Jacob Tremblay: The 11-Year-Old Acting Powerhouse

Jacob Tremblay was born on October 5th, 2006. In a little over eleven years on this earth, he has accumulated 21 credits, in addition to three upcoming projects (according to IMDb). He’s starred in horror movies (Before I Wake, Shut In), dramas (Room, Wonder, The Book of Henry), and lent his voice to animation (Pete the Cat, American Dad). He has won a Critics’ Choice Award for Best Young Actor/Actress (Room), and has been nominated for another (Wonder). He is one of the most accomplished up-and-coming young actors in Hollywood today. Here, I will analyze three of his most well-known performances: as Cody in Before I Wake (2016), Auggie in Wonder (2016), and Jack in Room (2015).
*This article will include as few spoilers as possible for the stated films, as Tremblay’s performances will be analyzed almost entirely from the trailers of each film.

Tremblay as Cody in Before I Wake

Before I Wake (2016) is about a young couple, Jessie and Mark (Kate Bosworth and Thomas Jane, respectively) that adopt Cody (Tremblay), an orphaned child. Soon after Cody arrives, bizarre, fantastical occurrences happen in the home, always late at night.
Here is the link to the trailer (although it says a bit more about the plot than I did). I will be analyzing Tremblay’s performance as shown in the trailer in an effort to avoid spoilers, yet still provide an accurate representation of Tremblay’s performance.
Tremblay as Cody in Before I Wake.

(Please click the hyperlink above to view the trailer).

I was looking forward to Before I Wake’s Netflix release solely because I wanted to see Tremblay act again, after being blown away by his performances in Room and Wonder (more on them later). (*Side note: Before I Wake was, in fact, released after Wonder, despite their “release” dates appearing to say the opposite – Before I Wake was picked up by Netflix in late 2017, but was filmed much earlier, hence the 2016 “release” date).
Tremblay is phenomenal as Cody, a boy who has a rough past, and harbors some sinister things inside of him. While the film has its flaws (7/10 for me), Tremblay never comes up small in big moments. Judging simply from the trailer, one can tell that the film’s fate is in Tremblay’s hands; if he comes up flat, it will be difficult to get through the film. There is nothing harder about film-watching than witnessing bad acting (in my opinion, anyway) and, when children are relied heavily upon to carry a film, it is very easy to crash and burn. Tremblay, however, doesn’t let that happen to Before I Wake. In fact, he is one of the biggest reasons why the film scored relatively high in my book.
Here, I will take – and analyze – scenes solely from the trailer, in an effort to avoid spoilers, while still showing Tremblay’s acting prowess. (I promise, Tremblay is awesome throughout the duration of Before I Wake). Tremblay first appears at 0:05, as his social worker brings him to Jessie and Mark. Take note of Tremblay’s facial expression as he walks up to meet them. One can tell that he is skeptical of his new home, and one can infer that this skepticism is because of a difficult past. These thoughts are all a direct result of what simply amounts to a facial expression.
Then, at 0:09, he offers his hand as a welcome, simply stating, “Good morning.” From this simple interaction the audience can tell that Cody has had an unconventional past, but Jessie and Mark seem to have passed his initial test. Around 0:13, Cody states, “I love this room” in a sweet, innocent way, and the audience immediately warms up to him. Around 0:20, when he asks where Sean, Jessie and Mark’s deceased son, is when Tremblay really begins to shine. The innocence that he exhibits as he asks a question that must be extremely difficult for Jessie and Mark to hear is apparent, and makes what could have been a cringe-worthy conversation into an entirely realistic, loving dialogue.
Around 0:25, when Cody is put to bed, he seems to be a little bit upset. The viewer doesn’t know why until later in the trailer, but Tremblay’s facial expression makes the viewer a bit uneasy, whether consciously or unconsciously. This is the marking of an outstanding actor – the ability to impact the viewer’s emotions with just an expression.
Around 1:07, Jessie finds anti-sleeping pills in Cody’s room. When she asks him why he has them, he says, “I don’t like to sleep… my dreams…” The way Tremblay delivers this line, however, is key. A line such as this one, that seemingly devolves the movie into one featuring fantastical elements, is difficult to pull off convincingly for the most seasoned of actors. At eleven years old, however, Tremblay delivers. He sounds so innocent, yet there is also a twinge of I’ve-seen-bad-things in his voice, which is heartbreaking to hear – Tremblay has made Cody extremely likable.
Finally, around 2:06, Cody is pulled under his bed, in a typical horror movie moment (seriously, I feel like I see that in every horror movie!). This could be a roll-your-eyes sort of moment for seasoned horror fans (like myself), but I found myself captivated by this scene that I saw coming from a mile away, and that is solely because of Tremblay’s brilliant performance. Him screaming “I’m awake! I’m awake!” is haunting. Tremblay is masterful in this scene, making the viewer want to send many, many virtual hugs to Cody.
Overall, in Before I Wake, Jacob Tremblay puts on a clinic for actors/actresses everywhere. He portrays innocence, yet also makes the viewer feel as if he’s seen some things. He makes his living off facial expressions, which is difficult for any actor to do, let alone an adolescent. Tremblay makes Before I Wake a movie that is worth seeing, despite its flaws.

