{"id":515090,"date":"2022-11-24T02:21:10","date_gmt":"2022-11-23T23:21:10","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/devotion-director-jd-dillard-on-jonathan-majors-show-stopping-scene-it-hurts-to-see-hurt\/"},"modified":"2022-11-24T02:21:10","modified_gmt":"2022-11-23T23:21:10","slug":"devotion-director-jd-dillard-on-jonathan-majors-show-stopping-scene-it-hurts-to-see-hurt","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/devotion-director-jd-dillard-on-jonathan-majors-show-stopping-scene-it-hurts-to-see-hurt\/","title":{"rendered":"#\u2018Devotion\u2019 Director JD Dillard on Jonathan Majors\u2019 Show-Stopping Scene: \u201cIt Hurts to See Hurt\u201d"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3f76be62c5b\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3f76be62c5b\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/devotion-director-jd-dillard-on-jonathan-majors-show-stopping-scene-it-hurts-to-see-hurt\/#%E2%80%98Devotion_Director_JD_Dillard_on_Jonathan_Majors_Show-Stopping_Scene_%E2%80%9CIt_Hurts_to_See_Hurt%E2%80%9D\" >\u2018Devotion\u2019 Director JD Dillard on Jonathan Majors\u2019 Show-Stopping Scene: \u201cIt Hurts to See Hurt\u201d<\/a><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%98Devotion_Director_JD_Dillard_on_Jonathan_Majors_Show-Stopping_Scene_%E2%80%9CIt_Hurts_to_See_Hurt%E2%80%9D\"><\/span>\u2018Devotion\u2019 Director JD Dillard on Jonathan Majors\u2019 Show-Stopping Scene: \u201cIt Hurts to See Hurt\u201d<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>[This story contains \u201cspoilers\u201d for the historical Korean War drama <em>Devotion<\/em>.]<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>Devotion<\/em> director JD Dillard knew what was in store when Jonathan Majors was scheduled to perform his Korean War drama\u2019s most powerful scene, but the performance still hit harder than anyone expected.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <em>Devotion<\/em> chronicles the heroics of the first Black naval aviator, Jesse L. Brown (Majors), during the Korean War, as well as his relationships with his loving wife, Daisy (Christina Jackson), and wingman Tom Hudner (Glen Powell). Prior to each flight, Brown performed a ritual in which he would look in the bathroom mirror and recite all of the horrible remarks that have been said to him over the course of his life.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    For Dillard, it was most important that his actor feel safe on the unusually quiet set.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    \u201cThat scene hurt, man, and it\u2019s supposed to hurt,\u201d Dillard tells <em>The Hollywood Reporter<\/em>. \u201cIt\u2019s one of those scenes where you love your actor and you know that this is a performance, but it hurts to see hurt. So there was this odd shift where I needed to be there not just as director, but also as a friend and safety net, even if he didn\u2019t need it.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Dillard is the son of Bruce Dillard, the second Black naval aviator to fly with the Blue Angels, and with his dad serving as a consultant on the film, JD was able to get closer to his father through the telling of Jesse\u2019s story, something he recognized even at the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">script<\/a> level.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    \u201cAs I cried my way through the script, it was not just being overwhelmed by how incredible the story was on its own, but then also just im<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a>tely sensing how much overlap there was between Jesse and my dad 30 years later,\u201d Dillard says. \u201cSo I found myself with this very odd but overwhelming opportunity to not just honor Jesse and Tom, but then also get to tell my dad\u2019s story in a way that I never expected.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    In a recent conversation with <em>THR<\/em>, Dillard also discusses how his time on J.J. Abrams\u2019 <em>Star Wars: The Force Awakens <\/em>prepared him for the increased scale of his third feature film.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>So the Korean War is known as the Forgotten War, and compared to the numerous other wars, it\u2019s mostly been overlooked by Hollywood, too. Why do you think that is?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I think it\u2019s for a lot of reasons. It\u2019s smack dab in the middle of two wars that are very, very historically loud, and America\u2019s relationship to it is much grayer. So it\u2019s hard to celebrate in that regard. And between those two things, it\u2019s just been hard to draw stories from that world, but in being introduced to Jesse and Tom\u2019s story, you realize how many stories have yet to find their way to the populace. There are so many aspects of this story that were stranger than fiction, but it was a story that had to be told regardless of the war that it originates from.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1000px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((667\/1000)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/D_13041.jpg?w=1000\" alt=\"Devotion BTS\" srcset=\"\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"667\" width=\"1000\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">J.D. Dillard and Jonathan Majors on the Set of <em>Devotion<\/em><\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Columbia Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>You\u2019re the son of a naval aviator, so did you have some idea of who Jesse Brown was?