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Levinson explains why he never bothered to write a movie about black characters.
From filming under strict COVID security protocols last summer to selling the film to Netflix in a $ 30 million blockbuster, Sam Levinson’s journey with “Malcolm & Marie” does never stopped making the headlines. The relationship drama, starring Zendaya and John David Washington, is now proving to be one of the most controversial titles in the award race. Several criticisms have been leveled at Levinson since the film’s screening began last month, from the age gap of its actors to its decision to write a film about two black characters. The writer-director has faced these criticisms head-on in recent interviews with Esquire UK and The Independent.
Regarding the 12-year age gap between Zendaya and Washington, Levinson told The Independent he understands why this could be of concern, because age gaps are “something that historically occurs often in movies with older male actors and younger women. and that often has nothing to do with history. Because the film’s script takes into account the age difference between Malcolm and Marie, and how that contributes to the power imbalance in their relationship, Levinson said, “I’m just not sure the criticism applies. to this particular project because [the age difference] is part of its DNA.
Zendaya and Washington also brushed aside the criticism of the age gap. Zendaya told People magazine that viewers should remember she’s a 24-year-old adult in real life, even though she understands why they might not because “Malcolm & Marie” is her first adult role after a career in characters still in middle or high school. Washington said in a separate interview with Variety that he “wasn’t concerned” about being 12 years older than Zendaya because the “Euphoria” actress “is a woman.”
“People are going to see in this movie how much of a woman she is,” Washington said. “She has a lot more experience than me in the industry. I’ve only been in it for seven years. She’s been there longer, so I’m learning from her. I am the recruit. I relied on her a lot… What I’m really excited people see when the movie comes out – they’re going to see how mature she is in this role.
Much of Levinson’s “Malcom & Marie” script finds the Washington filmmaker’s character mocking white critics for politicizing his work when it was not his intention. That Levinson, a white filmmaker, tackles a two-black character storyline that concerns the creation and reception of black art raised a red flag for some, but for Levinson, it was never a problem.
When asked by Esquire UK if he was afraid of making ‘Malcolm & Marie’ as a white man, Levinson replied, ‘No, because I trust the collaborative process and my partners that if I ‘write something that doesn’t feel true to me, that JD or Z don’t respond or feel honest, that they’re going to say something and we’ll get there. I didn’t have any anxiety in that sense because I have too much respect for the collaborative nature of cinema.
Levinson may have the only credit for the script, but “Malcolm & Marie” was a collaborative experience and nothing went into the script that was not authorized by the cast. As the director put it in his freelance interview, “There are some things that I’m not going to 100% understand about what it’s like to be a black designer, but what I can do is write. which seems true for the character and to have faith in the collaborative process of cinema ”.
Levinson also spoke about the controversy over his decision to have Malcolm criticized against the “white Los Angeles Times critic” throughout the film. As many critics have noted, including Justin Chang in his review of the LA Times, Levinson’s feature debut, “Assassination Nation,” was criticized in the LA Times by independent critic Katie Walsh. When The Independent brought up Walsh’s criticism, Levinson played down the fact that it had something to do with ‘Malcolm & Marie’ inspiration.
“Look,” Levinson said. “It just sounded funny. Every time Malcolm says it, it makes you laugh.
“Malcolm & Marie” is now streaming on Netflix.
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