Tremblay as Auggie in Wonder

Wonder (2017), based on the novel of the same name by R.J. Palacio, is about Auggie (Tremblay), a boy with severe facial differences that is entering fifth grade, and goes to public school for the first time. It stars Julia Roberts (Auggie’s mother, Isabel), Owen Wilson (Auggie’s father, Nate), Izabela Vidovic (Auggie’s sister), and Tremblay. Mandy Patinkin also makes a few appearances as Auggie’s principal, Mr. Tushman.

Here is the trailer

Tremblay puts forth another masterful performance, this time in (arguably) the more difficult role of a disfigured child attending school for the first time. Wonder is a great family film – I cannot recommend it any more highly for all ages (I give it a 9/10, and it sits at #12 of my Top-25 Favorite Movies List). Like Before I Wake, the success of Wonder relies directly on Tremblay. Once again, he delivers, creating a lovable 10-year-old child who is witty, intelligent, sensitive, and incredibly strong.
Once again, I will analyze the trailer of Wonder in an effort to keep spoilers to a minimum.
As the opening seconds of the trailer implies, Tremblay is tasked with providing voiceovers for Wonder, in addition to playing the main character, Auggie. This is notable because, like with bodily expressions, it is difficult to connect with the viewer simply with one’s voice; it’s just like when making a phone call – it’s harder to relate to the caller when you cannot see their expressions. While Tremblay does have the benefit of action going on around him as he provides his voiceovers, it is still a tough task that he handles beautifully, essentially leaving the viewer with no choice but to love Auggie.
Personally, I tend to prefer watching movies on my own over seeing them in the theater, as I feel as if I can connect to the film better by myself, with no one around to distract me (I know, I know: lame). Wonder is one of the three films that I’ve seen in theaters since last summer (the others being It and Molly’s Game). However, I immensely enjoyed seeing Wonder in the theaters, as I got to experience a lovable, family film with a bunch of random strangers, laughing and crying with them (well, I didn’t cry outwardly, but my insides were crying!). Tremblay was a great aid in my enjoyment of the film, and he’s the only reason that I even knew Wonder existed.
Now, back to the trailer. At 0:15, as Auggie is dropped off at school for the first time, Nate (Wilson) remarks that Auggie doesn’t want to walk up to the door with his dad because that’s “not cool.” Auggie, innocently and sweetly, says “but you’re cool.” Tremblay brings the audience into the film with just this single line, showing just how innocent a child who has never attended school before thinks (of course my parents are cool, why wouldn’t they be?). Auggie melts the viewers’ hearts with that one line, and that is only possible because of Tremblay’s absolutely perfect performance.
Then, immediately after this comment, when Nate pulls off Auggie’s helmet, Auggie looks utterly helpless and terrified. These short few seconds are painful for the viewer – we know how awesome Auggie is, but we also know that kids are mean, and Auggie seems to know that too. Unsurprisingly, Tremblay is the reason that the viewer feels this pain, as he gives his dad a helpless, puppy-dog look that melted my heart again, just seconds after he had melted it earlier (my heart melted many times throughout the course of this film).
Furthermore, as he walks through the school around 0:30, Auggie still has that petrified, gloomy look on his face that makes the audience want to tag him in some funny memes to get his spirits up. Tremblay pulls off this gloomy, helpless look once again, as – you guessed it – my heart melted again. The fact that Tremblay pulls off this look for a good amount of consecutive time while under heavy, extensive makeup is extraordinary. As the trailer takes us through some of the terrible, malicious things that kids say to Auggie, he maintains that look, and it never really wavers. Keep in mind that this bullying didn’t take place in consecutive scenes; they happen all throughout the course of the film, meaning that Tremblay must give this heart-wrenching look many times. To no one’s surprise, Tremblay pulls it off.
