe everyone is suited for every job. I had no singing training or guitar experience, and I knew that would matter. But when Scott sent me the script, I saw the film would concentrate on one phase of Bruce’s life—when he was on the brink, questioning everything, filled with doubt and fear. I wasn’t familiar with that period. I thought it over for a week—thrilled but careful. Then Scott told me, “Bruce really wants you to do this.” I thought, “Okay, if he believes I’m the one and I can contribute, I should give it a shot.”

The first time I met Bruce was at Wembley Stadium. I’d never been there before, and it was incredible. Even before we met, walking into the empty stadium knowing 90,000 people would soon fill it was emotional. Then I watched him do a soundcheck with his band. It was intimidating—he’s so passionate, with an almost violent physicality to his performance, even without an audience. After the show, he found me in the pit. I was alone, and he called me up. He was soft, gentle, and the complete opposite of the performer I’d just seen. We talked about his grandchildren and my children, then went to his dressing room to discuss the movie and that time in his life. I asked him what was really going through his mind then, and he was open and honest with me from the start.

He also gave me a guitar that I learned to play. For preparation, his music was key—Nebraska, as well as his earlier albums like Greetings from Asbury Park, N.J., Darkness on the Edge of Town, Born to Run, and The River, which is where we meet him in the film. Concert footage and a post-show interview he did on The Old Grey Whistle Test from that era were also helpful. He’s been very open, especially in the last decade, with his one-man show, memoir, biographies, and Warren Zanes’ book. The detail in his memoir was most useful, along with speaking to people like Jimmy Iovine, Patti Scialfa, and Jon Landau. As honest as Bruce is, other perspectives are often valuable too.

I love the energy of the musical scenes in the film—they’re sweaty and electric. I read that you lost your voice at one point? We pre-recorded much of the music, but some was live, especially at the house in Colts Neck where Bruce recorded Nebraska. I recorded “Born in the USA” at the same station we used in the film, a week before starting principal photography. It’s such a physically demanding song to sing, and I completely lost my voice.

During our first week of filming, Bruce was often on set. The first week of any job is tough as you find your footing. I remember feeling concerned. I’d spent time with Bruce before, and he’d been supportive, but my insecurities made me think he was there to critique everything. That feeling stayed with me that week. But he kept showing up, and eventually, it felt normal. He kept his distance and let me know he was there if I needed him. He was really wonderful.

The first time I sang in the film was at the house in Colts Neck. I remember Bruce and Jon being there, and the weight of that day. It was strange and heavy.There was pressure, but I think that helps you focus. After I shook off the nerves, sat in the chair, and put the harmonica around my neck, I felt very present and eventually comfortable. If he hadn’t been there, maybe I wouldn’t have approached it with the same seriousness.

And you also wore some of his own clothes?

A couple of pieces—there’s a blue flannel shirt that I wear a few times, and then my favorite piece, which was this sort of tattered white Triumph shirt that I wore for a scene at the end when I go to see a therapist. I thought, if there’s ever a time to try and feel as close to Bruce as possible, it’s that.

I heard that Bruce cried when he first saw the film. How did he respond to your performance?

He was very touched and complimentary, and very proud of Scott and me. But it took me longer to watch the film. I just don’t like watching myself, well… ever, really. I knew I would with this one at some point, but I was really taking my time. It was actually very funny and sweet—every couple of weeks, I’d get a text from Bruce, like, “The movie’s really great. You should see it. You’re really wonderful. If you watched it, you would know.”

When the film was ready, I was about to start another job, so I didn’t want to watch something right before I started something else or be in my head or anything. But I ended up watching it right before Telluride, where we premiered it. I called Bruce after, and it was lovely.

Moving on to The Bear, is Season 5 already filmed? And how do you feel about where we left Carmy? This is quite a seismic moment for him.

We haven’t shot the next season yet. It’s interesting because we shot this last finale back in 2024, but then filmed a lot of earlier Season 4 episodes in 2025, so it’s a weird thing. It feels like a very long time ago. Carmy shed so much in that finale and came clean in so many ways. He’s trying to do what he thinks is right or best. But then, working backwards a year later was a strange experience. I remember that last episode being so fun because we shot it like a play. There were three cameras, and then Ayo [Edebiri], Ebon [Moss-Bachrach], myself, and Abby [Elliott] at the tail end. It took 36 minutes to perform, and we did it like four times. I’m always so touched by the way [creator] Chris [Storer] writes and develops this story, and I wish I could act with all those guys forever, honestly, if there was a way to figure that out.

