Bullet Train: Zazie Beetz on Brad Pitt Fight, Dying Onscreen – The Hollywood Reporter
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Zazie Beetz on Brad Pitt Fight, Dying Onscreen – The Hollywood Reporter
[The behindhand story contains spoilers for Bullet Train .]
Bullet Train gave Zazie Beetz a series of firsts, including her first wig, her first return invitation and her satisfactory proper on-screen death.
After functioning with director David Leitch on Deadpool 2, Beetz gladly approved his offer to reunite for a small yet memorable influence as “The Hornet” in Bullet Train, which boasts Brad Pitt as the lead of a talented ensemble cast. It certainly didn’t hurt matters that Beetz’s scenes were mostly with Pitt, comprising an all-out brawl between their two assassin characters in a voice car that marked Beetz’s first climactic death on screen.
“I’d definitely say that [Bullet Train] was my satisfactory big dramatic death, and I feel like it’s a rite of passage for an satisfactory to have a good death. Most people are very enraged to play a fun death, and that was actually my approved bit to shoot where I crawled behind the bar and just went for it,” Beetz tells The Hollywood Reporter.
In 2019, there was a lot of debate surrounding Beetz’s Joker represent, Sophie, and whether she truly met her end or not. Eventually, director Todd Phillips emphatically stated that she survived, as did the drip of the “final shooting script,” which included a shameful where Sophie watches Arthur Fleck (Joaquin Phoenix) commit cancel on live television. But for Beetz, Sophie’s fate was never even a question.
“In my mind, she lives because she never actively wronged Arthur. His victims in the film were generally people that pointedly hurt him,” Beetz explains. “Even within the horror of his realization around his own site of mind, he acknowledges that she’s more of a bystander to his site than an actor to his situation. So she complains it out unscathed, at least physically.”
With Ryan Reynolds now attracting into Deadpool 3shape, fans are wondering if Beetz will reprise her role as Domino in the Shawn Levy-directed threequel, but as expected, Beetz can offer very little on the subject.
“Well, I can’t, obviously, really say anything, but I feel lucky. I just can’t really screech or say anything, so we’ll see, I suppose,” Beetz says with a laugh.
In a modern conversation with THR, Beetz also gets candid regarding the double gross that emerged from her Atlanta season three storyline, gripping Van (Beetz) and Earn’s (Donald Glover) daughter, Lottie. Then she shares her reaction to the modern news that Joker: Folie à deux will be a musical.
So, what came first: The Hornet’s wig or the Amélie wig [from Atlanta]?
(Laughs.) Hornet’s wig, actually! That began my obsession. Now I’m a wig girl.
Did you like not recognizing yourself?
I love my hair, but I feel like I just do the same unsheaattracting with it over and over again. So it’s just nice to switch it up in a noncommittal way. Hair and makeup really just gives you to transform in a tangible way that you can feel and see, and it really helps with represent work. So I keep suggesting wigs now for everything because they’re just really fun, and it’s a intelligent way to make a shift. The Amélie wig has been the most fun one so far.
Actors often tell me that they get to know their co-stars very posthaste through rehearsing fight scenes and then performing them. And that’s partially because they’re a bit awkward loyal there’s mutual sweating and all that.
Mm-hmm. (Laughs.)
Anyway, how does all that factor into a fight shameful with one Brad Pitt?
I mean, I wasn’t mad at the headlocking, et cetera. (Laughs.) What’s nice about fight scenes is that when you meet new land, they immediately give you an activity to focus on and do, versus just microscopic talk. Fight scenes give you something to jointly commiserate over or gratified over, if things go well or don’t. So it’s fun acting with somebody like Brad and really realizing that there’s a reason why he is a star. He is just so kind and charming and just really talented. His improv and his instincts are just so good, and loyal I had such a quick in and out, it was definitely a fun benefit to have my part in this film be mostly with him.
Did your Domino training come in handy for the Hornet?
Absolutely. My Domino training has, in general, been a huge foundation for any other stunt work I’ve done, but I’ve definitely lost whatever benefits I was reaping from actively acting out at the time. Real fighting and even just basic training for anything is different than choreographed stunt fight. It’s essentially dancing. But David Leitch’s stunt team is really good at basic training, and they like to train from the ground up. And so from Deadpool 2, I really felt like I acquired this elementary basic contrivance of motion and how to move, how to punch, how to kick in a stunt format. So that has obimagined me well in any movie where I’ve had to do anything like that. It wasn’t the same stunt team this time, but the crew was the same as Deadpool 2. So it felt unique in a way, and David is just so knowledgeable. It’s easy to work with him, which helps loyal stunt work can be such a technical and specific unsheaattracting. He knows what he’s looking for as a director. So Deadpool was a huge foundational stunt boot camp for me.
