After a year away from American soil to direct “The Thomas Crown Affair” in London, Michael B. Jordan is back and looking to get back on track.
In Ryan Coogler’s Sinners, set in 1930s Jim Crow-era Mississippi, Jordan plays twin brothers navigating a world where survival and ambition collide with supernatural forces. It was a role that demanded everything from the actor and showed a depth never seen before.
“I think the level of empathy that goes into his work and his art, the detail, the personalization, the specificity of the trends he creates, is food for the soul,” Jordan says of his longtime collaborator. The two have formed one of the most consistent actor-director partnerships in modern cinema, from Fruitvale Station to Black Panther to the Creed series. But “Sinners” stands for something. It’s a creative swing that asked Jordan to stretch in ways he never had before.
The project came to him through Coogler’s personal connection to the material, rooted in his uncle James and his relationship with blues music. What struck Jordan right away was that this felt like Coogler, who had spent years making franchise films, was doing something purely for himself. “I could feel that he wanted to do everything he could for me, and I was excited to see that passion,” Jordan recalled.
Playing twins wasn’t just a technical challenge. It was an opportunity to explore two fully grown men, characters who knew exactly who they were, rather than a boy becoming a man. “They see themselves as they are. They haven’t changed,” Jordan explains. “So I was really excited to have an opportunity where I felt like I was really an adult and I felt like I had grown up a lot.”
Filming in Louisiana was Jordan’s toughest job yet. Having just directed “Creed III,” he had to silence the voices of the producer and director in his head. Mr. Coogler made his instructions clear from the beginning. “One of the main things Ryan said to me when he was pitching was, ‘Hey, brother, don’t think about anything but your performance,'” Jordan said. “Turn off the producer side, turn off the director side, turn all of that off. I want you to give me everything on this.”
Jordan describes it as “the second hardest thing I’ve ever done in my life” and says he had to find solace in the discomfort. The period setting, the Southern dialect, the fantastical elements, and above all the duality of embodying two different brothers – all this inspired Jordan to discover where his limits lie.
The cast around him also rose to the occasion. Miles Caton, who is making his film debut, learned to play the guitar in just a few months for the role. “There’s no way you can sit there and say this is his first movie,” Jordan says, clearly impressed. Delroy Lindo, Hailee Steinfeld, and the ensemble created what Jordan calls a family atmosphere, the kind of environment Coogler is known for fostering on set.
For Jordan, promoting “Sinners” is about more than just his own performance. “I want everyone who took time away from their families to come here and make the film with us to get all the love and respect and the props they deserve,” he says. But his main focus is making sure Coogler gets the flowers. “I think it’s very important for him to get flowers. It’s up to us to cheer him up and he’ll cheer us up as well.”
The film represents an important moment for Black films and for the horror genre at the Academy Awards, where such works have historically been ignored. While conducting the conversation at the awards ceremony, Jordan frankly said that he wanted to give his best to his collaborators. “I wish the world for Ryan Coogler. I think he is one of the most genuine people I know. He is unapologetically who he is. A man of his word, a great husband, a great father, a great friend and collaborator.”
In this episode of the Variety Awards Circuit Podcast, Jordan talks about working with his longtime collaborators, the challenge of “Sinners,” and his next adventures, including “Miami Vice” and “The Thomas Crown Affair.”
Also in this episode, “Sentimental Value” star Renate Reinsve talks about her creative partnership with Joachim Trier. Plus, our Awards Circuit Roundtable delves into Thanksgiving plans, previews the Gotham Awards, and looks ahead to early precursors to kick off Oscar season. Listen below!
Michael B. Jordan “Sinners” (Warner Bros./Courtesy of Everett Collection)
©Warner Bros./Courtesy of Everett Collection
Read an excerpt from her interview below. Edited and condensed for clarity.
You took a year off to work on The Thomas Crown Affair. How was it being back?
I was out of work for a year doing pre-production, development, and filming The Thomas Crown Affair. I came back 48 hours ago. This is the second hardest thing I’ve ever had to do, aside from “Sinners.” Directing, producing, writing, and acting. There were many.
I was living in London, so I missed being 10 toes down in North America. I didn’t really have a sense of what the people here had been through. After I got back, it was non-stop interviews, microphones, questions. Last night I was able to relax with my niece and nephew for the first time. Uncle Mike just shows up, plays Pokemon, talks about colors, and buys Legos.
What struck you about “Sinners” and what new things did Ryan Coogler want you to do?
