Manny Jacinto Was, In Fact, Trying to Seduce You

As a first-generation Asian American actor, I can relate to the emotions and experiences that Gemma Chan described when she talked about the impact of having two Asian male leads in a massive franchise like Star Wars. It’s a feeling of representation and visibility that is both powerful and emotional for many of us.

As a dedicated fan of science fiction and fantasy series, I have eagerly anticipated the release of “The Acolyte” on Disney+. Having binged-watched all eight episodes of its first season over the weekend, I must say that I was utterly captivated by this intricately woven tale.

His name isn’t actually Qimir. It also isn’t Tyler Durden, but the Stranger, Manny Jacinto’s baddie with the body on The Acolyte, was conceived by series creator, producer, writer, and director Leslye Headland as sharing a fair amount of DNA with Fight Club’s anarchist icon. David Fincher’s R-rated cult classic may seem like an unexpected reference point for a live-action Star Wars series. If Tyler is a manifestation of the status-quo-bucking, mayhem-spreading id inside all of us, though, then the Stranger embodies that ideology as filtered through an anti-Jedi lens. And in The Acolyte, Jacinto brings him to magnetic and compelling life with a performance that is measured, sinister, and seductive and culminates in the Stranger successfully swaying his onetime enemy, Osha (Amandla Stenberg, playing both Osha and her twin, Mae), to his side.

“Perhaps instead of the kiss, how about they hold hands?”

The gentle touch from Jacinto in episode five, titled “Night,” sparked a strong response among fans comparable to his physique reveal. While Jacinto is flattered by the fan-made edits and artwork, he hopes his portrayal of the Sith character’s longing for freedom will be recognized beyond his physical attributes. With the show yet to be renewed for a second season, Jacinto expresses a wish for his complex emotions – particularly moments of shame, vulnerability, and fear – to be further explored. “You can catch a glimpse of it in his expression,” Jacinto shares about the Stranger’s fleeting vulnerability in the finale. “I’m eager to delve deeper into those feelings.”

My colleague Jackson McHenry spoke with Leslye, and she talked about how much she loves Fight Club and how she saw your character as a sort of Tyler Durden. In episode six, you have a line about losing everything and becoming free, which is very similar to something Tyler says. How much did you all look to Fight Club for inspiration?
Before the cast and crew went to Madeira, where we shot episode six, Amandla and I watched Fight Club to home in on Tyler’s philosophy of being free and his motivations. Another ode to Fight Club is that one of the last images of the finale is me and Osha holding hands, looking out to the water, and that’s the exact same image of Edward Norton and Helena Bonham Carter looking at the skyscrapers and everything just blowing to bits. We definitely pulled a lot from the Tyler Durden philosophy for the Stranger and his essence of “This is what it is. This is who I am. I shouldn’t have to — and I’m not going to — apologize for it.”

Manny Jacinto Was, In Fact, Trying to Seduce You

Have you come across Fight Club prior to this?
I’ve seen it quite some time ago, and let me tell you, it’s not hard to stumble upon an image of Brad Pitt without a shirt online. You’ll run into one every now and then. In fact, I often joke that for each role I take on, I consider how my physique should be modeled after Brad Pitt’s. For instance, I thought the Stranger in Troy would benefit from Brad Pitt’s body shape. So, I pondered over what his workout regimen must have been.

As a seasoned screenwriter with years of experience under my belt, I deeply appreciate the creative process behind bringing characters to life on screen. In the case of the Stranger, I found that his long hair was an essential aspect of his enigmatic persona. Having worked on various projects where appearance played a significant role in character development, I understood how this physical attribute served multiple purposes.

Where did the sleevelessness come from?
For the Qimir costume, I talked to Jennifer Bryan, our head costume designer. She showed me images of different types of costumes that we could use where Qimir, in the first iteration of the character, showed his bare arms. I was like, “I don’t think we should do that. I would like to be as covered up as possible, because arms. Because of hashtag arms.” And then when we saw the costume for the Stranger with the mask, and we had a version of him sleeveless, I was like, “Okay, we can use this one now because it fits the character. We’re not really hiding him anymore.” But I definitely am for less arms, as opposed to more arms.

As someone who has spent years in the entertainment industry, I can truly appreciate the relief that comes with not having to constantly work out and prepare physically for a role. It’s not just about the time commitment, but also the mental energy required to maintain a certain look.

I understand that bringing up the topic of my “thirsty arms” reaction to the show might make you feel uneasy or anxious, but allow me to clarify my perspective. Growing up, I was always self-conscious about my appearance and found it difficult to accept compliments, especially those related to my physical attributes. This insecurity has carried over into my adult life, making it challenging for me to fully embrace such comments, no matter how sincere they may be.

As a movie critic, I saw the character played by the actor as having three distinct personas. The first was Qimir the apothecary, who was inspired by Jack Sparrow’s quirkiness and movement. Then came the masked Stranger, where we emphasized the uncanny feeling by filming his appearance in reverse and adding moments where he seemed to disappear during fight sequences. In the final iteration of the character, I focused on portraying the confident and authentic self-assurance of Tyler Durden, which proved irresistible to viewers. Osha’s character had long been confined by societal expectations, and the Stranger presented an intriguing alternative with his philosophies encouraging individuality and acceptance. The allure of this liberated mindset, combined with the bath scene and a few tantalizing glimpses of skin, made for a compelling appeal in episode six. [Chuckles.]