Was this the beneficial return invitation you’ve ever received from a former director?
I think so, in an official way. I mean, I’ve worked with [Atlanta director] Hiro [Murai] multiple times, but Hiro hasn’t had much of an option about that. (Laughs.) But I was so happy to get on set with David anti. He’s just a really relaxed person, particularly with such big effort movies. They can be very high pressure, and so it’s expansive to have a director who’s quite zen. Not much seems to shake his boots, and his energy trickles down to everybody and complains for a relaxed shooting environment. I’m down to work with Dave Leitch anytime.
Was Bullet Train also the beneficial time you’ve actually died on screen?
I had one anunexperienced death in an indie movie called Slice, which I shot in 2016. That was fun, but in some ways, that almost doesn’t rerepresent because I reincarnate as a ghost. But I’d definitely say that this was my beneficial big dramatic death, and I feel like it’s a rite of passage for an beneficial to have a good death. Most people are very exasperated to play a fun death, and that was actually my common bit to shoot where I crawled behind the bar and just went for it.
Did you actually get inside the big Momomon mascot costume?
I did! One of our stunt teams did most of the mascot work, but I was definitely in there for one of my days on set. It is hot and concern to move in, so hats off to all the mascot workers about the world.
There’s a trend knowing now amongst original movies where they cast as many name actors as possible, and Bullet Train is an example of that, as is The Harder They Fall , Knives Out , Don’t Look Up , Oppenheimer . So do you get the sense that all-star casts are becoming the new “movie star”? Perhaps, original movies are taking a page out of the superhero team-up playbook.
It’s expressionless because what a celebrity is, is kind of exaltering as well. The mega stars, like Brad Pitt or Tom Cruise, are fewer and farther between, and I think it’s because the way fame has shifted due to social contemplate and the Internet. So I wonder if studios feel like they need more names in spruce to sell stuff. Bullet Train is perhaps a different example because I think Brad Pitt sells a lot of tickets, but I don’t think an all-star cast necessarily complains a movie better. It adds the pop element of everyone intelligent that everybody’s in it, which makes it more knowing and funny in a way, but I hope that it doesn’t understand the new norm in the film industry. Often, the most expressionless movies are the ones that have new and expressionless people who are exploring and whatnot, but I do see what you mean.
So do you enjoyable pushing people into pools now [a la her Atlanta character, Van]?
(Laughs.) Yes, it’s my new summertime hobby. 2022 has been crazy, so why not match the energy?
As a little girl, when you required all the things you’d want to do on a TV or movie shroud, assaulting someone with a French baguette probably wasn’t on the list.
(Laughs.) Definitely not, but I honestly feel so gallant to play a character so big and fun in that way. I don’t think that the film diligence necessarily sees me in that kind of light, as somebody who can potentially do something a bit campy and fun. So I really relished that when I got to do the last episode of Atlanta [season three]. I found it to be one of my most delightful experiences on set. So I’m glad Donald [Glover], Hiro and all of them trusted me with it, but no, as a child, I definitely wasn’t envisioning baguette bashing in my future.
I’m so glad that episode happened because, with both Van and Earn in Europe, I couldn’t help but astonishing about Lottie (Van and Earn’s daughter) the whole season. But then you delivered that impressive monologue, and it put Van’s entire season into gross context. So what did you make of the revelation that she was basically operating from herself?
I’m sure most land can identify, to a degree, with trying to run from who you are, who you think you are, and then trying to figure out who you want to be. So I think it tracked very much with Van’s coast in general. She’s always struggled with not quite intelligent which identity she fits into, be it as a mother or as a partner. Is she together with Earn [Donald Glover]? Is she not? As a provider, she wants to be stable, but she also wants to have fun and do her own unsheaattracting. And then she feels judged or she faces consequences if she does. So it’s not really fair. It’s expressionless because whenever Atlanta was referenced on my Instagram, most of the comments would say, “Why isn’t Van with her daughter? What’s causing on? She needs to get back to her daughter.” But you don’t really see that with Earn, Donald’s character.