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I only knew him by name, but obviously, after three and a half years of working on the film, I\u2019ve grown to know Jesse a lot more than I used to. My dad [Bruce Dillard] was the second Black aviator to join the Blue Angels, who was only a year behind the first Black aviator of the Blue Angels [Donnie L. Cochran]. And while surrounded by conversations of first and second, I had heard Jesse\u2019s name, but that was years and years ago now.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    So when I was sent the script for the first time, there was that, \u201cOh, Jesse Brown. Yeah, of course, Jesse Brown.\u201d And as I cried my way through the script, flipping page to page, it was not just being overwhelmed by how incredible the story was on its own, but then also just immediately sensing how much overlap there was between Jesse and my dad 30 years later. So I found myself with this very odd but overwhelming opportunity to not just honor Jesse and Tom, but then also get to tell my dad\u2019s story in a way that I never expected.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Since you signed on to direct, Jonathan Majors and Glen Powell\u2019s careers have both taken off. Was it impossible to not get swept up by that and how it would likely benefit your film?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    It\u2019s funny, man. That is such a thing that has happened in hindsight. When I started shooting, I had seen, most recently, <em>Last Black Man in San Francisco<\/em> and <em>Lovecraft Country<\/em>. And then for Glen, I had seen <em>Everybody Wants Some!! <\/em>and knew he was in <em>Top Gun: Maverick.<\/em> (<em>Laughs<\/em>.) So I was just happy and grateful that I had two really good actors. And of course, I knew that <em>Top Gun<\/em> would be a thing at some point, and I heard Jonathan was working on all this other stuff. But since shooting the movie, it\u2019s been so fun to watch these two explode at such a rapid rate. Literally, anytime I log on to Twitter or walk past a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a>stand, they\u2019re there, and that\u2019s been kind of a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">trip<\/a>. But yeah, I\u2019m just lucky to have two giant stars who are still rising, standing across from each other in the same movie.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1296px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((730\/1296)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/MCDDEVO_SP007.jpg?w=1296\" alt=\"Devotion\" srcset=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/MCDDEVO_SP007.jpg 1296w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/MCDDEVO_SP007.jpg?resize=125,70 125w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/MCDDEVO_SP007.jpg?resize=681,383 681w, https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/MCDDEVO_SP007.jpg?resize=450,253 450w\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"730\" width=\"1296\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Jonathan Majors as Jesse L. Brown in <em>Devotion<\/em><\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Everett<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>When Jesse looks in the mirror to prepare himself for flight and he recites all of the terrible things that people have said to him throughout his life, it\u2019s a show-stopping scene. Could you feel everyone on set being bowled over during those takes?\u00a0<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    That scene hurt, man, and it\u2019s supposed to hurt. Without this following a hyper traditional structure where the first 15 minutes of the movie are witnessing all of Jesse\u2019s hardships on his way to this goal of his, this dream of his, that, in a way, is the flashback. That is the, \u201cThis is how he got here,\u201d all done in a moment. That scene was our second or third day of shooting, which was such a testament to how prepared Jonathan comes to set. Even on day one, Jesse was built and realized and alive, and so it meant no difference to Jonathan to do that scene on day two versus day 60. It was just ready to go.\u00a0<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    But it\u2019s hard, and it hurt me to see Jesse do this to himself. So the best that I could do was just create an environment on set that felt safe, that felt trusting, that held a quiet that Jonathan needed there. It\u2019s one of those scenes where you love your actor and you know that this is a performance, but it hurts to see hurt. So there was this odd shift where I needed to be there not just as director, but also as a friend and safety net, even if he didn\u2019t need it. That\u2019s just where I felt I had to stand to make sure we could do that and do that, honestly. [Writer\u2019s Note: I encourage you to read Jonathan Majors\u2019 detailed account of this powerful scene, too.]<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>We\u2019re watching one of the all-time great actors in the making, right?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Mm-hmm. While touring the movie at festivals, I had the opportunity to honor Jonathan a number of times for his portrayal of Jesse Brown. He both commands such a presence, but at the same time, Jonathan Majors disappears and the character he\u2019s portraying is left standing there. So that\u2019s one of the great things about him, and it\u2019s an incredibly rare thing to be able to thread. Sometimes, you get great character actors who do that, but there maybe isn\u2019t that presence. And then you also have people who are all presence, but it\u2019s that actor. (<em>Laughs<\/em>.) So Jonathan is able to do both through how he works, through his skill, through his attention to detail and also his God-given charisma. So when I watch <em>Devotion<\/em>, don\u2019t see my homie J; I see Jesse, and that\u2019s a hard trick to pull off. <strong>\u00a0<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Between your father and Powell\u2018s experiences in the air, did you receive more than enough advice ahead of time?