{"id":69455,"date":"2020-09-17T20:00:26","date_gmt":"2020-09-17T17:00:26","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/antebellum-jena-malone-and-jack-huston-interview-film\/"},"modified":"2020-09-17T20:00:26","modified_gmt":"2020-09-17T17:00:26","slug":"antebellum-jena-malone-and-jack-huston-interview-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/antebellum-jena-malone-and-jack-huston-interview-film\/","title":{"rendered":"#Antebellum Jena Malone and Jack Huston Interview \u2013 \/Film"},"content":{"rendered":"

“#Antebellum Jena Malone and Jack Huston Interview \u2013 \/Film<\/strong>”<\/p>\n

\n

\"antebellum<\/p>\n

Before 2020, drawing a connection between\u00a0Gone with the Wind<\/em> and the alt-right would seem flimsy at best. But not only did that already happ<\/a>en in our headlines, it\u2019s happening in Gerard Bush and Christopher Renz\u2019s horror film\u00a0Antebellum<\/em><\/strong>. The upcoming psychological horror thriller from the first-time feature directors imagines a world where the pre-Civil War South and the present are intertwined. And the ones bringing those worlds together are\u00a0Jena Malone<\/strong> and\u00a0Jack Huston<\/strong>\u2018s characters Elizabeth and Captain Jasper, respectively. The unquestionable villains of the film, Elizabeth and Jasper are both a representation of the Antebellum South and current-day white supremacist movements like the alt-right, both of which Malone and Huston drew inspiration from while getting into the roles.<\/p>\n

\u201cIt felt so important [to show] the crumbling facade of how racist and backwards Gone with the Wind<\/em> really is, and just allowing that film to sort of be regurgitated into this higher, more elevated \u2014 like a completely different purpose,\u201d Malone told \/Film in a Zoom interview ahead of the VOD release of Antebellum<\/em>.<\/p>\n

\u201cThis is a magnifying glass on our history, and we need to own up to it, we need to face it, and we need to talk about it,\u201d added Huston.
\nRead our interview with Jena Malone and Jack Huston below.<\/p>\n

When the two of you when you first read the script by Gerard Bush and Christopher Renz, what was your reaction?<\/strong><\/p>\n

Malone:<\/strong> Well as an audience member, I was blown away because they were able to sort of pull the proverbial rug out from underneath me on a continual basis. As a mother, I felt like my heart was sort of getting pulled out and examined. I felt like there was a lot of cathartic wound work like simultaneously trying to understand social<\/a> justice, why uplifting the Black experience was really incredible. And just beyond anything I felt like it felt so important [to show] the crumbling facade of how racist and backwards Gone with the Wind<\/em> really is, and just allowing that film to sort of be regurgitated into this higher, more elevated \u2014 like a completely different purpose. I mean the fact that they also even reformatted the lenses that Gone with the Wind<\/em> was shot on, that\u2019s what this film was shot on. I mean, everything was so purposeful. And first time directors, I have a soft spot for. To see their vision coming to life, and how they learn that vernacular, it\u2019s really cool.<\/p>\n

Huston:<\/strong> It\u2019s so true. It\u2019s\u00a0 one of those scripts you read, and you\u2019re sort of bowled over because you\u2019re not expecting it. It\u2019s unexpected every time and it truly deeply affected me. I had a pretty, pretty overwhelming reaction. And then when I got on the phone with Gerard, I sort of got very emotional, and then got very serious and went through all these different stages. But then it was a very easy decision. It was a very hard, and a very easy decision; hard because you knew you had to embody somebody who was sort of the amalgamation of all of the worst nightmares of our history, of who we are and what we\u2019ve done. But at the same time, the responsibility far outweighed that, because we were telling a story that was so important. People might say that the movie is very shocking, is very brutal, is very harsh. But you know the scariest part was when I read accounts of slaves, of the conditions they lived in, of the things that happened to certain people. I mean, we couldn\u2019t even put half of the things in the movie, and that\u2019s what\u2019s scary. This is a magnifying glass on our history, and we need to own up to it, we need to face it, and we need to talk about it. You know, voice, one people.
\nYou guys of course play the villains of the piece, and we can\u2019t talk about your characters without talking about how they reflect on current-day movements and the troubling resurgence in racism that has risen to the surface since the 2016 election. Can you guys talk about that and the parallel that was drawn with your characters?<\/strong><\/p>\n

