I got to be, sort of a weird, bigoted, double act with Charlize, which was so much fun. Yes, I was going to get to work with Nash again, but that character in particular because it said so much about the corporate ugliness of any country really, but American corporate greed. I was so interested in playing that character for a couple of reasons. The big one that came to mind when I looked at a character like Richard was that he is just selfish and a jerk, and lacked worldly education. There was something that almost felt necessary to lean into, at least partially lean into, the obvious qualities of the characters. Talk a little about what excited you about being in Gringo besides it being your brother’s film.ĮDGERTON: There was something about reading the characters and the beauty of the tone of the film that Nash has created is that already on the page there were archetypal characters. Definitely because I am sitting here and I am also covering your brother’s movie, I definitely want to ask you about Gringo and, you know, you have some great scenes with Charlize, it’s really funny, that’s another one that’s my kind of movie. You know, I don’t think Francis and Jen would ever have gone down the road of going, “Oh, let’s make a Basic Instinct or slicker version of Red Sparrow.” In order, though, that it could be to bolster the nature of the characters revenge, rather than for it to be any kind of titillation or vanity sort of treatment for an audience. To not sort of, shy away from the graphic nature of the sex and the violence. In order for that journey of Jennifer’s character to really feel like the audience was behind her need to get out and to get revenge and so on, it felt natural to Francis and to Jen to be unflinching in their treatment of that stuff. Can you sort of talk about that aspect? That it’s not some PG movie.ĮDGERTON: Well, yeah, the book is graphic and brutal on a violent and sexual level, and sometimes both, which is definitely hard to watch. One of the other things about the film is that it’s pretty brutal at times, where you almost need to turn away from the screen from some stuff. That’s what feels relevant right now.Ĭompletely. What makes it really relevant is not so much the Russian/American politics in the news anymore so much as, a story about a girl who is sort of degraded and sexually manipulated and pushed into this degrading shame by the men in her life, and who is underestimated and uses strategy and intelligence to get back at the men. Essentially, what makes it relevant, you don’t have the cold war nostalgic vibe about it. It’s a bit more cat and mouse and more of a psychological and emotional chess game. It isn’t basically just one long string of cars flipping and gun fights. This is the same movie, but it’s told maybe around that girl, rather from the male perspective. Usually, there’s a female, seductress type character who saddles up to the spy in a car or locks eyes from across the room and you know, so begins a relationship, and that’s the plan, but she’s torn or she gets a feeling.
#RED SPARROW JENNIFER LAWRENCE MOVIE#
At some point in those male driven stories, in the James Bond world, usually encounters upwards of two women per movie and they have sort of flings. There’s something about espionage that was a childhood curiosity of mine, and so along comes this script, and it felt like I was plugging back in to a 10 year old version of me.ĮDGERTON: Well, what I love about Jason’s book, Red Sparrow, it’s sort of- you know, I’m a spy, relationship man, and they’re generally male driven stories.
You know, the clear memory at the age of 10-12 of having a spy kit, you know, like binoculars, and radio transmitting listening device.
The big second draw card was that it was one of those scripts and movies that plugged into a childhood fantasy of mine. The other massive part of it, and yes, Francis is a great person and I love meeting with him, and I think he’s an excellent human being. I didn’t want to let that opportunity pass. So, it sort of my interest to work with her.
This was sort of one of those, in the sense that, you know, I love Jen, I love watching her work. To just, you know, work with great people and play support to really great actors. Talk a little bit about collaborating with Francis Lawrence and maybe what it was about the script that said I want to do this movie.ĮDGERTON: Well, It was an unusual one for me because, you know, my interest in sort of, jumping on a movie and hiding behind movie stars. Jumping into Red Sparrow, I thought it was fantastic.
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