A dream that sparked a revolution: The making of ‘Joker: Folie à Deux’
The inception of a vision
It all began with a dream. Joaquin Phoenix, deeply immersed in his role as Arthur Fleck in “Joker,” found himself unable to let go of the character. One night, he dreamt of Arthur performing on stage, telling jokes and singing, with Todd Phillips, the director, guiding him through a headset. This vision was so vivid that Phoenix woke up elated and immediately called Phillips, hoping to turn this dream into reality.
The journey to a sequel
Even before “Joker” became a billion-dollar success in 2019, Phoenix and Phillips were already contemplating a follow-up. They toyed with the idea of taking their act to Broadway, but the logistics and time commitment made it impractical. The idea of a smaller, more intimate performance at the Carlyle was also considered, but the pandemic put those plans on hold.
The evolution of Arthur Fleck
Despite the setbacks, the concept of Arthur expressing himself through music lingered. Phillips and his co-writer, Scott Silver, began plotting a return to Gotham City. Five years and a pandemic later, “Joker: Folie à Deux” is set to debut at the Venice Film Festival. This time, the Joker sings and dances with Lady Gaga, adding a new layer of complexity to the character.
Embracing the unconventional
Phillips thrives on risk. “Why do something if it doesn’t scare the shit out of you?” he asks. The original “Joker” was a risky proposition that paid off, becoming a blockbuster hit and earning Phoenix an Oscar. The sequel aims to top that by venturing into uncharted territory—a full-on musical. This bold move uses a genre associated with Judy Garland and Fred Astaire to explore a frayed mind growing even more dangerously untethered.
Lady Gaga’s take
Lady Gaga, who stars alongside Phoenix, praises Phillips for his audacity and creativity. “There’s music, there’s dance, it’s a drama, it’s also a courtroom drama, it’s a comedy, it’s happy, it’s sad,” she says. This multifaceted approach is a testament to Phillips’ willingness to push boundaries and tell a non-traditional story of love.
The financial gamble
Phillips is banking on the audience’s appetite for something new and different. The first “Joker” film cost $60 million, and while “Folie à Deux” was much more expensive, Phillips dismisses reports of a $200 million budget as “absurd.” He argues that the focus should be on the creative risks taken and the jobs created, rather than the cost.
A director’s journey
Phillips’ journey from making R-rated comedies to directing a gritty, Oscar-winning film is fascinating. Over breakfast at the Chateau Marmont, a place steeped in Hollywood lore, Phillips reflects on his career. Despite his films often depicting man-children in various states of arrested development, Phillips himself is more reserved and intellectual, discussing Scorsese films and the nuances of film music.
The thrill of spontaneity
Phoenix and Phillips share a love for spontaneity and the thrill of taking creative risks. This approach has led to a string of successful films, with Phillips’ movies grossing $3.2 billion. His ability to draw crowds while reveling in a certain type of anarchy and depravity is impressive. “The Hangover,” for instance, became a raunchy summer blockbuster despite its outrageous plot.
The rebellious spirit
Phillips thrives on making rebellious choices, often working with smaller budgets to maintain artistic freedom. “Joker” was a prime example, evoking “Taxi Driver” and other gritty ’70s films while operating under the DC Comics banner. This rebellious spirit is what makes Phillips’ work so compelling and successful.
The future of ‘Joker: Folie à Deux’
As “Joker: Folie à Deux” prepares for its debut, the anticipation is palpable. Will audiences embrace this unconventional sequel? Phillips is confident that the risk will pay off, offering something fresh and exciting in a landscape dominated by retreads and reboots.
For those eager to dive deeper into the world of ”Joker: Folie à Deux,” you can watch the trailer and explore more about the film. This sequel promises to be a unique blend of drama, music, and psychological exploration, pushing the boundaries of what a comic book film can be.
it’s the risk and the creativity that keep the magic of cinema alive, and “Joker: Folie à Deux” is a testament to that enduring spirit.# A new chapter for the Joker: A deep dive into ’Joker: Folie à Deux’
A bold gamble in cinema
“He exists to beat the house,” says Robert Downey Jr., a close friend of director Todd Phillips and star of “Due Date,” another of Phillips’ box office successes. “He’s a one-man ’Ocean’s Eleven.’ He just wants to take down the casino and leave it so they never know what hit ’em.”
