Francis Lawrence Knows You’ll Probably Be Shocked By ‘Red Sparrow’

02.27.18 3 months ago

Getty Image / 20th Century Fox

Red Sparrow is not Atomic Blonde. This is something that director Francis Lawrence will be screaming from the top of every hill before you get a chance to see Red Sparrow. It’s true, Jennifer Lawrence at one point wears a blond wig, but that’s where the similarities end.

This is the fourth collaboration between Francis Lawrence and Jennifer Lawrence and the first that isn’t a Hunger Games film. Red Sparrow is a gritty, grim, deliberately paced movie about Russian espionage and features Lawrence in a role like we’ve never seen her before. Jennifer Lawrence plays Dominika, a Russian woman who is forced into a Red Sparrow training program where its students are taught to use sex as a way to extract information. Her target is Nate (Joel Edgerton), an American CIA agent who has been in contact with an unknown Russian traitor. It’s a cat and mouse game where no one is really sure of who is working for whom.

And it’s important that these two have worked together as many times as they have, because a movie like Red Sparrow needs complete trust between its director and star. It’s a movie with intense violence and it’s a movie in which Jennifer Lawrence appears nude, about which she’s already commented that doing this film is a response to what happened to her when personal photos were stolen off of her phone. Lawrence told 60 Minutes, “I feel like something that was taken from me, I got back. It’s my body, it’s my art, and it’s my choice. And if you don’t like boobs, you should not go see Red Sparrow.”

And as Francis Lawrence wants to make clear, Jennifer Lawrence was the first person to see this movie after it was finished. She saw it before the studio and before the producers and had full authority to remove any scene she didn’t want in the movie – which she didn’t exercise. It’s clear with Red Sparrow that Jennifer Lawrence has something to say and Francis Lawrence, as he says ahead, had a duty to make sure these scenes work in a very specific way.

I met with Lawrence at a Midtown Manhattan hotel here in New York City. In my experience, he’s always been a straight shooter when it comes to interviews and is not against criticizing his past work to make a point. (Which he does here with a scene from I Am Legend.) Ahead, Francis Lawrence explains just how delicate a movie this was to make when it comes to tone, and explains how he came up with a disturbing torture scene involving a skin-grafting machine. Also, with a couple of years hindsight, we talk about The Hunger Games: Mockingjay being divided into two films, a decision he still 100 percent defends.

Red Sparrow is not what people will be expecting, which I assume is by design…

I mean, partially by design. I’m not doing it on purpose. I’m not doing the J.J. [Abrams] magic box thing. I don’t want to throw people off. I get very nervous about setting the table appropriately because I want people to be surprised because they find the movie unique. I don’t intend on people going in thinking they’re going to get a shit ton of action. I’m not intentionally doing that at all. I saw early on that people were starting to try and put it into a box. They see Jennifer in a blonde wig and the go, “Oh, it’s Atomic Blonde.”

Atomic Blonde is the movie I think a lot of people think this is going to be and it is not.

Exactly. And what that did for me, mostly, it just made me keep going back to the studio – this wasn’t a fight, it was a discussion that we had; they’ve been great, honestly – in that we have to be super careful how we sell the movie because I don’t want to miss-sell it. I don’t want people to think it’s an action movie.

This feels like a gritty Cold War movie from 30 years ago.

Look, I read the book and I fell in love with it. I was in love with the character and the dilemma – that she was a very unlikely hero and also reluctant hero and I find that really interesting. And also selling the brutal side of espionage, versus glamorizing it, which is also very interesting to me.

Speaking of, this movie uses a skin-grafting machine in a unique way…

That idea came from me.

Really?

I saw a documentary years ago and a special effects stunt guy had been burned on his arm and his neck and seeing how they deal with the burn and part of it is a skin graft, to put skin over the burns eventually. I remember seeing that tool and being horrified by the tool. And I stuck that memory in a dark place in my brain and pulled it out for this.

Is that the most disturbing scene you’ve ever filmed?

When I shot it I had no idea it was going to affect people the way it seems to.

It’s a tough one.

On the day, I have to say, it’s actually kind of silly. You’re basically sitting on set, we all know each other, we all get along and there’s a bunch of the crew from Hunger Games. You’ve got Joel Edgerton in his underwear tied to a chair, squirming around, and Sebastian [Hülk], who plays the assassin, has this little rubber tool. So there’s part of you going, well, I hope this has the intensity I want. And when I see it, I see the silly version. Clearly, the sound helps and Joel really sells the pain, which are the keys to that scene. But it’s actually silly, we laughed a lot shooting that stuff.

That’s weird to know.

You feel like you’re 10-year-old doing a little movie in your mom’s kitchen.

A floppy disk plays a big role in this movie and its set in present day. I haven’t seen a floppy disk in awhile.

It’s fascinating. The floppy disk thing comes up a lot and there’s a scene that was cut that had a little bit of exposition.

A thumb drive wouldn’t have been as exciting…

Well, these departments like DOD and CIA, places like that, have important information and don’t want them on thumb drives. So you have to have bulkier stuff, that’s what they like. So it’s actually more accurate to do what we did but it makes people think we are in a different era.

I would have liked that exposition, that’s interesting.

Yeah, we had it, but it was just something we didn’t need. It’s funny because I remember when I did I Am Legend, looking at the reviews at one point a quarter of the critics decided I made some idiotic mistake and left the power on in the city because he has power in his house. I have a shot of the generator in the pantry. But what I realized was it’s not a long enough shot and I didn’t do the thing I needed to do because I assumed people knew what generators were. I needed to show him pull the thing, start the generator, and then see the lights come on. And because I didn’t do that a quarter of the critics think I’m an idiot who left the power on in New York City three years after an apocalypse.

Jennifer Lawrence has said that doing this movie is a reaction to what happened to her after her account was hacked. When an actor says that to you after this bad thing happened to her, as the director what is your responsibility?

I mean, look, when I got this book I loved it and I called her and said, hypothetically, would you be into doing a character like this? I didn’t think she was going to want to do the movie as I was developing it, because has said before she wasn’t interested in doing anything with nudity or sexuality, but that was years before. So we talked about it a fair amount, she read the script, and she decided she wanted to do it. And we started conversations immediately about how we were going to approach anything that was violent, or sexuality or nudity, she became a partner in that. And we were really vigilant in making sure all of those scenes were going to fall in line with the character and the tone and the narrative. We were not making an erotic thriller.

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