PASADENA – You’d assume that sitting down with Keri Russell to talk about a character she can’t really talk about would be frustrating for all parties involved. The truth of the matter is, Russell appears so excited about being in “Star Wars: The Rise of Skywalker,” it doesn’t really matter if we talked about the movie or not in the 10 minutes allotted. That was a good thing considering the Golden Globe winner has other intoxicating releases on her slate such as Scott Cooper’s “Antlers” this Spring.
READ MORE: “Star Wars: The Rise of Skywalker” is fan fiction on a galactic scale [Review]
In “Rise of Skywalker,” Russell reunites with longtime collaborator and friend J.J. Abrams. The duo first met on the groundbreaking drama series “Felicity” and Abrams found a way to cast her in his directorial debut, “Mission: Impossible 3.” This time around Russell is playing Zorii Bliss a masked spice runner, gun for hire, vigilante – you name it – who has a long history with Poe Dameron (Oscar Isaac). Her character is completely covered from head to toe including a mask that seems art deco inspired (and, no, she’s not a Mandalorian) and she’s somewhat of a badass. Bliss has a lot of secrets, but it might be years before we learn them (if ever).
Russell discussed what she could of Bliss, her love for the cinematographer of “Antlers,” finally impressing her kids and more.
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The Playlist: Before we talk about “Star Wars” I have a quick question for you. When I spoke to Marielle Heller, who directed your partner’s movie, “A Beautiful Day in the Neighborhood,” that everyone in her family told her, “Don’t screw up, my memories of Mr. Rogers.” Did you say the same thing to Matthew?
Keri Russell: Of course, because he didn’t even know who Mr. Rogers was. I had read the script, I was like, you’ve got to do this. And he’s like, “Do I?” Because he didn’t get it.
But, you got it?
Of course. And it just so happened that the documentary, [“Won’t You Be My Neighbor?”], was out and so I took him to the movie theater to see it. And I said, “Do you get it?” He totally got it.
Well, he didn’t screw it up and the movie’s great.
Fantastic!
But I want to talk about you and I want to talk about “Star Wars.” But, let’s be honest, you can only tell me so much.
I guess, it’s true.
Did J.J. just send you a message or email saying, “Hey, I got a little role for you in a ‘Star Wars’ movie,” or is it more of a traditional call to your agent?
Literally he emailed me and said, “Do you want to be in ‘Star Wars’?” And I was like, “Fuck yeah. What, do I have to play Storm Trooper? Like what do you got?”
Happily, we can say you do not play a Storm Trooper, but do you wear a mask the entire time of the movie?
I am wearing a mask.
Do you take the mask off?
I can’t answer such questions. I’ll be poisoned, darted in the neck in about 30 seconds.
You’ve worked in all sorts of different projects, but is this something where the NDA is amazing? Does your lawyer look at it and be like, “You cannot say anything or they will literally…”
Unbelievable.
Seriously, no joking?
No joking, I mean not that I signed anything. You just, you know, like you can’t talk about anything.
Could you tell friends or family when you were going to shoot it?
Even when you get a phone call from anyone on production, there was a code name about the production. It was never, nothing ever said “Star Wars” on it. Nothing. It was called something else. In fact, when you go to the airport, to go to London to shoot at Pinewood. The guy was like, “What are you here to shoot?” And I’d be like, “To shoot a movie with Trier productions.” And he’s like, “What’s that?” I’m like, “I don’t know.”
It was like that every day?
Every day.
Did J.J. tell you anything else when he’s asked if you wanted to be in the movie?
He said, “Call me,” and he said in classic J.J. fashion pitched me this idea for this character that you’re instantly hooked into. But he made it sound so fucking cool. And he said, “But this is my idea. I don’t want you to be able to see any part of her.” And he told her that this theory behind it. Then he said, “But are you okay to wear a mask?” I was like, “That’s my dream come true, there’s no hair and makeup and all of that.” [Laughs.] It’s just incredible power play where you see everybody, but no one can see you. In fact, in the first few days I kept the helmet on almost the whole time. And J.J., because I hadn’t been around, so he would just be talking to me and eventually he’d go, “Seriously, are you going to take it off? It’s freaking me out. I can’t see your eyes”
Because you could be sleeping, you could just be nodding off.
Yes. And it is an incredible and you’re instantly so fucking tough in the outfit anyway because it’s just all this cool, bad-ass outfit. Every part of your skin. Everything is so anonymous and covered and it’s just, it’s such a power coat.
I get it. You’re shooting on a soundstage at Pinewood. I’ve been there. It’s chilly. It’s not normally the warmest place, but isn’t it hot to wear that all day long? It can’t be comfortable.