When you stroll out of the bathing area with your bulky duffel bag, you exude an untroubled demeanor in your actions. I managed to determine his speech patterns and movements through multiple rehearsals by working closely with a movement coach and dialect coaches. I experimented with various speaking styles for each character, adjusting my voice pitch, tone, and tension levels accordingly. For instance, an anxious character typically has a higher pitch, which became my approach in portraying Qimir. Since he feigns drunkenness, there’s still a slurred quality to his speech. Moreover, I maintained a playful undertone throughout all the characters, making it easier for me to slip into the masked Stranger’s persona with voice modulation. However, when I assumed the role of Tyler Durden, I had to focus on being more laid-back and relaxed, as any anxiety would subtly alter my speech and physicality.

In episode five, there’s a line from yours that resonates deeply with me, where you and Sol have a confrontation following your killing of Jecki. When Sol laments, “She was a child,” and you respond with “You brought her here,” this moment encapsulates the essence of the show for me: it’s a reflection of the choices you as a Jedi must make, and an invitation to empathize with your perspective. In delivering that line, I wanted to emphasize my conviction in my belief that the Jedi order is not as simple as it appears. My anger in this scene was rooted in a deep-seated frustration: I felt the need to defend my identity and beliefs, despite the Jedi insisting that I couldn’t be who I am. Simultaneously, you were committing questionable actions. I was merely pointing out your inconsistencies.

Was the casual dismissal during “You brought her here” an inherent element from the start?

As a cinephile, I’ve been fortunate enough to collaborate closely with Leslye on some scenes, specifically those involving Qimir and Mae’s introduction in the apothecary. This experience felt incredibly rewarding, as if I was truly shaping the Stranger’s arc. Among all the tiny yet significant moments we created during our workshops, one scene stands out to me.

having myself suspended upside down instead. The other intriguing suggestion I made, which I haven’t discussed much with others, was during the finale when Qimir touched Osha’s hand with the lightsaber. I recall sharing this idea with Leslye, who excitedly agreed, “Yes! Let’s give it a go.” And she incorporated it into the final product – a testament to her exceptional collaborative skills.

Before your suggestion, there was an alternative scene filmed where Osha and the Stranger shared a kiss. However, we felt it wasn’t suitable as it seemed too soon after he had killed many of her friends and she had lost her father figure. Instead, I proposed an alternative – a hand-hold between them to represent comfort, care, and their new alliance. This could potentially be developed further in season two if desired by the fans.

What I love about that scene is you two are at a certain amount of distance from each other and then you take a step closer to her and touch her finger. That was such an economical way of conveying what you just described: They’re aligned now.
In episode six, we never wanted it to feel like Osha was trapped, like she was there unwillingly. I even say, “If you want to leave, just wait until the tide goes down and you can go.” We were always mindful that this was never a prisoner-type situation. Even Osha putting on the mask: There was a version of it where I put the mask on her or I present the mask to her. But through rehearsal, we found that it was so much more powerful if she was the one who was drawn to the mask and made the choice herself. She was being seduced, but a majority of these decisions were made through her own volition.

In the latest installment, an extraordinary fight scene unfolds between you and Lee Jung-jae’s character, Sol. You are dominating the encounter for most of it. I’m aware that you prepared rigorously for five episodes’ worth of combat scenes, spending four months in training. However, it seems that this eighth episode’s fight includes extensive use of wires for the stunts. Could you share how this came about since production may have some reservations regarding your involvement with the wirework?

As someone who has spent years working in the film industry, I can tell you that the creative process is often filled with unexpected twists and turns. In the case of our latest project, we were all set to move forward with episode five when suddenly, our director Leslye took notice of my screen test with the mask and decided that she wanted more of me in the story.

In my opinion, the choreography played an integral role in this story, almost as if it were a character itself. Our talented second-unit director and action designer, Christopher Cowan, along with our stunt team led by Mark Ginther, worked tirelessly to create a unique fighting style distinct from the prequels and even the original trilogy. I was inspired by the Japanese live-action movies, “Rurouni Kenshin,” renowned for their stunning swordplay and lightweight props. However, our lightsabers, equipped with advanced lighting technology and electronics, were heavier and more challenging to wield. Despite the added difficulty, we managed to bring this new fighting style to life in the Star Wars universe. It was a risk we took, but I believe it was a successful one.

In your hip-hop dance background, did any part of the choreographed fight scenes resonate with you?

You’ve talked about Asian representation onscreen and wanting to add more characters who are complicated, who are nuanced, who have contradictions and tension within them. The Stranger and Sol both fit the bill there. Did you and JJ ever talk about that?
No, we never really got into it. I mean, JJ was busy trying to act for the first time in English, so I didn’t want to bog him down too much about the deeper meaning of what he’s actually doing and what it means for younger Asian Americans. I think it’s different because, you know, he comes from South Korea.

As someone who has grown up as an Asian woman in a predominantly white society, I can relate to the speaker’s emotional response to the casting of two Asian male leads in “Star Wars.” Growing up, I rarely saw representation of people who looked like me in mainstream media. When I did, it was often in stereotypical or demeaning roles.

As an admirer of the show, I can’t help but feel intrigued by the tantalizing cliffhanger we were left with in the finale. The moment when Vernestra recognizes the Stranger and he reacts with a masked face, revealing a hint of shame, vulnerability, and fear, leaves me yearning for more. I’m eager to delve deeper into these emotions and uncover the reasons behind the Stranger’s transformation into this enigmatic and darker entity. What led him to feel such intense shame? What are the origins of his vulnerability and fear? And how did he become the being we see in the show today? I eagerly await the possibility of a second season to explore these questions and unravel the mysteries surrounding the Stranger.

2024-07-22 19:43

Manny Jacinto Was, In Fact, Trying to Seduce You

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