Will Poulter on the Two Poles of His Spring A24 Roles

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Presently, Will Poulter is delivering an intriguing one-two punch with his versatile roles – one moment he’s in military fatigues, the next in pleated white shorts. He’s starring in two contrasting films releasing two weeks apart. In “Warfare,” he portrays a Navy SEAL officer leading an Iraq War mission, while in “Death of a Unicorn,” he plays a reckless aristocrat helping his parents (Richard E. Grant and Téa Leoni) exploit unicorns’ healing powers. The former, jointly directed by Alex Garland and Ray Mendoza, is a suspenseful thriller that expands the final 20 minutes of “Civil War” into a full-length Middle East action sequence, while the latter, helmed by “Resurrection” producer Alex Scharfman, offers a lively critique of the rich, featuring gigantic puppets. Poulter shines in both films. (He’s also set to romance Jacob Elordi in “On Swift Horses,” coming later in April.)

In real life, the 32-year-old British actor comes across as more friendly and understated than most of his onscreen characters. For instance, he plays a negligent lover in “Midsommar,” an obsessive chef in “The Bear,” and a dim-witted warrior in “Guardians of the Galaxy Vol. 3.” Unlike Shepard Leopold from “Death of a Unicorn,” who uses unicorn powder like it’s cocaine and justifies his family’s actions against nature as a “moral imperative,” Poulter doesn’t exhibit the excessive, self-centered behavior associated with Leopold. Instead, he is known as Daddy by his co-stars from “Warfare” because of his responsibility and productivity during their time together. Recently, I had the opportunity to interview Poulter at South by Southwest, where “Unicorn” was premiered, to talk about the contrasting roles he will be portraying this spring.

In a comedy, it’s every actor’s wish to have the liberty you had in Death of a Unicorn. Téa, Richard, and I often talk about this: The Leopold family provides an environment where one can abandon self-consciousness. Playing the most absurd versions of these characters was incredibly liberating. Much of what I did was also influenced by the subtle cues from two highly skilled comedic actors, as well as the disapproving looks from my fictional parents.

Could you provide an instance of such a scenario?
In this situation, Richard acts as the head of the family while Téa portrays Belinda, manipulating others and advocating for the Leopold approach, which is all about personal gain. They disguise it as a charitable cause or activism for show. My constant inconvenience to them helped me comprehend Shep’s struggles and his persistent attempts to prove himself worthy. He treats anyone not in the family circle poorly.

Are you asking if, similar to Alex Scharfman, I drew inspiration from the Sackler family when creating the character of the Leopolds? Indeed, as they share traits such as being a wealthy, self-centered, and often ruthless family, it seems natural that they may have served as an inspiration.

Wondering what Shep’s life might be like away from this film, do you think he has any friends? It seems that his situation stirs a mix of sympathy and guilt because of his immense privilege despite being an idiot. However, it’s essential to remember that he’s seeking approval from his parents, which is relatable for many people. From what I can tell, the only individuals who might be considered friends are those exploiting him. Moreover, his relationship with his mother appears very unhealthy and shows signs of attachment anxiety, making it difficult for him to thrive outside this movie.

As a follower, I’ve always wondered if those captivating unicorns were merely computer-generated images or actual puppets. It turns out they are an amazing blend of both! The intricate puppets were so realistic that it felt like we were watching real animals. No tennis ball on the end of a stick here, but skilled puppeteers manipulating these lifelike creatures to create an enchanting experience right before our eyes.

[Warning: The next three questions spoil the end of Death of a Unicorn.]

How would it feel to be hoofed in the face by a unicorn?
Well, let me tell you, that was quite an amusing experience! When you’re playing a character and you recognize that you’ve earned your punishment, nothing this magical creature could do would be more fitting. I wholeheartedly accept the most unpleasant of endings.

The crowd eagerly anticipates it. You can’t help but feel that you’ll face some form of criticism. However, witnessing each Leopold death met with thunderous applause from the audience is a thrilling experience, as every demise was truly brutal and terrifying. That’s where the movie truly excels in delivering gore and horror.

What does that experience feel like for you, when you’re tumbling through the air in the courtyard outside the Leopolds’ mansion? For you, it seems like a piece of flexible material, possibly plastic, was fastened to a wire. Upon landing on this material, they would pull the wire immediately, causing me to be propelled and skid across the ground. The visual effects team made adjustments to make it look more dramatic. Frankly, I’m not proficient in performing stunts. Whenever there’s a chance for someone else to handle the stunt work, I’ll take it. I did very few of my own stunts during Guardians because the man doubling me was far superior. However, it was enjoyable to play a part in my character’s demise on this occasion.

Instead of asking if I would try snorting magical unicorn dust, let me clarify something humorous – it was all a visual effect. No actual substances were ingested. However, the Leopolds showcased various amusing methods to get ‘high’ using their resources, such as IV bags, steaks, cocktails, or even smoking it through a pipe. The intriguing aspect lies in portraying drug use within affluent, upper-class society, which is often perceived differently than the same behavior in lower socio-economic groups. For example, the film features sophisticated laboratory equipment to produce a high-end version of unicorn blood, which can be considered as a crack cocaine analogue. This contrast between fancy science and their wealth allows them to avoid the usual judgments about drug use. The filmmaker, Alex, has subtly incorporated these social commentaries into the movie.

