Emily Blunt doesn’t believe in half-measures.
Whether it’s playing a time-loop soldier in Edge of Tomorrow, a drugged commuter in The Girl on the Train or a grieving 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.
“When I watched it with Benny, we both sobbed,” Blunt told Variety. “It’s strange to make a film and see it reflected back to you. You’re on the inside looking out, and then all of a sudden you’re kidnapped by someone else’s worldview.”
Johnson, who built a career on charisma and invincibility, doesn’t register here like Kerr, literally or spiritually. His co-stars are quick to acknowledge the change. “It’s almost more than a performance,” Brandt says. “I had never seen ‘The Rock’ on set before. What he did was extraordinary, but it was also closer to his soul than people imagined.”
That emotional authenticity extends to Blunt’s performance as Carr’s ex-wife, Dawn Staples. She is the woman she feels was vilified in the 2002 documentary that inspired the film. Brandt decided to find out for himself who was underneath the headline. “She was nervous about talking to me at first,” Brandt recalled. “Mark had to convince her. I told her, ‘I’ll be your advocate.'” And when she opened up, it was invaluable. She knew that I would be playing her during one of the most turbulent times in her life. ”
Safdie, known for the chaotic realism of Uncut Gems and Good Time, shot the film in a custom home equipped with hidden cameras, allowing his actors to move and react freely without a traditional setup. The result is a raw, voyeuristic intimacy, especially in the long fight scene in the apartment, which Blunt calls “‘high noon’ in the kitchen.”
“We had been talking about that fight for weeks,” she says. “Benny never blames you straight. Even if it pops out, even if you improvise, even if you scream at each other, it’s all fair game. It feels like it shouldn’t be seen because it seems too intimate.”
Even the film’s lighter moments tested Blunt’s limits. Namely, she fell ill during a sequence involving the Gravitron amusement park ride. “I’d rather drink bleach than go on an amusement park ride,” she admitted with a laugh. “But Benny seduces me in a way that makes me say yes. I ended up wearing this giant wig, upside down, on the Gravitron, and I thought, ‘This is how I’m going to die.'”
Despite its extremes, “The Smashing Machine” represents something personal to Blunt: the balance between the intensity of her craft and the serenity she seeks off-screen. “When I feel overwhelmed, I tell myself,” she admits. “‘Okay, okay, okay. Give it your all.'” That’s how I get through the mess. ”
On the Variety Awards Circuit podcast, Oscar nominee Blunt spoke extensively about the film, his friendship with Johnson, the long-awaited The Devil Wears Prada sequel, and why he’s waiting to appear on Broadway.
Also in this episode, Oscar nominee Jessie Buckley talks about her stunning performance in Hamnet and how it taught her about kindness in this world. Listen below!
Dwayne Johnson as Mark Carr, Emily Blunt as Dawn Staples, “Smashing Machines”
Provided by Everett Collection / A24
This interview has been edited and condensed.
What drew you to Dawn Staples as a character?
I was captivated by the emotional tightrope of playing a character who could become Mark’s Achilles heel and greatest support system within five minutes. Their relationship was volatile, messy, disorganized, and uncomfortable. I wanted to honor that chaos.
How did talking to the real Dawn influence your performance?
It changed everything. She was nervous about talking to me at first, but Mark convinced her. I told her, “I’ll be your advocate. I need every shadow of your life.” What she shared changed my understanding. It’s rare to be able to absorb someone so completely. It’s usually what creates the gap. Here she entrusted me with one of the most turbulent times of her life.
What impressed you the first time you saw Smashing Machines?
I cried the moment it started. When you’re making a movie, you’re looking from the inside out. You are managing the chaos. And then you see it reflected back at you and you feel like you’ve been kidnapped by the filmmaker’s worldview. This production was very emotional for both me and Benny. It means a lot to both of us.
Dwayne Johnson was visibly emotional in Venice. What did you see at that moment?
I wasn’t surprised. I once saw a great friend of mine become very emotional. Part of the reason was that Mark Carr was sitting right next to him and was shaking throughout the movie. For Mark, it was like getting his life back. The applause was not only for the memorable fighter, but also for his path to peace. For DJ, it was an acceptance of what he does as an actor and an invitation to continue moving forward in this dramatic space.
Viewers say Johnson is “unrecognizable” here. What was it like sitting across from him on set?
I’ve never seen “The Rock.” The kindness he shows as Mark is closer to DJ’s character, and the pain Mark experiences is closer to DJ’s life than people might imagine. That day, there was an eerie feeling at times, as if I had witnessed a possession.
The long-awaited sequel to “The Devil Wears Prada” is also currently being filmed. How did it go?
It’s overwhelming in a good way. This is the first time a movie has been shot with such care. We try to maintain mystique and change in the bathroom to avoid people seeing our costumes, but fans are everywhere. Playing Emily again feels like slipping into a pair of broken old slippers. She’s insane and I love her.
Is there any teasing?
At Disney, if you say something, you’ll be swayed. Still filming. I took a break to release “The Smashing Machine,” but I’m back again.
You’ve appeared in movies and television, so why haven’t you appeared on Broadway yet?
I started doing theater at the age of 18 and have become more and more fascinated by the idea. John (Krasinski)’s off-Broadway one-man show was the most creative experience of his life, and I saw wholeness come to him. But my kids are 11 and 9, so bedtime is a must. Even if they become indifferent to me, and that day will come. I’m ready. I look forward to new work by female playwrights. Penelope Skinner, who wrote John’s play, was excellent.
What do you watch outside of work hours?
I love cooking shows – “Great British Bake Off”, “Next Gen Chef” sports documentaries. Although I have no interest in watching actual sports, I am transfixed by the plight of athletes, the pressure to perform. That’s part of the reason “The Smashing Machine” appealed to me.
Filming on Steven Spielberg’s new movie has just finished. What did Spielberg teach you?
I call him “Double S,” a nickname he’s never been called before. He and David Cope wrote some great parts for me. Stephen is one of the nicest humans I’ve ever met. I grew up watching his films Jaws, Indiana Jones, and Schindler’s List. Trying to summarize his influence in words almost brings him down a notch. He is that vast.
Are there any formative notes you took early on that still guide you?
Pawel Pawlikowski, the director of my first film, My Summer of Love, taught me that ambiguity can be interesting on screen. Delete words. Remove all derivatives. Lean into the unknown within the scene. That stayed with me.
If you had to leave us with one note from life, what would it be?
Let’s run toward peace. Things feel chaotic. Try not to lose sleep. Find unity with people who make you feel grounded. That’s the job.
Variety’s Awards Circuit podcast, hosted by Clayton Davis, Jazz Tunkay, Emily Longeretta, Jenelle Riley, and Michael Schneider, who also produces, is your one-stop destination for lively conversations about the best in film and television. Each episode’s “Awards Circuit” features interviews with top film and TV talents and creators, discussions and debates about the awards race and industry headlines. Subscribe on Apple Podcasts, Stitcher, Spotify, or wherever you download your podcasts.