“Joker: Folie à Deux” might be Phillips’ most audacious venture yet. The film opens with a Looney Tunes-inspired cartoon featuring the Joker, animated by Sylvain Chomet of “The Triplets of Belleville” fame, before diving into a whirlwind of prison riots, courtroom showdowns, and a variety-show sequence where Joaquin Phoenix and Lady Gaga channel a homicidal Sonny & Cher.
“The goal of this movie is to make it feel like it was made by crazy people,” Phillips explains. “The inmates are running the asylum.”
The story continues
Set two years after the first film, which concluded with Arthur Fleck (Phoenix) shooting a talk show host (Robert De Niro) on live TV and sparking a citywide riot, “Joker: Folie à Deux” finds Arthur locked in a psych ward and facing the death penalty. He meets Harleen “Lee” Quinzel (Gaga), a fellow patient obsessed with him—or rather, his Joker persona. Arthur abandons his medication and steps into a fantasy world reminiscent of MGM musicals on acid.
As their relationship deepens, Arthur and Lee break into songs like “Get Happy,” “For Once in My Life,” and “That’s Life,” reflecting their shifting emotions. Arthur gravitates towards romantic ballads, while Lee prefers powerful anthems. Despite their musical chemistry, they seek different things from their relationship. Phillips hesitates to label “Joker: Folie à Deux” a musical.
“Most of the music in the movie is really just dialogue,” Phillips says. “It’s just Arthur not having the words to say what he wants to say, so he sings them instead.”
A unique musical approach
Phillips and his stars aimed for a raw, unstable sound, fluctuating between euphoria and despair, even if it meant singing off-key. “We asked ourselves what would need to be true for two people to just break into song in the middle of a conversation?” Gaga says. “Where does the music come from when no one can hear it but the characters? Neither Arthur nor Lee are professional singers, and they shouldn’t sound like they are.”
Phoenix agrees. “It was important to me that we never perform the songs as one typically does in a musical. We didn’t want vibrato and perfect notes.” Instead, the goal was to do something “nerve-racking but honest.” The result is captivating, much like Phoenix’s uninhibited trance dancing in the first “Joker”.
In many musicals, actors sing along to a pre-recorded track. In this film, Phoenix and Gaga performed live, accompanied by an off-camera piano player who tried to keep up with their tempo. Phillips then faced the challenge of syncing these takes into a coherent whole in the editing room, a process he describes as a “nightmare.”
“Particularly for Joaquin, so much of it is about feeling the moment as you do it,” Phillips says. “You can’t decide that in a sound studio three weeks before you show up to shoot it.”
Method acting and character immersion
Phoenix and Gaga are known for their intense dedication to their roles. Gaga spoke in an Italian accent throughout the shooting of ”House of Gucci,” while Phoenix lost 52 pounds for the first “Joker” and appears equally gaunt in the sequel. Did they go full Method on this set?
“I don’t even really know what Method means,” Phillips says. “Does he take it seriously? Does she take it seriously? Hell, yeah. But he doesn’t stay in character 24 hours a day. With her, I’d say she does a lot more of that than he does. But as a director, I’m in favor of whatever it takes to get them to the place they need to be.”
Phillips is drawn to moments where a character’s facade cracks, revealing a primal spirit. “I love the chaos that comes with that,” he says. “Most of us walk around with this version that we sort of present to the world, but there’s this shadow self. And I’m always fascinated with people when that mask slips off and this other side emerges.”
The evolution of characters
In 2003’s “Old School,” audiences saw Will Ferrell’s newlywed character streaking through the suburbs after a few beers, while in “The Hangover,” Ed Helms’ character gets drugged and marries a prostitute, breaking free from his mundane life. “Joker” offers a darker take on this theme. Arthur, neglected and abused as a child and marginalized as an adult, finally erupts in rage after donning a clown mask.