It was surprising to me that Death of a Unicorn seemed less enjoyable than Warfare, given its reputation for fun, but it was during Warfare that a photo of you at a bar emerged, showing you dressed as Clifford the Big Red Dog alongside Charles Melton. [Laughs.] Warfare was an incredibly meaningful bonding experience with the cast, while Death of a Unicorn was more about pure silliness and lightheartedness. Death of a Unicorn was quite unique in that sense. Our cast ranged from different decades, whereas in Warfare we were all around the same age. Despite expectations, the level of camaraderie and mutual understanding that developed among us, coupled with the love we shared, was remarkable. We had a great time, but also faced some challenging experiences, which pale in comparison to the authentic struggles portrayed in the film. I have a deep affection for all those guys. The Clifford the Big Red Dog story is linked to the man I represent, whose identity remains confidential because he’s still serving. However, there’s a tale about him wearing that suit during a night out in Iraq many years ago. At the wrap party, I dressed up as Clifford and sent him a picture.

I must admit, the project was nothing short of amazing. It all began with an intense three-week boot camp, followed by a shoot filled with lengthy, sweeping shots that seemed to flow effortlessly in real time. But just how intricately planned was it?

The secret lies in the incredible skills and dedication of our camera team. Each day, we managed anywhere from 50 to 70 setups on two highly maneuverable cameras, all while our crew moved at breakneck speed. It was a well-oiled machine that made everything seem so seamless and captivating.

In another aspect, I believe the success of this film hinged on Alex and Ray, both strong personalities, demonstrating humility and self-awareness by allowing each other to take charge. Achieving such harmony is challenging. What might seem like choreographed movements is a blend of two factors. Ray had a clear vision of how the scenes should appear, as many of the individuals we were portraying were present on set and could adjust their performances according to their recollections. Moreover, everyone was dedicated and worked tirelessly, with our training sessions being quite rigorous and repetitive. Once we reached a scene, we reacted based on the instincts we’d developed. Ray insisted that we wouldn’t breeze through the training and figure it out as we went along. If we made mistakes at this stage, he demanded that we leave our egos at the door and keep trying until we got it right. As a Basic Underwater Demolition SEAL instructor, he had extensive experience in the real thing. Here, he was working with actors, so he was aiming to create a culinary masterpiece from scratch.

During the shoot, what did Ray make adjustments or improvements on, considering both technical aspects and the actors’ personalities?

He would provide detailed notes that were also influenced by his understanding of each actor’s personality. He would say something like, “From a technical standpoint, you might do it this way, but based on what I know about him, he tends to handle his props in a specific manner.” There’s very little creative interpretation or exaggeration involved.

The filming took place during summer, which made it quite warm, and the challenge was particularly evident when we were outside after an explosion. The man I spoke to, along with several others who contributed to the story, mentioned the intense heat post-explosion. To survive, one had to inhale, but there was a risk of burning the lining of one’s throat. The person I am representing almost lost his voice due to the heat from the phosphorus in the air.

In Warfare, you’ll notice that I rarely smile, but there’s an exceptionally memorable moment where I do, and it’s due to the character I portray having an exceptional smile. Despite his stoic demeanor required by his profession, he possesses a great sense of humor. This was something Ray, the director, noted as well. Whenever I interact with this individual in real life or on video calls, I am always struck by his incredible smile. Furthermore, these individuals are part of a community where stereotypes were often based on my personal experiences. However, I was pleasantly surprised by their progressive and inclusive nature, challenging many preconceived notions. One of the most striking aspects was their humility in the face of new information and changing perspectives, and their eagerness to learn about their own privilege. In our very first conversation, he spoke candidly about his white male privilege, which is quite uncommon. This honesty and self-awareness greatly increased my respect for him.

In Shep’s response, there seems to be a hidden layer of pain amidst any apparent joy he displays. It gives an impression that he might not possess the emotional intelligence required to fully grasp certain complex emotions. The sincerity of his smiles can sometimes be questionable. I believe that the moments when he appears the happiest in the movie are when he feels he has a rare approval from his parents.

Was there more time spent on preparation for The Bear or learning war strategies?
It took me longer to prepare for The Bear. In season two, I had about three months of prep time compared to just a couple of days of filming. My enthusiasm for cooking made the preparation for The Bear more appealing, as it was something I enjoyed doing outside of work too. Plus, my mom is an excellent cook and provided valuable insights during brainstorming sessions. Additionally, I had the opportunity to step into real kitchen environments, observe professionals at work, and this was a long-cherished dream come true.

In the context of warfare, we’re creating a setting that no one should ever have to experience in reality, correct? That’s precisely what the movie aims for: portraying it as a scenario where victory is impossible. The incident we portrayed raises the question: How much did you endure in losses that day? The buildup and preparation leading to that event were highly technical, but it was challenging to truly capture the emotional aspect of it all.

Who bestowed upon you the affectionate title “Daddy” during the Warfare period? It could have been Finn Bennett who first used it, and later Evan Holtzman and Michael Gandolfini joined in. The nicknames originated naturally as we spent a tremendous amount of time together. I believe “Daddy” became appropriate because I found myself often reminding everyone about household chores and tasks like when laundry day was.

Why did you end up in that position?
I think because I was playing the officer in charge.

What can you share about the new movie “I Love Boosters” that you’re involved with, directed by Boots Riley? Well, I have to say, Boots is an extraordinary filmmaker. I still can’t believe I was part of his team, alongside my friends Naomi Ackie, Keke Palmer, and Taylour Paige. It was truly something exceptional. From what I’ve seen, it’s Boots’s most impressive work yet, in the truest sense of the word.

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2025-04-01 21:55