Can Miami Beach be a healthier place to live? Here's how a ‘Blue Zone' works
As Dan Burden walks along Miami Beach's oceanfront, inhaling the salty ocean air, he's struck by how lively it is on an early February morning, with bicyclists, runners and dog walkers.
South Pointe Park is just one of many landmarks the walkability expert sees during a tour of the city.
Miami Beach Vice Mayor Tanya Bhatt and city workers, serving as tour guides, share the history behind the sites, including Versace Mansion on Ocean Drive, where Italian fashion designer Gianni Versace was murdered in 1997, and the famed 5th Street Gym where boxer Muhammad Ali trained.
They tout the city's amenities meant to encourage people to walk, exercise and socialize, including the fitness equipment at Muscle Beach, bowling and ice skating at the city's recreation center, events at the Lincoln Road pedestrian mall.
But they also talk openly about the challenges the city faces with traffic — including a legal battle over the city's pedestrian plaza on Ocean Drive, development, affordability and food insecurity.
That's why Burden and his team are in Miami Beach.
READ MORE: Miami Beach to remove Ocean Drive bike lane, pedestrian promenade. Here's the timeline
What is Blue Zones?
The touring experts, each specializing in different areas, are part of Blue Zones, a company founded by Miami Beach resident, National Geographic Fellow and longevity expert Dan Buettner.
Many may recognize Buettner from the Emmy-award winning docuseries 'Live to 100: Secrets of the Blue Zones.' The Netflix series, based on Buettner's ongoing worldwide longevity study, introduced viewers to the diets and lifestyles of centenarians living in the world's five Blue Zones, areas where people live the longest and healthiest lives.
The company has used Buettner's research to help more than 90 communities across the country start sustainable policy changes across businesses, schools, social networks, faith-based communities and neighborhoods to encourage healthy choices.
Miami Beach has tapped the company to be its personal trainer and life coach as it seeks to become the world's next Blue Zone.
Miami Beach city commissioners voted unanimously in June to set aside $220,000 for the assessment and work needed to turn Miami Beach into a 'Blue Zones' city. The funding will cover the six-month assessment, the development of a plan for the city, and the crafting of a proposal for a five-year partnership with Blue Zones, according to city documents. The city plans to also seek local sponsorships to help fund the program.
'You can build for people or against them,' Burden, who served for 16 years as Florida's state bicycle and pedestrian coordinator and is now one of Blue Zone's infrastructure experts, told the Miami Herald as he examined the city's streets, intersections and traffic flow.
The Feb. 5 tour took the team of experts across Miami Beach's neighborhoods and into some of its parks and schools. It was the official launch into the six-month assessment that will include meetings and focus groups with more than 200 people across the city.
Once Miami Beach's assessment is complete, Blue Zones workers will create a blueprint for the city of changes that can be made through the years to help improve the 'Life Radius,' which is the area close to home where most people spend 90% of their lives.
If all goes well, Miami Beach could be the first city in South Florida to receive a Blue Zones certification, which means the community has started policies and initiatives designed to promote healthy lifestyles. Several other cities in Florida have already received or are in the process of becoming Blue Zones-certified.
What Blue Zones is pursuing
In getting familiar with Miami Beach, the Blue Zones team wants to see what is and isn't working, where people spend most of their time, and what type of amenities and healthy choices people have access to.
During visits to schools including Miami Beach Fienberg-Fisher K-8 Center, where the majority of students walk to school, and Miami Beach Senior High, Blue Zone experts asked about traffic safety features for kids walking and biking to school, along with health, wellness and nutrition for students and workers.
At Hebrew Academy, school officials suggested adding a crosswalk in front of the new school building due to heavy traffic and the soon-to-open Bayshore Park next door. Bhatt said the city would handle it.
'That's what Blue Zones is all about,' one of the experts said of the real-time example.
But it's not just traffic issues Blue Zones is paying attention to.
As the tour bus traveled across city neighborhoods, Claudia Morales inquired about how close residents live to affordable grocery stores, farmer markets, community gardens, food pantries and healthy food choices.
Understanding where and how people get their food in a community, what type of food insecurity exists in neighborhoods, and whether people have affordable access to nutrition education and healthy food choices is critical to the process, according to Morales, one of Blue Zone's food and nutrient experts.
Partnerships and volunteer opportunities were also key areas of interest for the group. But the real work begins in meetings with people who live and work in the city to see their wants and needs.
On Thursday, Feb 6, during a focus group with parents, teachers and public and private school and early childhood program representatives, the discussion zeroed in on the high levels of stress and anxiety among students, teachers and parents, as well as the sedentary lifestyle of young people. Traffic concerns surrounding pick-up and drop-off times and a desire for better food quality at public schools also emerged.