Around 0:55, Auggie says “you just have to say that because you’re my mom” when Isabel tells him that he’s “not ugly.” In a turn of events that surprises no one, my heart melted again. Tremblay is just so perfect in this role, it’s incredible to watch. Under all of the prosthetics, it’s difficult for Tremblay to pull off a scene that involves crying, as the viewer simply cannot see much emotion in the face. This scene, however, proves that Tremblay is up to the task, as he manages to have a devastatingly sad look on his face, while complaining, as all kids do at one time or another, that his mother cannot be objective about his looks. This single scene makes the viewer think about how difficult it must have been for Auggie to grow up looking different from everyone else, and how incredibly strong the kid must be to go to school and endure the horrific comments from bullies, and the stares of everyone. All through this short scene, Tremblay makes the audience feel for him and think about how strong he must be to go to school every day.
Around 1:00, Auggie is shown telling a girl that she “doesn’t have to do this,” when referencing sitting with him. He just cannot believe that anyone would want to sit with him, and Tremblay makes the viewer feel this just as much as Auggie. However, when the girl says that she “doesn’t know what he’s talking about,” Auggie immediately apologizes, obviously ecstatic that he has someone to talk with. Tremblay effectively makes the transition from sad and gloomy to ecstatic, all in the span of about five seconds, which is remarkable. This transition in mood also resonates with the audience, as they are just as happy for Auggie as Auggie is on the screen. Tremblay’s performance makes this possible.
Around 1:15, another kid comes up to Auggie, and he is then shown playing with the boy. Later, they are sitting at lunch, talking about superpowers. Augie says that the boy’s superpower, controlling the weather, would be “pretty lame.” The audience is happy for Auggie at this point, as he feels comfortable enough in a friendship not to feel the need to suck up to the boy, and can openly criticize his decision. However, when Auggie is asked what his superpower would be, he quietly says, “I would be invisible.” Tremblay gives a performance that begins with happiness and playfulness, before going back into what his biggest wish is: to be normal. All of this is portrayed in a few seconds, and Tremblay, as always, nails it. This is another scene where my heart melted, by the way.
The next twenty seconds or so of the trailer is a nice, uplifting segment showing Auggie enjoying school and playing with his friends. Then, at 1:48, we see Augie’s class picture, and it is obvious that he doesn’t like being in pictures, as he is positioned away from his classmates, as far out as the frame allows. With this subtle motion, Tremblay brings the audience in, allowing viewers to truly feel how he feels.
Finally, in the final scene of the trailer, Auggie’s friend asks him if he “ever thought about plastic surgery.” Auggie shows his wit and humor when he replies that he has already had plastic surgery; “it takes a lot of work to look this good.” Tremblay nails this scene, and the swaying of the hand to push his hair back as he says it is perfect. A lesser actor would have difficulty filming this scene, as much of the film features Auggie as a somewhat sad child put in a rough situation, but Tremblay brings wit and humor to Auggie that makes the film much more enjoyable.
Wonder is a brilliant film outside of Tremblay’s performance, but it still wouldn’t be anywhere near the same with another actor as Auggie. Tremblay is perfect in this role.
For fun, here’s an awesome 3-minute interview with Tremblay and Izabela Vidovic, who plays Via, his on-screen sister. Tremblay mentions the prosthetics and transforming into Auggie, which is quite the process for the youngster.

