37 Magazine
Long before he ever stepped in front of a camera, Jesse Kove understood discipline. It wasn’t something he learned on set, it was forged years earlier through sports, martial arts, and the quiet repetition of showing up when no one is watching. That foundation didn’t just build physical strength, it shaped his mindset. It built restraint, focus and control that quietly distinguishes his performances. When he moves in a scene, when he reacts, when he holds his ground, it doesn’t feel staged for effect. It feels grounded and intentional.
In The Last Firefighter directed by Sean McNamara, Jesse plays a first responder carrying more than just the weight of his gear. It’s the kind of role that could easily tilt toward bravado, chest-thumping kind of hero role. Instead, he chooses restraint. His character has visible scars, but it’s the emotional ones that matter most. He lets the emotional cost of the job sit just beneath the surface, visible in flickers rather than speeches. Small choices make the performance feel human. The heroism isn’t in charging toward danger, it’s in waking up the next morning and choosing to do it again, even when it costs you something. That’s what lingers. The performance doesn’t feel performed. It feels inhabited.
But what makes Jesse compelling isn’t simply strength, it’s his willingness to examine what exists beneath it. With All For Love, he pivots into more intimate terrain. The external stakes give way to relational ones. Instead of battling flames, his character Luke navigates the quieter, riskier landscape of vulnerability. It’s a shift that reveals a different register in Jesse’s performance, one that trades physical intensity for romantic tension and understated charm.
Set against a holiday backdrop, the film pairs Jesse opposite Whitney Leavitt, who steps into her first feature film as both lead actress and executive producer. She plays Winona, a podcaster whose experiment with modern dating leads her to the rugged renovator hired to restore her grandmother’s Christmas Eve venue. Directed by Jake Helgren and written by Ansley Gordon, the project blends contemporary romance with seasonal warmth, but its emotional center rests in the chemistry between its leads.
For Kove, the role marks not just a change in genre, but a recalibration of what strength can look like on screen.
You’re starring opposite Whitney Leavitt in the holiday rom-com All For Love to be released next year. How did you approach this holiday film differently from your more dramatic or action roles?
I wanted to find the levity in my character. He’s driven but also fun, and balancing that with the comedy in his actions was important. Working with Whitney and her natural comedic timing was amazing. We had great chemistry on set, and she’s incredibly funny with so much raw talent. We laughed a lot, and that energy really carried through our scenes.
Whitney has now moved from reality TV and dance competition into scripted storytelling, what surprised you most about her as a co-star in your film?
I was so pleasantly surprised by Whitney, especially since this was her first film. I have so much respect for her. She just jumped in and gave it her all. She had just come off Dancing with the Stars and her reality show (The Secret Life of Mormon Wives), which even filmed us on set, and then she dove right into this movie. She was there with me the whole time, ready for whatever the set called for, and we were just working off each other. I told her on set that she has so much untapped talent waiting to come out, which she’s now showing the world on Broadway’s Chicago. I’m really happy for her. It’s amazing she finally has the stage to show it all off. We had a lot of fun together, and I can’t wait for people to see this film; it’s fun, sweet, and joyous. I’m really grateful that our director, Jake Helgren, and producer, Autumn Federici, were able to bring us together.
Whitney’s run on Dancing with the Stars has now led her to Broadway’s Chicago. Have you ever thought about taking on a challenge like Dancing with the Stars yourself?
Absolutely. That would be such a fun challenge for me. Having witnessed my father do Dancing with the Stars, I was so proud of him. It would be so fun to do something like that since I love to dance.
Your role as Shane in The Last Firefighter is quite intense and grounded in real-world stakes. How did you prepare for such a dramatic, emotionally demanding role?
I did a lot of research, watched videos and documentaries about firefighters, and spoke with many of them. I had intimate conversations, learning about the psychology of the job and the toll it takes. I dissected these men and women very intensely. I really wanted to portray them as realistically as possible.
The story centers on two retired firefighters (Academy Award–winner Jon Voight and Emmy Award–winner Kelsey Grammer) confronting the ghosts of their past. What was it like working with them?