'It's not about changing Miami Beach,' said Kelsie Cajka, transformations operations director for Blue Zones. 'It's about enhancing it.'
What comes next for Blue Zones and Miami Beach?
While it will take several months for Blue Zones to craft its recommendations, there is good news for Miami Beach. The Blue Zones team indicated that the city has a solid foundation for its wellness journey. Once the six-month assessment of Miami Beach is complete, Blue Zones workers will create a blueprint for the city of changes that can be made through the years to help improve life.
The wellness plan that will be created for Miami Beach, which attracts millions of tourists a year and has more than 79,000 residents, is expected to 'look like nothing that we've ever done before because Miami Beach is so unique,' Danny Buettner, the founder's son and the current executive vice president and chief development officer of Blue Zones, told the Miami Herald in a recent interview.
But becoming a Blue Zones-certified community doesn't happen overnight. The city will need to get a certain percent of schools, businesses and other key community hubs on board to make any necessary changes.
Bhatt's mind is also already racing with ideas after the tour.
'I keep hearing questions about sort of Farm to Table initiatives and other kinds of food insecurity initiatives and healthier eating,' Bhatt said. 'And I think that's a real opportunity for improvement.'
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James: Ooh, I mean, I feel ready for this career moment — not only moment but this career from performing for 15 years prior to getting this role. I've been performing for a long time. What has thrown me for a loop is fame. I had no concept of what that meant. I had no concept of what being on a show that immediately takes off entails and what that feels like. That's definitely been a surprise. Villarreal: Can you break it down, what it does mean to be on a hit broadcast sitcom? How have you had to reconfigure your life? James: Can't go to Target — not that we are — can't go to Target. I remember the first season, I was in Target and I was looking at doormats, as you do, and this guy comes up to me — I didn't see him, I heard him say, 'I got to hug you.' And I was like, 'He's not talking to me, because I don't know this man.' And he picked me up. This huge guy picked me up off the ground and gave me a hug, which I'm sure was in love. But that had me shook. I remember I went to work the next day and it was on my face that I was shook, like, what just happened? And Tyler [James Williams], my co-star, was like, 'What's going on with you?' And I was like, 'A stranger picked me up in Target to compliment the show.' He was like, 'What are you doing in Target? You can't go to Target anymore.' And that used to be my happy place. That was an adjustment, people knowing who I am when I'm in my jammies, trying to get some gummy bears. Villarreal: I was with Chris Perfetti at a museum [for a story], and kids were on their field trips, coming up to him and ready to share what they're learning in school. James: And I'm way more famous than him. (That was a joke.) Villarreal: What do you hear most often, and do you feel the need to be on as Ava because this is what people are expecting from you? James: What do I hear most often? 'I'm a principal.' 'I know a principal like you.' 'I also went to school.' I feel like that's part of the reason why the show is a hit. Who hasn't gone to school? It resonates with a lot of people because they've had the experience. And do I feel the need to [be like Ava]? Yes. You don't want to disappoint people. I've learned to take people approaching me as Ava as a compliment, like, 'Oh, I'm doing this character so well they think that it is me that they're talking to.' They're [thinking] I just stepped off the screen and now I'm in Ralphs for some reason — although she [Ava] would never be shopping for herself. I want to give them what they want and sometimes I don't, so I just stay in the house. Villarreal: Well, Ava Coleman, the character you play, has had so much character development this season and it was very earned too. She started out the series as this very polarizing character. She can be rude. She's not politically correct. She really won over the audience over the run of the show. I'm curious what it felt like for you to really get in depth with her this season. We get more of her background. We see her open herself up to a relationship, and we see just how far she's willing to go for the students. James: I was really proud and honored that Quinta [Brunson, the show's creator and star] and the writers trusted me with the material that they're giving me. And, like you said, it's earned. I feel like it was time. There's been [a] little dribbling out of her character over the seasons, but this, to me, was an Ava season, basically. [I'm] happy that they trusted that I can bring these different flavors to her. And [it's] just a testament to, like, the writing that this is a sitcom, it's 22 minutes, and we're doing so much story in such a short time; to be able to, for instance, reveal about her dad or have a dramatic moment and go right back into comedy [when] I've only been onscreen for maybe four minutes and you've already found out so much about her is amazing, and it makes me feel very talented. Villarreal: What were your conversations like with Quinta? James: I mind my business. I've been in a writers' room before, and I know nobody cares what the actors think. I know we certainly didn't when I was in one. I just try to let them do their gig, and because they have been doing such a good job, that's why we're a hit. They've been doing a great job with the show and developing the characters. I feel like each one of us gets a year. I feel first season was a Barbara [played by Sheryl Lee Ralph] year; second