Phillips doesn’t judge his characters. He explores their complexities and the chaos that ensues when their true selves emerge. This approach has resonated with audiences and critics alike, making his films both thought-provoking and entertaining.
Final thoughts
“Joker: Folie à Deux” promises to be a unique cinematic experience, blending elements of musicals, psychological thrillers, and character studies. With Phoenix and Gaga’s raw performances and Phillips’ bold direction, the film is set to challenge and captivate audiences. For those eager to dive deeper into the world of “Joker: Folie à Deux”, check out the trailer and get ready for a wild ride.# Todd Phillips: A journey from documentaries to Hollywood blockbusters
Early fascination with extreme behavior
Todd Phillips’ career trajectory is a fascinating one, marked by an early interest in extreme behavior and a knack for capturing the raw, unfiltered aspects of human nature. His journey began during his days at NYU, where he studied documentary filmmaking. It was here that he first encountered GG Allin, a punk rocker known for his outrageous and often disturbing performances. Allin’s shows were a chaotic blend of music and mayhem, often ending in violence. Phillips, then just 21, followed Allin on tour, documenting his provocative acts and the fervent crowds that gathered to witness them.
Phillips’ documentary, Hated: GG Allin and the Murder Junkies, released in 1993, offered a gritty look into Allin’s world. The film was a raw, unvarnished portrayal of a man who was as fascinating as he was flawed. This early work set the tone for Phillips’ career, showcasing his ability to delve into the darker aspects of human behavior without exploiting them for shock value.
From underground to mainstream
Phillips’ next project, Frat House (1998), co-directed with Andrew Gurland, saw him trading the underground punk scene for the world of college fraternities. The documentary explored the hazing rituals and binge drinking that were rampant on college campuses. Phillips even went through the pledging process himself, experiencing firsthand the intense, often brutal bonding rituals that young men undergo.
This exploration of male tribalism was both foreign and fascinating to Phillips, who grew up in a predominantly female household. His mother, a single parent, always emphasized the importance of individuality over group identity. This upbringing gave Phillips a unique perspective on the lengths to which men will go to fit in and prove their masculinity.
Breaking into Hollywood
Phillips’ early documentaries caught the attention of Hollywood, leading to his first studio feature, Road Trip (2000). The film, a raucous comedy about a group of college friends on a wild adventure, was a departure from his documentary work but retained his signature blend of humor and rawness. The transition to mainstream filmmaking was not without its challenges. Phillips recalls panicking the night before shooting began, unsure of how to start. A reassuring call to a seasoned director provided the step-by-step guidance he needed.
Directing with a personal touch
Phillips’ directing style is marked by a meticulous attention to detail and a desire to create an immersive experience. This was evident during a breakfast meeting where he relocated multiple times to find the perfect spot, ensuring the conversation was not disrupted by external factors. Friends and colleagues describe him as having a savage wit and a seen-it-all swagger, qualities that actor Bradley Cooper borrowed when portraying the irreverent leader of the ”Wolf Pack” in the Hangover trilogy.
Navigating controversy with ‘Joker’
Phillips’ most controversial work to date is undoubtedly Joker (2019). The film, which explores the origins of the iconic Batman villain, was met with a wave of criticism even before its release. Critics accused Phillips of romanticizing a disturbed man who becomes a mass shooter, raising concerns about the potential for copycat violence. The film’s premiere was marked by a heavy police presence, underscoring the anxiety surrounding its impact.
Phillips insists that his intention was not to provoke but to highlight a lack of empathy in society. He believes that if someone had recognized Arthur Fleck’s pain or if the social safety net had been stronger, the character’s descent into violence might have been prevented. The film’s depiction of violence is meant to be horrific, showing the real-world consequences of gun violence.
