Copyright Variety
Emily Blunt doesn’t believe in half measures. Whether she’s playing a time-looping soldier in “Edge of Tomorrow,” a pill-popping commuter in “The Girl on the Train,” or a grief-stricken wife in “A Quiet Place,” she approaches every role with empathy and fearlessness. But even by her standards, Benny Safdie’s “The Smashing Machine” pushed her further than ever before. “When I saw it with Benny, we both sobbed,” Blunt tells Variety. “It’s strange when you make a movie and then see it reflected back at you. You’re on the inside looking out, and suddenly you’re kidnapped into someone else’s vision of the world.” Johnson, who built his career on charisma and invincibility, is unrecognizable here — literally and spiritually — as Kerr. His co-star is quick to acknowledge the transformation. “It’s almost more than a performance,” Blunt shares. “I never once saw ‘The Rock’ on set. What he did was extraordinary, but it’s also closer to his soul than people might imagine.” That emotional authenticity extends to Blunt’s portrayal of Dawn Staples, a woman she feels was vilified in the 2002 documentary that inspired the film. Blunt took it upon herself to find the person beneath the headlines. “She was nervous about talking to me at first,” Blunt recalls. “Mark had to persuade her. I told her, ‘I will be your advocate.’ And when she opened up, it was invaluable. She knew I’d be playing her at one of the most tumultuous times of her life.” Safdie, known for the chaotic realism of “Uncut Gems” and “Good Time,” filmed the movie in a custom-built house wired with hidden cameras, giving the actors the freedom to move and react without traditional setups. The result is a raw, voyeuristic intimacy — particularly in one extended apartment fight scene that Blunt calls “’High Noon’ in the kitchen.” “We’d been talking about that fight for weeks,” she says. “Benny never straight-jackets you. If it pops off, if you improvise, if you’re yelling over each other — all of it’s fair game. It feels like you shouldn’t be watching it, like it’s too intimate.” Even the film’s lighter moments tested Blunt’s limits — namely, a sequence involving a fairground ride — Gravitron — that left her physically ill. “I would rather drink bleach than ride fairground rides,” she admits, laughing. “But Benny has this way of seducing you into saying yes. I ended up on the Gravitron, upside down, wearing this enormous wig, thinking, ‘This is how I die.’” Despite the extremes, “The Smashing Machine” represents something personal for Blunt — a balance between the intensity of her craft and the serenity she seeks off-screen. “I talk to myself when I feel overwhelmed,” she admits. “‘You’re good, you’re good, you’re good. Zen it out.’ That’s how I get through the chaos.” On the Variety Awards Circuit Podcast, the Oscar nominee Blunt sits down for a wide-ranging conversation about the film, her friendship with Johnson, the long-awaited “Devil Wears Prada” sequel, and why she’s waiting to go to Broadway. Listen below! This interview has been edited and condensed. What drew you to Dawn Staples as a character? I was fascinated by the emotional tightrope of playing someone who, within five minutes, could be both Mark’s Achilles’ heel and his greatest support system. Their relationship was volatile and messy, not tidy or palatable. I wanted to honor that chaos. How did speaking with the real Dawn inform your performance? It changed everything. She was nervous to speak with me at first, but Mark persuaded her. I told her, “I will be your advocate. I need the full shadow of your life.” Once she shared, it transformed my understanding. You rarely get to absorb someone so fully; usually, you’re inventing the gaps. Here, she trusted me with one of the most tumultuous periods of her life. When you first watched “The Smashing Machine” what hit you? The second it started, I cried. When you’re making a movie, you’re on the inside looking out; you’re managing the chaos. Then you see it reflected back, and you feel kidnapped into the filmmaker’s vision of the world. With this one, it was deeply emotional for me and for Benny. It means a great deal to both of us. Dwayne Johnson was visibly emotional at Venice. What did you see in that moment? I wasn’t surprised. I’ve seen my enormous friend be very emotional before. Part of it was that Mark Kerr was sitting right beside him, shaking through the entire film—for many reasons. For Mark, it felt like a reclamation of his life. The applause was for his path toward peace, not just for the fighter people remember. For DJ, it was an embrace of what he did as an actor and an invitation to keep going in this dramatic space. Audiences say Johnson is “unrecognizable” here. What was it like opposite him on set? I never once saw “The Rock.” The tenderness he shows as Mark is closer to who DJ is, and the pain Mark experiences is closer to DJ’s life than people might imagine. On the day, it was occasionally spooky — like you were witnessing a possession. You’re also filming the long-awaited sequel to “The Devil Wears Prada.” What has that been like? Overwhelming — in a good way. I’ve never experienced a movie being shot with this much attention. We’re trying to keep the mystique — changing in bathrooms to avoid being seen in costume — but there are fans everywhere. Playing Emily again feels like slipping into a deranged pair of old slippers. She’s insane, and I love her. Any teases? Disney will come swinging if I say anything. We are still shooting. I had a break to put “The Smashing Machine” out and then I’m back. You’ve done film and television — why not Broadway yet? I started in theater at 18 and I’m increasingly seduced by the idea. John’s [Krasinski] one-man show off-Broadway was the most creative experience of his life, and I saw a wholeness come over him. But my kids are 11 and 9, and I can’t miss bedtime. When they’re disinterested in me — and that day will come — I’ll be ready. I’d love something new from a female playwright; Penelope Skinner, who wrote John’s play, was exquisite. What are you watching when you’re off the clock? Cooking shows — “Great British Bake Off,” “Next Gen Chef.” I love sports documentaries. I have no interest in watching the actual sport, but I’m riveted by the athlete’s plight — the pressure to perform. That’s part of why “The Smashing Machine” appealed to me. You’ve just wrapped with Steven Spielberg on his new film. What did Spielberg teach you? He and David Koepp wrote me an extraordinary part. Steven is one of the most exquisite humans I’ve met. I grew up on his films—“Jaws,” “Indiana Jones,” “Schindler’s List.” Trying to sum up his impact with words almost takes him down a notch. He’s that vast. A formative note you got early on that still guides you? Pawel Pawlikowski on my first film, “My Summer of Love,” taught me that ambiguity is interesting on screen. Remove words. Strip away anything derivative. Lean into the unknown inside a scene. That stayed with me. If you had to leave us with one life note? Run toward peace. Things feel chaotic. Try not to lose sleep over it. Find togetherness with the people who make you feel grounded. That’s the work. Also on this episode, Oscar nominee Jessie Buckley discusses her towering performance in “Hamnet” and how it taught her to be tender in this world. Variety’s “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, “Awards Circuit” features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts.