What struck me even before I read it was Ryan’s personal connection to Uncle James and blues music, and how that translated into this story set in Jim Crow Mississippi in the 1930s. It felt like a new muscle to him. After 10 years of franchising, this was personal. That passion excited me.
The script was a quick and emotional read that made me laugh, cry, upset and inspire. The twin element of playing two characters gave me the most anxiety, but also the most excitement. Ryan wanted to push me outside of my comfort zone. These are the most developed characters I’ve played. There is no coming-of-age story, just a fully grown man.
Did you feel like you were able to show different sides of yourself?
While I can’t list my attributes like a checklist, this gives me room to stretch: period drama, southern accent, fantasy elements, sibling play. I wanted to know where my limits were. I like to maintain enough discomfort to thrive.
This was my first film as a director, and working with Ryan again, there was a new dynamic on set, and I felt a shift in gear. One of the first things Ryan said was, “Hey, brother, don’t think about anything but the performance. Stop the producer side, stop the director side.” That was the challenge. And I thought, “Okay, let’s go.”
That’s what I needed to happen to give these characters a fair chance to not just work, but be something that could fully realize his vision, and that was a swing, a creative swing, as a movie.
The cast is great. How did you find Miles Caton? What was it like working with the ensemble?
Our casting director, Francine Meisler, helped us discover hidden gems. Miles — You’d never know this was his first movie. He has toured with HER and brings that professionalism, artistry, and discipline. I learned to play the guitar within a few months.
He has a voice that doesn’t suit him. It’s just incredible. Hayley, Delroy, Wunmi, Lily, Jamie, and Jack all showed up. we became a family. That’s what happens when Ryan makes a movie. We create that environment. We want to create a place where people can come, be their best selves, and do their best work. We want to create a space where you can seize those opportunities and swings in the right way.
What do you think about Ryan Coogler’s chances of making history with this movie?
I want the world for Ryan Coogler. He is one of the most genuine human beings I know, a wonderful husband, father, and collaborator. His uniqueness and empathy are food for the soul. His story inspires more voices, more humanity, more diversity.
He doesn’t like being praised and prefers to hide in the shadows. But I’ll definitely bring him flowers. We lift him up because he lifts us up. That’s why I’m working so hard for him, the cast, and everyone who worked so hard on this film. It brings our industry to a better place. It seems like the more movies he makes and the more stories he tells, the more talent he inspires to double down on the things they care about and the stories they want to tell. It ultimately makes things more diverse and feels more human.
Please tell me about the “Thomas Crown Incident”.
As a kid, I loved the 1999 version of Pierce Brosnan’s sophistication and artistry. I didn’t grow up going to museums, so this movie showed me a different side of New York. My mother is an artist, so I grew up around painting and dyeing leather. It shaped my tastes more than I expected.
Then I watched the 1968 Steve McQueen version. The screen was split, and that style was distinctive. After “Creed,” MGM asked me what I wanted to do next. I said, “The Thomas Crown Affair.” That’s what I need. ”
There wasn’t that much luggage either. There was enough time and generation gap that it felt like almost an original story without the IP, but not James Bond with crazy expectations that he would be criticized no matter what he did.
I didn’t want to reboot. I wanted to reconsider. The first two movies were about wealthy white people stealing for fun. It won’t land today. Ours is more personal. The stakes are even higher. I still have fashion and romance. Ruth Negga is the queen. It has a great cast, including Aubrey Plaza, Kenneth Branagh, and Papa Essiedu.
And will “Creed IV” still be coming?
After all, definitely. This is a franchise that has been really kind to me in a big way. I love MGM and Irwin Winkler and everything they’re working on. I think the story will be uncovered a little more through that. Do I want to be involved in ring boxing for the next 15 years? There aren’t that many. But I think there are some clever ways and interesting characters that we’ve established. You might want to see how it turns out. I’ll also introduce some new things I’m thinking of. Maybe he can make a few really good swings with the franchise a little longer.
We’re spinning off the story of Amara, Adonis’ daughter, into a TV show that’s featured on Amazon. So you’re going to see different parts of the Creed-verse, that’s what I call it. These little IPs keep the universe alive without relying entirely on me as a boxer to cross the finish line every time. It’s adjacent.
Rapid Fire: What is your favorite Denzel Washington performance?
“Malcolm X” was the one who should have it all. I was simply surprised.
What is your favorite Angela Bassett performance?
I’m going to say, “I’m waiting to exhale.”
Who would you like to work with that you haven’t worked with yet?
Leonardo DiCaprio. I really want to work with Leo.
Who would you like to work with again from a classic movie?
Give me Sidney Poitier or Dorothy Dandridge.
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.