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Yeah, it was nice to have Glen come into this process and have a handle on acting in the backseat of a fighter. That proved useful not just for me, but for Jonathan, too. So we just talked about how to best pull this off. My dad also came to set for more than a month and acted as a consultant on the film, not just in the obvious ways of like, \u201cHey, when you\u2019re banking left on approach to target \u2026.\u201d Yes, there was that stuff, but there was also like, \u201cHey, man, what was it like telling mom for the first time that you were going on cruise for four months?\u201d It was actually the emotional consulting that we needed as well. So between Glen and my dad being split in half as an aviator and husband, I felt really covered in terms of being able to tell this story authentically.\u00a0<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1000px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((667\/1000)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/D_17943-copy.jpg?w=1000\" alt=\"Devotion\" srcset=\"\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"667\" width=\"1000\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Jonathan Majors and Glen Powell in <em>Devotion<\/em><\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Columbia Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>This movie wasn\u2019t supposed to come out so close to Powell\u2019s last movie, <\/strong><strong><em>Top Gun: Maverick<\/em><\/strong><strong>, in which he also played a naval aviator, but I quickly forgot about Hangman and only saw him as Tom Hudner. But at the time of filming, could you sense that Glen was a bit self-conscious about not wanting to repeat himself?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Honestly, no. Glen found this book [<em>Devotion: An Epic Story of Heroism, Friendship, and Sacrifice<\/em> by Adam Makos] and started this journey of making it a reality more than six years ago. So he\u2019s lived with this story for a very long time, and he has lived with it longer than his other appearances as a naval aviator. But there was no way that I could know until I saw his other movie and saw just how different they are. Even who he plays is just so different. Tom Hudner is such an earnest man who wants to be understood and wants to do the right thing, but he\u2019s having trouble finding that footing with his wingman, Jesse. It\u2019s such a subtle performance, but it\u2019s imperative for that to be happening across from Jesse.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    So I never sensed any nerves from Glen, and what\u2019s come into focus as we\u2019ve shared the film with the Navy and other aviators is that it\u2019s just different when you are working with folks\u2019 legacies. This is a legacy that the Brown and Hudner family hold. This is a legacy that the Navy holds, and the care and the responsibility of that just puts the whole experience in a very different sphere. So we\u2019ve felt that since we all started working on this.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>You\u2019ve been in the <\/strong><strong>mix<\/strong><strong> for some big <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">movies<\/a> the last few years, and while this is a big step up from your previous two films, it\u2019s not one of those $200 million behemoths. So are you glad that you landed somewhere in between the two extremes?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    In a way, yes. Abstractly, yes. I\u2019m a huge proponent of growing steadily, but at the same time, I was really grateful to have a giant piece of this business demystified for me early in working for J.J. Abrams. I went from the biggest set I\u2019ve ever been on in my entire life, being <em>The Force Awakens<\/em>, to the smallest set I\u2019ve ever been on in my entire life, being <em>Sleight<\/em>, my own movie. But seeing J.J.\u2019s artistry at work, the thing that actually calmed me was that it actually doesn\u2019t matter how many zeros are at the end of the budget. The job is still the same. The job is still to tell a convincing, moving, entertaining story in this little monitor that you\u2019re sitting behind, wherever you\u2019re shooting. So, to conjure a feeling, that\u2019s the work, and J.J. is so good at that. I was so humbled and inspired in watching him work that I tried to carry as much of that as I could to <em>Sleight<\/em>, to <em>Sweetheart, <\/em>to television and now, ultimately, to <em>Devotion<\/em>.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    Look, it\u2019s super nice to have slightly more time to shoot and more toys to play with and a lot more help; that\u2019s for sure. But I am entering a phase of being agnostic to scale. I just want enough time and resources to tell the story that I want to tell, whether it\u2019s on a shoestring budget or not. You just want to be able to tell the story right.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Was it a rather bizarre experience to cast the character of Elizabeth Taylor?