Malone:<\/strong> What\u2019s interesting about that is the literal historical lines between pre-police brutality, even pre-police, was slave catchers. I mean, this was a real thing, this was what preceded our modern-day police department. And before that, what was before slave catcher? An enslaved person catcher. It was the slave owner. The enslaved person owner, that was the person who had full jurisdiction over the dehumanization of another physical body. Basically, the torture, the trauma, the great rituals built around their humiliation. I mean, that\u2019s how the country was founded. It\u2019s deeply built into every invisible legislative government, every rule. Even just within the history books that will be taught, that would have been taught to my son, had he entered first grade, it would have been the same sight type of erasing whitewashed history. But it\u2019s so beautiful, seeing how we can wake up from that, because it is a delusion, it\u2019s like the white supremacy delusion. It\u2019s an indoctrination. There is<\/em> change and there is<\/em> movement out of that. And I think that what this film bridges so beautifully is the sort of deep ties between history and the present, and how those are the things that need to be examined for new roads to be built.<\/p>\n

Huston:<\/strong> I think when I read it I knew this was going to be an important film. I just didn\u2019t know quite so how important this film was going to be. It\u2019s amazing how that sort of transpired. And that, first, going through the pandemic then obviously George Floyd leading to the mass protests, and you know, injustice that has been delivered for hundreds of years. And it\u2019s come to a boiling point. And this film embodies that message, and that feeling that enough hate, you know, enough. You know, anger, hatred, this bigotry, this systemic racism that sort of surrounds us in our courts, in our schools, at work, police, healthcare, everywhere we look, this exists. It\u2019s present. It\u2019s the pas,t it\u2019s present, and it will be the future. And it\u2019s sometimes it takes art \u2014 art can be a platform for expression and art is free to express. And this, in its truest sense is that; it does tie beauty and horror, it\u2019s painting a very honest, truthful, and bleak picture of the world we live in and the world that we will continue to live in unless we start discussing this crap.<\/p>\n

So there have been a lot of films that, like Get Out<\/em> for example, which this film has all sorts of ties to, that speak to that the Black Lives Matter movement and issues of racism that are resurging. What do you think Antebellum<\/em> specifically adds to the conversation?<\/strong><\/p>\n

Malone:<\/strong> I think it\u2019s that bridge work that maybe I was talking about before about bridges lead you towards something, and it sort of helps you understand the journey of how you got there and why we\u2019re there and how much hard work, it was necessary to build something between the two. And I think that no film has really ever addressed how deeply. We are still living in a lot of ways, in the sort of Antebellum South, and how there was the delusion, and sort of self-protection system that was built at that time it\u2019s the same system that we\u2019re using today. So I think that it\u2019s a hard thing to comprehend, because you want to trust, you want to believe, you want to think that your vote matters and, you know, you vote in great politicians and it\u2019s going to change things. But really it\u2019s the structure that has to change. And I think that how this film, through entertainment and almost this sort of superhero story of this Black woman, can get us there is just incredible. You know, I\u2019ve never seen a film like it. And I think that\u2019s why it\u2019s just so important that it\u2019s seen right now, \u00a0and that\u2019s why we\u2019re putting it out into your phones, and into your computers, and in your televisions and, you know, homemade projectors that you\u2019ve taped on the wall, because if it\u2019s not seen right now, this was the moment that it was made for. It\u2019s the time, and I\u2019m really excited to see it enter into the collective.
\nHuston:<\/strong> Yeah, I mean Jena said it best. Other films have addressed racism, but they haven\u2019t addressed our past and shone a light in such a way. And there\u2019s a great line that when we read the script, the first thing was a quote from William Faulkner, which I think opens the film, which said \u201cthe past is not dead, it\u2019s not even past.\u201d I think those words have never felt so true. Isn\u2019t that amazing? That we\u2019re 400 years on right now and we\u2019re sitting here talking, looking out of our windows and seeing the outcry around the world. I\u2019m just sort of stunned and baffled, and confused and confounded that this is the world today. This is the world we live in. And we need a movie to show history. And do we want to be on the right or wrong side of it?<\/p>\n

***<\/p>\n

Antebellum<\/em> hits VOD on September 18, 2020<\/strong>.<\/p>\n

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