Working with Jon Voight and Kelsey Grammer was incredible. Jon and I also visited the LAFD crew at Station 78 in Studio City — some of the kindest, most genuine people I’ve ever met. I explained that I was working on a film about firefighters and asked if we could hear about their experiences. They gave us so much insight and even invited us to Sunday lunch. When we arrived, they’d cooked a huge meal, and we spent hours around the kitchen table sharing stories, laughing, and connecting. It was an unforgettable glimpse into their world.
After spending time with firefighters, what did you feel was most important to get right on screen that audiences might not immediately notice?
I really wanted people to see how generous firefighters are. These people have tremendous hearts and souls. To keep themselves going through what they do, they uplift each other, and you’ll see that in this movie, the bonds created between them to keep them going through the hard times.
How did those conversations change your understanding of the emotional side of the job, not just the physical danger?
The conversations were very personal and honest. They really are tough and deal with the worst of situations. And the answer was usually the same. It’s our job to get through it, and the bonds that they have with each other helps them a lot. There’s definitely a brotherhood or a sisterhood between them. It’s really incredible to have been part of that and also to highlight it.
You’ve worked in a wide range of genres, from historical dramas to action and Westerns, what draws you to such diverse projects?
I love doing character work and never want to be pigeonholed into one type of role. That, to me, defeats the purpose of being an actor. You always want to try different things and push yourself. It’s a challenge and that’s what keeps you on your toes. Sometimes the outcome isn’t what you expect, but taking those risks is what really matters as an actor.
In Forsaken Mercenary, you got to do significant action and fight choreography. How much did you train for that, and what did you enjoy most about it?
We did quite a lot of intense rehearsals with that stunt team. A lot of the guys that I worked with were highly trained in kung fu, and they wanted to incorporate that into the character, which was really cool and different for me. I hadn’t learned kung fu before. We did four full days of rehearsal for two of these fight sequences we had. It was just so much fun. Once you get it down, you’re able to play with it and change things and make it better and improve it if you want to. I love doing that stuff. It’s so fun for me. I love the action.
Is there another unexpected genre or role you haven’t tried yet but are eager to explore?
To be honest, I want to try everything I possibly can. It would be so fun for me to really lose myself in a character that doesn’t look like or sound like me. Someone who has completely different facial features that require hair and makeup. Maybe even a different accent. I think about the way Robin Williams or Eddie Murphy would transform themselves, and I’d love to do something like that. I know I can.
You grew up around film and television, how has that shaped the way you approach work-life balance today?
Growing up around it, there’s a familiarity that comes with this territory, and I feel very comfortable being on set. Nothing ever feels out of the ordinary for me; whether I’m filming a World War II movie in China or an action film in the Bahamas, it all feels normal. I think approaching movies with calmness and patience is really important. On camera, subtlety matters, and taking your time while leaning on that familiarity makes a big difference. Being relaxed and comfortable on set plays a key role, no matter what the scene requires.
How do you like to reset or recharge when you’re between projects?
I love being with my girlfriend Shelby, our dogs and cat. It’s always the most relaxing to be with them, no matter where we are. I love hanging with friends and family, sitting at home watching movies and relaxing. Those are always going to take the cake for me.
What’s a piece of advice you received early in your career that still guides you today?
There’s a quote from Henry Ford that’s always stuck with me: “Failure is simply the opportunity to begin again, this time more intelligently.” I first came across it when I was performing off-Broadway at ninetween, and I’ve been repeating it to myself ever since. I truly believe it’s an important lesson.
Taken together, these roles reveal an actor uninterested in staying in one lane. Jesse may have the presence of a classic action lead, but he gravitates toward characters tested as much internally as externally, men who are steady and unsure, controlled yet capable of unraveling.
It’s in that tension between power and openness that his work continues to deepen. And that evolution is deliberate, disciplined, increasingly nuanced and makes Jesse Kove’s trajectory feel less like momentum and more like intention.
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Follow Jesse Kove & Whitney Leavitt on Instagram.
- Publicist: Rick Krusky, MWPR Inc
- Editor-In-Chief: Jamee Beth Livingston
- Livingston Publishing