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I have to give my fianc\u00e9e credit here. I worked with Serinda [Swan] on an episode of <em>The<\/em> <em>Twilight<\/em> <em>Zone<\/em>, and around that time, I had just started to read <em>Devotion<\/em>. And I remember saying, \u201cWho does she remind me of?\u201d There was just a quality that I couldn\u2019t put my finger on. Months later, my fianc\u00e9e was like, \u201cOh my God, that\u2019s your Liz Taylor,\u201d and then suddenly, it clicked. I was like, \u201cYes, great!\u201d So, Serinda was just down to play her, and she is an incredible actor.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    It\u2019s a moment in the movie where it does seem stranger than fiction. In reality, the sailors did run into Liz Taylor, but there needs to be a balance there. You don\u2019t want it to fully pull you out of the movie because it feels crazier than life, but you still want that double take of, \u201cOh my God, we\u2019re standing in the presence of somebody very famous.\u201d So Serinda just dialed that in so well, and in a funny way, it ended up being more about commanding a presence than it being an impersonator playing Liz Taylor. You wanted to just feel the presence of someone outside of our world, and Serinda just innately has that energy.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>My dad is a Vietnam vet, and when he had some R&amp;R at a certain point, he wanted to find some kind of silver lining to his horrible experience. So his version of that was buying a reasonably priced Rolex in Hong Kong, which is where they spent their time off. He still has it. Thus, my favorite scene in <em>Devotion<\/em> is when Jesse is gifted a Rolex by the other Black servicemen on the carrier.<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    That\u2019s incredible.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Could you feel that scene\u2019s impact on the day?\u00a0<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I think I did, man. There\u2019s this really interesting thing about Jesse\u2019s journey. He was so isolated by way of being the only Black man in an air wing. He was also isolated by being put with the officers where there were no other Black officers. So the other Black folks on the ship are enlisted, but they are somewhere else. So at every step, he\u2019s put away from everybody, but that scene is something that really happened. For the story of the movie, it was an opportunity to just put the worlds together and honor the fact that there were a lot of other Black men on that ship. And even though Jesse is going through this thing so personally and so internally, it was an opportunity to show tangibly and feel tangibly what he meant to others.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    There\u2019s always been something so interesting about that to me. When you are chasing a dream, you are so rarely led by the trailblazing aspect of it. You\u2019re chasing it because you have some emotional need to go to this place. And then you start to look to your side and you realize, \u201cOh, this is actually meaningful for more people than just me.\u201d Suddenly, your actions hold more weight and they hold more context. So it was just important to remind Jesse of that. That moment in real life, and certainly in the film, is something that touches Jesse deeply. He sees that other folks have his back, and regardless of what he\u2019s facing in the squadron, people are proud of him.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1000px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((667\/1000)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/D_20816.jpg?w=1000\" alt=\"Devotion\" srcset=\"\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"667\" width=\"1000\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">J.D. Dillard and Jonathan Majors on the set of <em>Devotion<\/em><\/span><\/p>\n<p>                                    <cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Columbia Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>What\u2019s your favorite shot that you and DP Erik Messerschmidt achieved?\u00a0<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I\u2019ll do two if that\u2019s allowed. It\u2019s not that crazy, but Jonathan in the mirror. The handoff between being in his world and out of his world just so speaks to that moment and that hurt. We\u2019re there with him, kind of complicit in what he\u2019s experiencing, and then there\u2019s a moment where we have to give it to him. He has to do it on his own, and I\u2019ve always been a fan of that transition. It was just an old-school camera trick.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    And then Tom\u2019s crash as a oner was just a really fun thing to figure out, going from a practical aerial unit and pushing into motion control on an LED volume and subtly transitioning to a crash rig on a frozen tundra set. And to do our best to hide those seams, that\u2019s one of the parts that makes movies so fun. You know what you want the magic trick to be, but now, you have to figure out how to pull it off. You always want to sneak one thing in for the homies to be like, \u201cHow did they do that?\u201d So it\u2019s fun to have a couple of those.