You’re also going to reunite with Jeremy Strong for The Social Reckoning, Aaron Sorkin’s sequel to The Social Network. How much can you tell us at this point?

If The Social Network was about the beginnings and the creation of Facebook, this film is about the effects of Facebook, the reach of Facebook, the checks and balances, or lack thereof.

Will you get to work on something a bit lighter at any point?

I don’t know [laughs]. Maybe I’m wrong, but with The Social Reckoning, it’s interesting because the external issues are very real and heavy, but the character I’m playing [The Wall Street Journal reporter Jeff Horowitz, who exposed Facebook’s inner workings], while his pursuit and purpose is very just and weighty, to my eyes, he seems internally… very sound, I guess? That’s exciting for me.

I’m really pleased for you. Touching on fashion briefly, I feel like you’re doing some method dressing on the red carpet at the moment? You’ve been wearing more leather, plaid, jeans, and some Bruce-inspired looks?

We’re trying to, absolutely. He had and still has such great style, so I think it’s a very obvious source of inspiration to draw from.Ayo is also here at the London Film Festival now with her film, After the Hunt. Has it been enjoyable to be part of this awards season circuit together, but this time for your own projects?

It’s been really lovely. The only downside is that we’re all so busy. What I’d truly love is to just be here watching my friends’ movies. I ran into Ayo the other day when I arrived, and we went out for dinner, which was really nice. I also saw my friend Frank Dillane last night—he’s fantastic in Harris Dickinson’s film, Urchin. I’m very excited to see After the Hunt, but I just haven’t had the opportunity yet.

I suppose that means you’ve been too occupied to visit Columbia Road Flower Market or do any flower shopping while you’re in London?

I wish I could! It’s such a charming tradition, and people have been very kind about it, but I feel like flowers have become a more prominent part of my life over the past few years.

Is that so?

Well, I think people have started to associate me with flowers in a way, whereas before it was more of a private interest. I keep receiving flowers as well, but then I have to leave them behind since you can’t travel with them.

What are your favorite flowers at the moment?

It’s not exactly a flower, but I love having eucalyptus in the house. It lasts a long time and smells wonderful. I place it in the shower and on the bedside table. And if I can find a sunflower that’s still tightly closed and I know it’ll last for two weeks, I’ll get that. It’s all about being practical—I think, what can I put there that will look nice, smell good, and endure?

Springsteen: Deliver Me From Nowhere will be in theaters starting October 24.

Frequently Asked Questions
Of course Here is a list of helpful and concise FAQs about Jeremy Allen Whites experience preparing for his role as Bruce Springsteen

General Beginner Questions

Q What is the movie Deliver Me From Nowhere about
A Its a film focusing on Bruce Springsteen during the creation of his iconic 1982 album Nebraska which was a dark and personal project for him

Q Who is Jeremy Allen White playing in the movie
A He is playing the role of a young Bruce Springsteen

Q Why is this role such a big deal for Jeremy Allen White
A Bruce Springsteen is a beloved legendary musician Portraying a real person especially one with such a distinct voice and mannerisms is a major challenge for any actor

Preparation Transformation Process

Q How did Jeremy Allen White prepare to look like Bruce Springsteen
A He underwent a physical transformation which included growing out his hair and adopting Springsteens lean wiry physique from that era

Q Did he have to learn how to sing and play guitar for the role
A Yes a significant part of his preparation involved intensive vocal and guitar training to authentically perform Springsteens songs specifically from the Nebraska album

Q Was Jeremy Allen White a Springsteen fan before taking the role
A While he was familiar with Springsteens biggest hits he has said he dove deep into the Nebraska album and that era to understand the man behind the music

Q Did he meet Bruce Springsteen to prepare
A Reports indicate that he did meet with Springsteen which was crucial for understanding his personality mindset and the specific stories behind the Nebraska sessions

Challenges Difficulties

Q What was the hardest part about becoming Bruce Springsteen
A Many actors say capturing the voice and the subtle physical mannerisms of a real person is the toughest part For this role capturing Springsteens specific emotional state during a difficult creative period was also a major challenge

Q Was it stressful to take on such an iconic role
A Absolutely Jeremy Allen White has acknowledged the pressure that comes with portraying a cultural icon knowing that fans have high expectations and a deep connection to Springsteen