They got it so down now that they have it specially fitted to your exact skull that you have to do all these things and then in the back, there’s like a little fan that circulates air. So, it’s actually O.K.
The mic doesn’t pick it up or do you have to dub your lines?
You usually have to redo your lines if you’re wearing a helmet. You also have to project in an unnatural way for everyone else to hear you speak. It is a challenge, there’s like a little bit of a learning curve, but these kinds of movies, there are so many special effects and there’s so much audio that happens in post anyway.
Was it one of those rare movies where you actually were glad to go in it and do ADR?
Yes. [Laughs.]
You were like, “Please don’t use the one where I’m screaming.”
Yes. Big time. And there were a few things that you wanted to capture and maintain, but it was definitely something that, because we were anyway.
Did you get to do a lot of your own stunts?
Yeah.
And did you train beforehand?
I did not train? I’m so cool, I don’t have to do it. [Laughs.] No, I did not have to train.
I wanted to ask you about another upcoming release you have, Scott Cooper and Guillermo del Toro’s “Antlers.” What made you want to tackle that one?
Basically they sold me on… I loved Scott Cooper’s “Crazy Heart” and I really liked everything from my meeting with him. And Guillermo called me and I just thought, “Why not take a chance? Those people are such great artists. Why not just see what it is?” I had no idea if it was going to work out or not. And I loved the DP too. Oh my God, he was so good. He was this German cinematographer, [“The Terror’s” Florian Hoffmeister]. It’s so haunting and beautiful for a scary movie. It’s set in this misty, dark and dilapidated town in the Northwest. Oh, it’s really crazy. It’s like nothing I’ve ever done. So, I don’t know. I’m still like figuring it all out, but great ingredients and Jesse Plemons!
Is it more from your perspective, is it more creepy or is it more like a thriller with horror elements?
Well, you’re watching kind of people in disturbing situations and deal with disturbing feelings, but it’s definitely a horror movie. I mean if there’s a Guillermo monster, it’s a monster.
Oh right. Did you see it or is it going to be a visual effect?
No, people created a monster. That’s what his team does. There’s a real Guillermo element to it.
You mentioned how much you loved the DP. I feel like actors don’t get the chance to talk about how important DPs are to them on set. I think journalists talk to cinematographers and they think, “Oh, actors like them because they made them look pretty.” But it’s not about that, it’s a relationship on set.
Its a huge relationship, and sometimes it’s amazing, sometimes it’s not. Sometimes, for me, it’s the DP that elevated the entire thing. I mean, he was the mood creator. I remember, I don’t watch the…
You don’t watch the playback very often?
I don’t, because I just kind of get in my own head and I hate what I’m doing, you know what I mean? But one time we were doing this really like haunting thing outside with this mist and the smoke [during “Antlers”] and someone was showing me, “Oh no, your hair was like this.” And I said, “Let me see that picture again.” I was like, “Oh my God, that’s what this movie is,” and it’s really helpful. And I went, “Oh, that’s what they’re making, this beautiful hunting thing.” And it got me excited and he lassoed me even more into the movie.
Let’s get back to “Star Wars” really quick. How do you feel about being an action figure?
Well, that’s a very good question. So my ex-husband and I lived in a house in Brooklyn where we had our backyard connected to the house and in back of us, and the house next door and all the little boys had a little gate and they could run [inside]. At all times I had like a little pack of three to four to five, six, seven-year olds in my little backyard. One time I found Wonder Woman, armless, face down in the dirt. [And I’ve thought,] “Is that [going to be] my face?”
I hope it’s not. I don’t think so. Based on how cool Zorri looks. I doubt it. I’m hoping she’s empowering and…
They also make bobbleheads too. Disney very kindly sent them all to us in like a big box. And my three-year-old, the youngest of all the kids, because I was trying to say like, “That’s me, that’s my costume.” And Matthew came home after being gone for a while and he’s like, “Dad, Dad, look at this, Mama is inside.” And he’s like, “keep her in there.” [Laughs.]
Actually one last question, are your kids excited that you’re in a “Star Wars” movie?
River, my oldest son is like, nothing I do is cool. When I said I got “Star Wars,” he was like, “That’s [cool].”
That’s perfect.
That’s my first street credit.
Its the first street credit. It’s either that or being in a Billie Eilish video.
Or being a professional basketball player or something which is never going to happen. Or a professional skateboarder, maybe that.
Maybe.
Maybe.
“Star Wars: The Rise of Skywalker” opens nationwide on Friday.
