Cinema’ou a delicate guy ‘: Chris Evans shows his sensitive side in materialistic loves

After entering Marvel’s cinematic universe, it can be difficult to go back to the world of actors without difficulty. But that’s exactly what Chris EvansDo it in Materialistic loves. The new romantic drama of the screenwriter and director Celine Song – Her first work since the premiere Past (2023), Best Movie and Best Original Screenplay – Show Evans exchanging Captain America’s shield for the event waiter apron like Johnan actor of theater without money that lives on nozzles to pay the bills.

The film forms a love triangle between Johnyour ex-girlfriend Lucy (an elite matchmaker played by Dakota Johnson, Madame Teia), and Harrya rich and charismatic suitor lived by Pedro Pascal (The Mandalorian2019).

“THE John It is the embodiment of a whole lifestyle of theater artists in New York, ” he said Song the Rolling Stoneby VideoChamada. “It’s someone who was born poor, grew poor and has a certain bitterness for that – in a way that I find very moving.”

But how did she come to a literal American hero to play this romantic unlucky?

“There is a certain ‘commodity’ associated with Chris that a lot of people see first, because it is the simplest way to understand an actor – like an object, ” it says Song. “But when I realized Chris, I saw that he fit perfectly into the role of John. There is a side of him that was always John. He was once a rising actor and understands this reality.” She completes laughing: “He has had roommates.”

Evans thanked the change of rhythm that the role provided him:

“It’s good to interpret someone with challenges and difficulties that I can understand, human and everyday things – rather than the consequences that involve the end of the world,” He says. “His posture, the clothes, the tangible things that help to bring the character to life … It’s great it’s flannel and sweatshirt, not a shield armor.”

What attracted you to Materialistic loves?

What a Celine It does very well is transforming simple dialogues into visually special scenes. She can make you feel that as if it is happening in your own life. Sometimes very simple things happen in life and look deep – but when you try to tell a friend, it’s never the same. And it comes from her care with the rhythm, silence, direction and writing. Everything is very contained and has an impact.

Did you identify with John right away when reading the script?

In fact, when I met the Celine For the first time, I thought she would climb me like Harry. She asked: “What role do you prefer?” And I said, “I like John more, but okay if you want me to be Harry.” The two papers are great, but I felt more attracted to John. Fortunately, she thought that too.

What did you like in the character?

John has more vulnerability, more pain. He’s a guy who didn’t arrive where he wanted in his life. And it’s easy to play the “so much”, because if you show you care, you need to try. And if you try, you can fail. He lives as if he said: “I’ll get you away before you get away.” But he can’t avoid what he feels. He loves Lucy. And admit that – to her and to her – requires courage. It is at this risk that his growth is.

Interpreting John reminded you of the beginning of his career, trying to establish himself as an actor?

For sure. The motivation, the doubts, the tough roommates … All this is very familiar to me. I am more open than John. I’m very sensitive, you know? I’m a delicate guy. And because of that, I end up exposing myself too much as a way of dealing with things. John is more closed, more defensive.

If you were 37 years old, living with an unbearable roommate and doing nozzles, would you still try to follow as an actor?

I don’t know how I would deal with it. But I’m sure it would be very frustrated. I would be defensive, harder, trying to protect myself from the feeling of inadequacy because I have not yet achieved my dreams. And then, if your romantic partner also begins to point out his flaws … It’s too much.

Talk about the scene in the barn near the end of the movie, where John and Lucy have a painful but necessary conversation.

One of the things I love the most in Celine It is that it films in 35mm. PastIt was beautiful. And when you arrive at the set at night, see those lights hanging and know you’re in a movie frame … You feel that this is special. The scene is very vulnerable, a honest declaration of love, even though he knows he doesn’t have what she is looking for. It’s desperate, it’s raw, it’s painful. But as an actor, you seek in your own life similar experiences, to feel this level of exposure, honesty – heart in hand. And it usually leads to tears. [risos]

Film on film 35mm also raises the pressure, right?

For sure! And that is what gives romanticism to the cinema. I like to know that there is a limited amount of movie. I like to see the rollers being exchanged on the camera, to check if everything is right. I like these imperfections, things coming out a little of the focus and not being “fixed” in the post. This is true art.

What differentiates Materialistic loves of other romantic movies? Celine’s script seems to bring another view of love.

Most romantic comedies show an idealized version of love – which is great for escaping reality, but does not reflect reality. This movie has a more realistic view, more foot, less naive.

I find it much more related to those who live love today. The scenario of modern love is difficult. Many of the social standards that kept weddings together were deconstructed. Today, it all depends on compatibility – and this easily becomes a calculation, an algorithm, not a heart issue.

Lucy says, early in the movie, that loving is easy, but dating is difficult. Does this summarize the theme of the movie well?

I said everything. Loving comes from the heart. It is clear. It is binary. Dating is when the math comes in, reasoning. It is the mind entering the game. And try to reconcile what the mind needs with what the heart wants … it’s confusing.

This summer, you also star in the thriller Honey Don’t!directed by Ethan Coen. Is it a change of career direction?

I hope so. In the end, it all comes down to working with good directors. There are hundreds of reasons to accept a movie – an amazing role, a funny script, a nice producer … But sometimes you try to force, see if you can make sense. The only thing that really matters is the director. This is what I am looking for now. If I like the director’s work, I’m inside.

You drove a romantic drama, Before goodbyeten years ago. Is this a genre that you enjoy particularly?

At that time, I wanted to drive, but I was also being pragmatic: I needed to learn. I never went to film college. I was entering an area where I had no experience. So I felt that I owed more respect for the title of director than simply assuming something I might not be able to accomplish. Before goodbye It was a contained script: two people, New York, night filming – something that seemed viable. I loved the theme, but the motivation was also practical.

Is driving something you still want to do?

For sure. But the problem is that I have a hundred other things that also interest me. I am a little fickle. There are days when I wake up wanting to drive, and others when I wake up wanting to learn carpentry. [risos]In fact, it depends on the movies I see.

When I see an amazing, inspiring movie, my desire to drive comes back with everything. But if I spend a while without watching anything, my focus goes away.

What would it do differently if it drove a new movie today?

I would definitely risk more. It would be more confident about what I want to see on the screen. But that is what makes intimidating back: because the second time, You have to do it differently. You can’t repeat. It is a process that requires too much-preparation, filming, post-production. Making it all over again would be a disrespect for myself and my time. And that weighs.

What most marked you at work with Celine Song? What stands out in it as a director?

Conviction. She knows exactly what she wants. I’ve worked with many directors with good, passionate, but too flexible ideas-they want to collaborate at all costs, find a middle ground. And not that Celine doesn’t collaborate, but she has confidence in her own reasons. There is no word in the script for nothing. Everything is thought. And at first it takes time for you to understand that, but once you trust it, you surrender yourself. It starts to think, “She told? Okay, I’ll just ask how high.” In my opinion, She is two to zero.

Also read: Why did Cazuza spat on the Brazilian flag at a show?

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