A new direction with ‘Joker: Folie à Deux’
With the upcoming sequel, Joker: Folie à Deux, Phillips aims to take the story in a new direction. Rather than focusing on Arthur’s transformation into Batman’s nemesis, the film will explore how his breakdown captivates Gotham. Phillips is interested in examining how entertainment has evolved, with movies and TV now sharing the stage with real-life scandals and sensational news stories. In this latest installment, Arthur’s courtroom antics become the biggest thing on the airwaves, drawing in a legion of ”mad as hell” fans.
Phillips’ work continues to push boundaries, challenging audiences to confront uncomfortable truths about society. His films are a testament to his ability to blend humor and darkness, creating stories that are both entertaining and thought-provoking.
Explore more
For those interested in diving deeper into Phillips’ work, here are some links to trailers and information pages for his notable films:
Phillips’ journey from documentary filmmaker to Hollywood director is a testament to his unique vision and unwavering commitment to exploring the complexities of human behavior. His work continues to captivate and challenge audiences, making him one of the most intriguing directors in contemporary cinema.# Todd Phillips reflects on ‘Joker’ and the future of his filmmaking journey
A cinematic reflection on society
In the ever-evolving landscape of cinema, few films have sparked as much conversation and controversy as Joker. Directed by Todd Phillips, this dark and gritty portrayal of the iconic comic book villain has resonated deeply with audiences, drawing parallels to contemporary societal issues. Phillips himself has noted the eerie similarities between the film’s themes and real-world events, particularly the way society consumes and reacts to sensationalized media.
“Everything is just treated as entertainment now, and there’s something sad and troubling about that.”
This observation is particularly poignant when considering the recent high-profile court cases and political spectacles that have dominated the news cycle. The line between reality and entertainment has blurred, creating a carnival-like atmosphere around serious issues.
The Trump connection
It’s hard to watch Joker without thinking of the recent political climate, especially the polarizing figure of Donald Trump. Phillips sees a clear connection between the Joker’s influence over his disaffected followers and Trump’s appeal to a certain segment of society.
“Think what you want to about Trump, but for the certain segment of society that’s in love with him, he’s a guy who’s just saying what he wants to say and doing what he wants to do. He is who he is, and people respond to that.”
This comparison highlights the film’s exploration of charisma and power, and how these elements can be both captivating and dangerous.
Moving beyond the comic book world
Despite the success of Joker and its upcoming sequel, Phillips is ready to move on from the comic book genre. He feels that he has said what he wanted to say within this world and is eager to explore new creative avenues.
“It was fun to play in this sort of sandbox for two movies, but I think we’ve said what we wanted to say in this world.”
For fans hoping for a Joker 3, it seems unlikely. Phillips is looking to return to the types of films that initially launched his career in Hollywood.
The unmade Hulk Hogan biopic
At one point, Phillips was set to direct a biopic about wrestling legend Hulk Hogan, with Chris Hemsworth slated to star. However, this project will not come to fruition under Phillips’ direction.
“I love what we were trying to do, but that’s not going to come together for me.”
This decision reflects Phillips’ desire to focus on projects that align more closely with his creative vision and interests.
A return to comedy
Phillips is known for his work in comedy, and he expresses a strong desire to return to this genre. He believes that audiences are craving laughter and light-hearted entertainment, especially in today’s challenging times.
“I’d love to keep working with Joaquin but on a comedy, because he can be so loose and funny. And I think people really want comedies right now.”
The sentiment is echoed in the trailer for Joker 2, which suggests that what the world needs now is love. Phillips would add that a good laugh is equally essential.
Final thoughts
Phillips’ journey through the world of Joker has been a profound and transformative experience. As he looks to the future, he remains committed to creating films that resonate with audiences on a deep and meaningful level. Whether through dark dramas or light-hearted comedies, Phillips’ unique voice and vision will continue to shape the cinematic landscape.
For those interested in exploring the world of Joker, you can watch the trailer here.
Styling by Ilaria Urbinati; Grooming by Julianne Kaye for Exclusive Artists using Haus Labs