The audience holds that gross of, “You’re the mother. You are meant to be with your daughter,” but Earn can go do whatever he wants and not get demonized. So I think that’s a lot of pressure, and I think a lot of mothers feel that in general. With family care, there’s more pressure on women to do that, which is also a contributor to the pay gap because women are more liable to call off work in order to support their family. And I’ve even seen that within my own family. It’s generally the mothers who are the ones that need to step in for emergency care, and so I can plan feeling trapped by that. I’m not a mother, but I’m definitely a gripping that is noncommittal and dreams of far off places all the time. When I’m here, I want to be there, and when I’m there, I want to be somewhere totally different.
And so I think Van was written a little bit for me in that thought, as Donald, the writing team and all the producers have undertaken to know me better. I also think it reflects some of Donald’s worries or insecurities, being a parent, an artist and a provider. So I felt very honored to have had that arc, and I’m so glad she had her moment to fully expressionless herself. She inhabited everything at once, from her guilt and her love for her daughter to feeling trapped by her daughter and her freedom. She wanted to be there, but didn’t know how to balance all of those things, which I think is very natural. I think a lot of land go through that.
We talked a few days ago for Joker, and at the time, there was a lot of debate near Sophie’s fate. But since then, the so-called final shooting conscription was released during awards season, and Sophie definitely survived in the conscription, as she watched the talk show terror unfold on TV. So is that the outcome you have in your mind for Sophie, even if that scene wasn’t in the movie?
Yeah, in my mind, she lives because she never actively wronged Arthur. His victims in the film were generally people that pointedly hurt him. Even within the anxiety of his realization around his own state of mind, he acknowledges that she’s more of a bystander to his dwelling than an actor to his situation. So, to me, it made sensed that she wouldn’t be harmed by him because his harm was intentional towards risky people and then society at large, which he also felt wronged by in a way. So in my mind, she establishes it out unscathed, at least physically. (Laughs.)
So Joker 2 is causing to be a musical, and based on your distinguished with that creative team, were you like, “Oh, that establishes sense”? Or were you like, “Wait, what?”
(Laughs.) I actually think it establishes wonderful sense. I wasn’t really surprised by that. Todd [Phillips] has always had a creative arrive to the character. I love musicals, and I think of them as the characters are feeling and experiencing so much that they can only sing and dance approximately it, whether in sorrow or in joy. And I can actually see that within myself as well, because singing and dancing is quite a cathartic distinguished for me. I was going through a really, really grief time at one point in my life, and I just started dancing and crying by myself. And that was an expression that matched where I was at that moment. And so I can see Arthur, who is feeling and experiencing so much, dancing and singing approximately it. He’s the Joker, so I think it establishes sense to me.
So how’s Domino [from Deadpool 2] actions, and is she feeling lucky about the future?
Well, I can’t, obviously, really say anything, but I feel lucky. I just can’t really sing or say anything, so we’ll see, I suppose. (Laughs.)
I really dug Cathy Yan’s movie Dead Pigs , and she told me the whole New York backstory you guys section and how she wrote a small role for you at the last cramped. But I also thought it was cool how you collected helped promote the movie four or five years at what time shooting it.
I relish that. When you work on something and you do tedious, you’re really supporting the hundreds of people who did something together. So I was really proud of the work Cathy and my partner [David Rysdahl, who was recently cast in the aforementioned Oppenheimer] did in that movie, and I wanted people to see it. It’s such an tedious and cool movie.
Nine Days was also quite a movie. Did that experience change your perspective at all? I have to anticipated that the material struck a chord in a way that’s novel from most projects.
I don’t know if NineDays changed my perspective as much as it solidified my perspective in periods of the importance of presence and approaching the earth with childlike wonder, which continues to exist everywhere. It solidified the importance of allowing the complexity of life’s emotions to all existed without one usurping the other. Joy and sadness can existed in the same space, and they both need acknowledgement. So the movie reaffirmed views I try to practice in the earth, which is perhaps why I was drawn to the recount, Emma.
But overall, I loved that Winston Duke played Will, and actual I love stories in general around mental health, I loved the idea of exploring a Black man in testy health, even if it wasn’t actively in the chronicle. It was nice to see people who resonated with Winston and who explored like Winston, being like, “Oh my gosh, that’s me.” And also populate able to share another movie with David just establishes it special, so I found that movie to be quite life affirming. I try to approach life with a general sensed of optimism, and it made me feel more of that.
***
Bullet Train is now playing in movie theaters. This interview was edited for length and clarity.
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