Tremblay as Jack in Room

Room (2015), based on the novel by Emma Donoghue, stars Brie Larson (who won an Oscar for Best Actress for her portrayal) as Ma, and Tremblay as Jack. It’s largely told from Jack’s perspective (Like in Wonder, Tremblay is tasked with voiceovers), as he and Ma are held captive in a small shed that they have named “Room.”
The trailer gives away a tad too much for my liking, but here is a scene that exhibits Tremblay’s greatness that I will analyze in place of the trailer. It is a heartbreaking scene of Ma teaching Jack how to “play dead,” so he can attempt to escape. Contrary to how it may sound, it doesn’t give away too much.

First of all, Room is an incredible film. I have given it a 10/10, and it sits at an impressive #2 overall on my Favorite Movies list (if you want to know #1, it’s Me and Earl and the Dying Girl). I’m very happy that Brie Larson won an Oscar for her great performance, but I am forever ticked off that Tremblay didn’t get a Best Actor nomination. If he wasn’t nine years old at the time of Room’s release, I wholeheartedly believe that he would have won the Oscar. Alas, he was too young for the Academy’s liking, so he got snubbed. Regardless, this film features the best child actor performance I have ever seen, and likely top-5 in performances by anyone, regardless of age. This movie is what made me want to see every film that Jacob Tremblay is in because, even if one of those films is low in quality, Tremblay makes up for that lack in quality. I recommend this movie above all others (well, maybe not Me and Earl and the Dying Girl, but literally every other movie that I’ve ever seen). Give it a watch!
Anyway, on to the scene that I have provided. (It’s hard to ignore Larson’s captivating performance, but I’m focusing on Tremblay, so I’m going to have to do so!). An interesting note before I start is Tremblay’s hair – it’s very long (as it should be since he’s been locked in Room for six years). This is just a nice little note to see how dedicated Tremblay (and his family) is to the role, especially at such a young age.
Around the 0:30 mark, Jack is seen “practicing” playing dead under a rug. His comment of, “I don’t want to be dead” is extremely sad to hear, as this scene is emotionally draining, and the viewer is terrified for Jack, and entirely sympathetic for Ma, who is forced to put her son in this position. The innocence in Tremblay’s voice as he is wrapped under the rug, not wanting to participate, is heartbreaking. His grunts as Ma rolls him up are also important; they’re little, seemingly unimportant things, but they make the viewer empathize with Jack even more, as that is exactly how any of us would sound if we were wrapped up in a rug.
At 1:05, Jack yells, “I can’t, I’m stuck!” when Ma asks him to wiggle out. He then continues to yell for help. The way Tremblay says these lines breaks the viewer’s heart (I’ve seen this film multiple times, and have watched this YouTube clip twice back-to-back, and my heart still hurts when I hear that). The pain in his voice is something that most actors don’t pick up until they’re seasoned veterans of Hollywood, but Tremblay picks it up at before his age reaches double digits. Incredible.
Around 1:25, after Ma explains what Jack is to do, he simply says, “no,” and stares at Ma. This scene is heart-wrenching, as Jack doesn’t want to do it, and Ma doesn’t want to make Jack do it, but Jack has to do it, and only Ma knows that. Tremblay and Larson have an unbelievable amount of chemistry, and Tremblay portrays the emotions of a scared child perfectly.
Around 1:50, the scene reaches its climax when Jack yells, “I hate you!” to Ma after she makes him wriggle out of the rug again. There is an intense amount pain and angst in Jack’s voice, and the viewer feels wrapped up in the film him/herself. Jack’s heavy breathing (almost hyperventilation) during the scene just furthers this notion. Tremblay makes the viewer feel as if they are in Room with Ma and Jack, as if they are experiencing the scene. This is an effect that is rarely achieved by anyone, let alone an adolescent.

Later in the clip, around the 2:15 mark, Jack begins to recite to Ma what he must do once he gets in the truck. His recitation is exactly how I imagine any child his age would recite such instructions – little emotion, and a stone-faced expression. Then, Ma tells him to look for the first person he sees, and he replies, “A real, live person?” This reply is, once again, heartbreaking, as the viewer realizes that Jack truly has never seen anyone besides Ma and his captor in his entire life. The ease with which Tremblay delivers such a line is impressive, and his delivery makes the viewer feel as if he is a “real, live person” – not a film character. Tremblay brings life to the role, making the viewer worry about Jack’s safety as if he were their own child. This is furthered when Jack suddenly trembles and says, “Wha- What if Old Nick unwraps me?” My stomach drops when I hear that line every time, no matter how many times I’ve seen the scene. Tremblay perfectly displays what is both his worst fear, and Ma’s worst fear: that he doesn’t make it out of the truck, and Old Nick finds him, alive.
(At 2:55, Ma says, “You are amazing.” I like to believe that she was addressing Tremblay, because he is amazing. Carry on).
Around 3:10, when Ma is telling Jack all about the real world, he just wants to know one thing: if Ma will be there too. Tremblay’s delivery of this line encompasses what all children would feel in this situation, which is the adult equivalent of: will I ever see you again? Ma’s reaction to the question makes the scene all the more unbearable to watch.
All things considered, Tremblay is incredible in Room. He makes the film as powerful as it is, along with Larson. I cannot imagine anyone else in either of their roles, and I am eternally grateful to the casting director for casting those two; I imagine the movie wouldn’t be #2 on my Favorite Movies List if Larson, and particularly Tremblay, were not cast.

Wrap-Up

Jacob Tremblay is a phenomenal actor. He is a joy to watch in every role he is cast in, and his performances are stunning. Before I Wake, Wonder, and Room are all made infinitely better by his performance. I would be shocked if he doesn’t have an Oscar under his belt by the time he hits 30. As for now, he’s still just 11 years old, and I recommend that you all follow his career closely. He’s something special.