When Zendaya started production on “Malcolm & Marie”, the Netflix drama made during the blockade she starred in with John David Washington, she never imagined she would arouse strong criticism and buzz in the awards season.
The widespread interest should not have been such a surprise: last year, the 24-year-old became the youngest Emmy winner for best actress for her emotional performance as Rue, a teenager addicted to the HBO drama series “Euphoria” . She is now running for the Critics’ Choice Award by Malcolm & Marie.
After the production of the second season of “Euphoria” was suspended because of the pandemic, Zendaya and the show’s creator Sam Levinson wanted to see if they could create a film during the quarantine last year. The result was “Malcolm & Marie”, filmed in a house in Northern California, doubling for Malibu, by a cast and crew of 22 members (most of whom worked on “Euphoria”), in just two weeks.
“You know, it’s funny, if you had told us there would be a conversation out there, you know, awards or whatever, this is crazy! We were all working it out together, ”said Zendaya.
In the film, written and directed by Levinson, a filmmaker named Malcolm (Washington) and his girlfriend, Marie (Zendaya), get into an argument that lasts one night after the film’s premiere. His sometimes abusive comings and goings and full of monologues involve, among other things, the fact that he forgets to thank her for her contributions to her project, which focuses on a recovering addict much like Marie.
The script of the film was widely criticized and generated several discussions on social networks about the age difference between the stars (Washington is 36 years old), about a story with black characters written by a white filmmaker and about the toxic romance of the characters.
“None of us who made the movie think they are, like, in a healthy relationship, do you know what I mean?” Zendaya said. “I think it was to exploit these insecurities and those dark things about ourselves that I think that relationships can sometimes take away from us.”
The actress, who also served as the film’s producer, spoke on video from Atlanta, where she is filming the next “Spider-Man”, about her reactions to the film and her hope of becoming a filmmaker who creates more roles for black women. These are edited excerpts from the conversation.
What was the driving force that motivated you to produce and star in a film during the pandemic?
I think it’s often overlooked because, obviously, we were able to sell it to Netflix, but it really started out as a very, very small thing that we were doing.
And it was the first time that I really didn’t have my 9 to 5 [consistent schedule], which I have had since I was 13. The last project I did technically before “Euphoria” was “KC Undercover” [that Disney Channel series ended a few months before the HBO show was given the green light]. So it was my first time without him – because I never had to know who I am without my job.
I talked to Sam a lot and was looking forward to being creative in some way and finding my purpose again. And I thought, and if we just shoot something, you, me and Marcell [Rév, the cinematographer who worked on the movie and also on “Euphoria”]? And if there was a world in which we did something we were proud of and could sell it and, hopefully, welcome everyone and take care of our team in that way, that would be the ultimate goal of victory for all of us.
There was criticism of the film’s portrait of toxic relationships and Sam Levinson writing about a black couple as a white man. Was there space for you and John David Washington to collaborate and provide information on different aspects of the black experience?
Yes of course. What is interesting is that I think that a little bit of our agency has gone extinct. As if this were just some kind of Sam spewing things through us without realizing that we are not just actors in this, but we are co-financiers and producers with PGA brands. You cannot get them unless you really do the job.
I think it also mirrors Marie’s situation a bit, right? It’s like Marie saying the whole movie [Malcolm’s film] it’s also mine. But actually, in real life, we have the credit, this is ours, and John David, Sam and I own this movie. It’s not like it belongs to someone else and I just got hired. He wrote for us too, and I think if you are going to write something, you have to recognize the experiences of [Black] character you are writing. I thought a lot of the conversations I had with Sam happened.
There was also much debate about the age difference. But it seems that the difference fits the context of the film. How do you deal with certain expectations placed on you as a former child actor?
It’s interesting that this happened because my parents are, like, 13 years apart. But I also try to look at myself from the outside, and I realize that I have played a teenager since I was a teenager. I still play a 17-year-old boy on television and in the movies. I’m thankful that my Black doesn’t break, so I can keep doing it.
Some people grew up with me, they see me on the Disney Channel, I’m like their little sister or their best friend. And I am grateful for that. I am Marie’s age and I think this dynamic, the age difference, is part of the story: She met him when he was recovering [at] 20 years old. She never really loved anyone or thought anyone loved her the way he did. And it affects your frustrations [about] not getting the recognition she feels she deserves and maybe also unwrapping something [about] her being young and vulnerable. So I totally understood, from an external point of view, because I play adolescent, but I’m an adult.
Is there anything that you expect people who can relate to parts of the film to get out of it?
There is no specific message. It is another piece to open a dialogue. You are the fly on the wall. You are looking at codependency, narcissism, the ups and downs of something that has a lot of toxicity. It is triggering for different people in different ways, because they are connected to different parts of the characters. If there is anything to take from this, it is this idea of gratitude [for] people in our lives who make it possible to do what we do. For any young person going through any kind of relationship and something like intoxication or whatever the case may be, I think a huge thing is to understand its value.
Whose idea was it to choose boxed macaroni and cheese for the evening snack Marie prepares when they get home?
She has immense control and a need for control. And I think she knows that she’s just stalling. Like, I’m going to do [him] some bland macaroni and cheese. And I’m not doing it because I love you. I’m doing this because I’m upset and I’m waiting for him to ask me why. Macaroni and cheese was the classic that was in everyone’s pantry. So yes, Sam wrote it there.
I noticed on your social networks that you post some photos you took. Is photography or cinematography something you are interested in professionally?
Extremely. I mean, I would love to be a filmmaker. I don’t know when that will happen. Sam is always like, I give you a year until you’re directing something, and I’m like, okay, well, that means you have a year to teach me. So I don’t know what it feels like personally, but I really enjoyed being a producer. And I like the idea of, hopefully, one day being able to do the things I want to see, the roles I want to see for black women. That would be exciting and a goal of mine.
Any interesting habits or new activities that you developed or started during the pandemic?
I have a piano to learn on my own. I still sit down sometimes, I’m not at home now, but I’ll try to search YouTube for a music video I like and see if I can learn. Hunter [Schafer, her “Euphoria” castmate], who is one of the closest people to me, she is an amazing artist. Before I left for Atlanta, she bought me a sketchbook and watercolor paint. I will feel if I am not, like, the Mona Lisa, I lower myself. So the whole thing with this diary sketchbook is just getting started on something. Don’t try to control it.