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:100%; max-width:1296px;\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((730\/1296)*100%);\">\n<p>                        <img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2017\/01\/sleight_0.png?w=1296\" alt=\"\" srcset=\"\" data-lazy-sizes=\"(min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" height=\"730\" width=\"1296\" decoding=\"\"\/><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\"><span class=\"a-font-secondary-s lrv-u-margin-r-025\">Jacob Latimore and Seychelle Gabriel in <em>Sleight<\/em><\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Speaking of magic tricks, how are [<\/strong><strong><em>Sleight\u2019s<\/em><\/strong><strong>] Bo, Tina and Holly doing?<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    (<em>Laughs<\/em>.) Everybody\u2019s great! It\u2019s been a while since anyone has asked about them, so I really appreciate that. Dude, I love those movies, and it\u2019s fun how all these films are so different. I don\u2019t think anyone in my circle was expecting me to go make a period war drama next, but what I\u2019ve really felt recently is that the thread between Bo [Jacob Latimore] from <em>Sleight<\/em>, Jenn [Kiersey Clemons] from <em>Sweetheart<\/em> and Jesse from <em>Devotion<\/em> is Black wish fulfillment. It\u2019s this, \u201cI don\u2019t care what I am told I can do; this is what I\u2019m going to do,\u201d and that theme speaks really loudly across all three films, for me. Maybe that\u2019s what all my movies are.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Are you ever going to show us Bo\u2019s new trick, or is that your version of the <\/strong><strong><em>Pulp Fiction<\/em><\/strong><strong> briefcase?\u00a0<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    (<em>Laughs<\/em>.) It is <em>in<\/em> the <em>Pulp<\/em> <em>Fiction<\/em> briefcase. Maybe one day we\u2019ll show something else that Bo can do, but for now, that\u2019s the gold shining back at us in the briefcase.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    <strong>Decades from now, when you reminisce about the making of <\/strong><strong><em>Devotion<\/em><\/strong><strong>, what day will you likely recall first?\u00a0<\/strong><\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    I will remember our last day of shooting. I have never cried so much on a set as I have on <em>Devotion<\/em>, just because of how much Jesse, Tom and Daisy [Christina Jackson] came to mean to me and what it meant to have my family involved and the responsibility of the story and having the families with us. So there was so much that made the experience really unique in that way, but the last thing we shot across the entire production was the voiceover of Jesse\u2019s final letter to Daisy. We had just finished a car scene in an LED volume between Jesse and Tom. We wrapped that, and then we turned the boom.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    So Jonathan got out of the car and went over to this lamp so he could read the letter, and the whole crew had their heads down, just listening to Jonathan read this letter a few times. On one end, it was me saying bye to Jesse. Hearing his last letter, that was sort of his funeral for us. It was also goodbye to the movie, and having shot the film in a pandemic, there was no wrap party or official end to it. So that, in a weird, heavy way, was our goodbye. I was able to just hug Jonathan and Glen after that, and we were so thrilled by what we were able to find and do together. That, to me, fully summarizes what the experience of <em>Devotion<\/em> was. I\u2019m trying not to cry now, but it was heavy in a way that has forever changed me.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n    ***<br \/>Devotion <em>is now playing in movie theaters. This interview was edited for length and clarity<\/em>.<\/p>\n<\/p><\/div>\n<p><script type=\"text\/plain\" class=\"optanon-category-C0004\">\n!function(f, b, e, v, n, t, s) {\nif (f.fbq) return;\nn = f.fbq = function() {n.callMethod ? n.callMethod.apply(n, arguments) : n.queue.push(arguments);};\nif (!f._fbq) f._fbq = n;\nn.push = n;\nn.loaded = !0;\nn.version = '2.0';\nn.queue = [];\nt = b.createElement(e);\nt.async = !0;\nt.src = v;\ns = b.getElementsByTagName(e)[0];\ns.parentNode.insertBefore(t, s);\n}(window, document, 'script', 'https:\/\/connect.facebook.net\/en_US\/fbevents.js');\nfbq('init', '352999048212581');\nfbq('track', 'PageView');\n<\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.hollywoodreporter.com\/movies\/movie-features\/devotion-movie-director-j-d-dillard-1235269207\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u2018Devotion\u2019 Director JD Dillard on Jonathan Majors\u2019 Show-Stopping Scene: \u201cIt Hurts to See Hurt\u201d [This story contains \u201cspoilers\u201d for the historical Korean War drama Devotion.] Devotion director JD Dillard knew what was in store when Jonathan Majors was scheduled to perform his Korean War drama\u2019s most powerful scene, but the performance still hit harder than&#8230;<\/p>\n","protected":false},"author":1,"featured_media":515091,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2022\/11\/GettyImages-1244814279.jpg?w=1024","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[86840,92217,92218,136133,50325,110987],"class_list":["post-515090","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-devotion","tag-glen-powell","tag-j-d-dillard","tag-jd-dillard","tag-jonathan-majors","tag-sleight"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/515090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=515090"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/515090\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/515091"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=515090"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=515090"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=515090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}