In what he calls the “final masterpiece,” directorAntoine Fuqua’sThe Equalizer 3closes out Robert McCall’s action-packed trilogy, starringDenzel Washington, this summer. Taking the retired marine overseas, this final entry will pit the hero against the formidable mafia in beautiful Southern Italy. Ahead of its release, Collider’sSteve Weintraubspoke with Fuqua about closing out this bloody blockbuster franchise.
The Equalizer 3introduces a new Robert McCall, one who’s attempting to acclimate to a more peaceful lifestyle. Now that he’s relocated, McCall finds peace isn’t so easily obtained and learns from the locals how to slow down and lead a quieter day-to-day. When the mafia threatens those now closest to McCall, theformer sergeant and DIA officertaps into some not-so-latent skills in what may be the bloodiestEqualizeryet. According to Fuqua, the brutality is upped because these bad guys are “the worst of the worst,” so naturally, “they had to go in the worst way.” Alongside Washington, who reprises his role for the final time, areDakota Fanning,Gaia Scodellaro, David Denman, andAndrea Scarduzio.
During their one-on-one, Fuqua discusses finding the right balance of violence for the franchise while acknowledging fans of the original first two films as well as a younger audience. We find out if this new location for theEqualizertrilogy is inspired byThe White Lotus, why Robert McCall resonates with audiences, which set piece was the most challenging across the three movies, and what changed in the editing room. We also learn about Fuqua’s upcomingMichael Jacksonbiopicand if he’ll be directing forThe Terminal Listprequel withChris Pratt. For all this and more, check out the full interview in the video above or you’re able to read the transcript below.
COLLIDER: This is a little bit of a jokey question, but go with me. True or false: Is it true that you and Denzel were watchingWhite Lotustogether and said, “Okay, well, we’re gonna be making anotherEqualizer, we need to follow that format and go to Italy?”
ANTOINE FUQUA: [Laughs] That’s false. But I was watchingWhite Lotus, that’s true. I did watchWhite Lotuswith my family, but no, I’ve never watched it with Denzel.
I remember on the first movie, I did a set visit, and I remember Denzel talking about, “This character is something that I really want to play for a while. This is something that I think could be my franchise.” People say that all the time, but it never actually comes to fruition. The movie does okay, but no sequels. What do you think it is about this character that has resonated with so many people that’s allowed you guys to make three films now?
FUQUA: I think they’re connecting to him because he’s a common man. There’s nothing fancy about him or anything. He seems like somebody you sit down and have a tea with or a friend of yours. He just happens to be a brutal destroyer when it comes time to do that. But I think that’s what people are connecting to. You know, you could see yourself in Robert McCall.
You have designed and worked on a number of set pieces in the trilogy. Which set piece in the three films was the biggest pain in the ass?
FUQUA: In the second one, the storm and all that [was] just a pain in the ass. The wind and you have no control over anything. It’s just a pain in the ass, you know? [Laughs] It’s just like, “Who wrote this?” I’m kidding, but that was a tough one. That was a tough one.
So, there is some pretty brutal violence in the third one, which of course, I’m a fan of. I’m all in. It’s pretty violent, how did you guys come to that decision to depict some pretty brutal stuff?
FUQUA: Well, it’s his final masterpiece to take out some bad guys that deserved it. It’s set up in the movie when you first meet Vincent [Andrea Scarduzio], the brother, that they’re the worst of the worst the way they treat people, kick them out of their homes, and these sorts of things. So they had to go in the worst way. They had to know what it felt like to be terrorized.
You know that I’m obsessed with talking about the editing process because that’s where it all comes together, so talk a little bit about what you learned, any surprises that hit you, when you got in the editing room or maybe from friends and family screenings that impacted the finished film.
FUQUA: I think the thing that I always get out of it, the editing process, is it’s a rhythm for me. It’s a pacing that I’ve focused a lot on. Also, you talk about the violence, the brutality of it, somehow while I’m filming it, it’s not enough, and then I see it in the editing bay, I show friends and family, and they say, “Oh, You didn’t hold back.” And I’m like, “Okay, I guess it’s enough.” But that’s always interesting for me. I wanted more, but that’s because I was too close to it. I find in the friends and family and in the editing process that we have enough. It’s more than enough.
It’s interesting because with some violence, there’s a line. I’m obviously an effed-up individual, but for some people, just seeing a little bit of blood, they’re like, “That’s too much,” and for other people, it’s like the thing in someone’s head.
FUQUA: Right. Yeah, that’s the balance. Where is that balance? Especially when you’re dealing with a certain audience. The younger audience sometimes wants a little more, and then there’s a little more mature audience of Denzel fans, as well – older women, older men over 35, or certain ages, even like my age where I got children now, where you go, “Okay, I’m good. That’s enough. I’m satisfied.” It just kind of happens. So, finding the balance is always the key.
I’m a huge fan of [cinematographer] Robert Richardson, and you’ve worked with him before. Talk about how you and Robert collaborate on set in terms of the shots and just the look of the film.
FUQUA: We’re great collaborators. He’s my brother, man. I have a great time with Robert. We spend a lot of time in the locations taking photos, walking around, we go to the museums. The environment – what is the environment, what does it call for, the look of it, feeling the way the place feels. Italy’s old, the houses are built up in the hills, the Mediterranean is there, and there’s texture on the walls. How do you capture that? How do you not make it feel like a travel log film or anything like that and still keep it gritty and organic? Those sorts of conversations, we have a lot. Then we go around and we take a lot of photos, we spend a lot of time together doing that.
I have to ask you about something else that I’m really looking forward to, which is you’re Michael Jackson project. What’s the status of that project? Is that your next thing?
FUQUA: It looks like it’s gonna be my next thing. We just have to pause it because of the strike. I’m just kind of waiting to see where it all falls out, but yes, that’s my next project.
If you don’t mind me asking, one of the things about biopics is sometimes it depicts the whole life, and sometimes it depicts a certain period in that person’s life. What kind of movie is this gonna be?
FUQUA: I’m gonna show you the facts as I know it, give you a better insight on Michael as an artist, as a human being—the good, bad, and the ugly—and let people decide for themselves on what they feel about Michael Jackson. That’s what I wanna do. I think it’s worthwhile.
I’ve gotta ask you one other thing;The Terminal Listwas a huge hit for Prime Video, massive. Obviously, they’re continuing. Are you involved in any more ofThe Terminal List?
FUQUA: Oh, yeah. We were heavily involved for the prequel until the strike. Absolutely. I’m deeply involved. I love that franchise.
Are you gonna direct any episodes?
FUQUA: If I’m available, I definitely will. Yeah, I absolutely will. I enjoyThe Terminal List, I love it.
What’s interesting about that is Chris Pratt on Prime Video is just a beast.
FUQUA: Oh, yeah. I love it, man. That’s what I wanna do is I’ll direct probably one or two that Chris is in, you know, because it’s the prequel with Taylor [Kitsch] as well.