was Tyler [who plays Gregory]; then this one. I'm never worried or trying to involve myself. I'm so lucky that Quinta is like the coolest boss and that she gives me a heads-up for big stories, but I'm never like, 'Whaaat?' or 'Oh, I feel this ...' I know I have said things to her on the side that ended up happening. And then I'm just psyched that they decided to go with my idea. But I'm never like, 'I have a pitch.' I would be annoyed with that. If it's my show and I feel like I'm killing it, I don't really want to hear a pitch from the actor. My job is to make those words feel real and convincing. And that's it. Villarreal: The father element [to Ava's] story was a really a revelation for me. I'm curious what that unlocked for you. Ava's father is played by Keith David. You were able to capture so much about the daddy issues that she has and where the maybe hardness or prickliness comes from. James: Exactly what you said. It's just more about her ethos and why she is like she is, why she's so untrusting, why she's short with people, doesn't want to get close with anyone. Because she's already been disappointed by somebody — as we find out in the date episode — that's very important to her, and then abruptly went away to start another family. I thought that was a really great way to show that and to show her strength. He comes in, they have that moment, but then she's back to Ava right away. I feel like Ava just like keeps it moving, to her detriment sometimes — like [she] doesn't process. But it makes sense. That's what I like about the writing for the characters on this show. Everything we do makes sense, it seems very real, it's relatable. So many people wrote me and said, 'I have this situation with a parent, and it struck me as real.' It also illuminated for me what I think is the most important relationship on the show is Janine and Ava and how we have similar backgrounds and parental issues, but we're coming at it from different ways. She's coming at it with endless optimism and nonpessimism. So we're opposites sides of the personality spectrum, but I think as the show goes on, we're moving closer and closer together. I think that's so smart and [makes for] good story development. Villarreal: We see that Ava gets fired at near the end of the season. Did Quinta or the writers prepare you that this was coming, or did you read it in the script? James: So Quinta told me maybe a couple of days before, like, 'You're gonna get fired.' I was like, 'OK.' I think I did say, like, 'Oh, do I still get paid?' Which I meant. Do I still get paid? Because I thought that meant I wasn't gonna be in the show at all. So I'm like, 'Can I just pop in and get paid or...? Just let me know.' I wasn't concerned about being off the show [permanently], because that didn't make sense story-wise to me. I don't know why they would have done that, and I don't think she would have pitched it to me so casual if I was out of a job. But again, just trusting them, I was like, 'Oh, if I'm getting fired, that means we about to shake something up, and I would love to see the reaction to it,' which was fabulous. That was one of the best days of my life. Villarreal: It goes back to earning it. You've reached a point where the audience wants you back, wants to see Ava back. How do you think your background in stand-up and playing to either packed crowds or nearly empty venues and having to win over an audience, how did that prepare you for a character like Ava? James: Exactly what you said! Exactly what you said. Even when it's a packed house of people that love me, my stand-up is also very antagonistic, and that's for my own pleasure because I do like that. I'm gonna say something that you might not agree with or you don't find funny or touches you in a certain way, and you're gonna love me by the end. Then I'm going to make you laugh. There's a power in that. Stand-up has definitely prepared me for this whole Ava arc of people being like, 'I don't like her.' And I'm like, 'Yeah, really? You don't? OK, we'll see Season 4.' Villarreal: Can you tell me about a time where you just felt like you bombed [onstage] and how you turned it? James: I thought you meant just bombed, because I have bombed and just went home and had this one tear. [But] bombed and came back ... I feel like that's every set, truly. I like to craft a set, especially if I'm doing an hour, where it has different levels. Of course, you want to crush the whole time, and I am, but I like my jokes to have downbeats and then ba-da-ba. I'm not really a one-liner, which is what Ava was for a long time, so that's been a new muscle for me to do, where I'm just saying a line and have to hit those beats. But I like to do a joke that has different peaks and valleys to it and where people are like — you see them physically going back, then they're like, 'Ah, I love that.' That's what I like about stand-up, that instant reaction and the feeling of winning. Villarreal: Do you get the nerves doing 'Abbott' the way you get the nerves of stand-up? James: Yes. I feel like if you don't get nerves, that means you don't care. Did I say 15 years? Jesus. 15 years doing stand-up, I still get nervous beforehand. Four seasons doing 'Abbott,' I still get nervous. It just means that I care about my performance. Villarreal: 'Abbott' is a single-camera show. You're not filming in front of an audience. And you're used to doing your stand-up in front of people. What is a signal to you that you're delivering Ava the way you want? Is it hearing a cameraman, his laughter come through or breaking one of your scene mates? James: All of that, but also I'm just confident in my comedic timing at this point. I don't need a response. I love it. [But] I don't need a response anymore to know that I've hit the beats. Comedic timing is a skill just like anything else. Villarreal: I lack it, so I have no idea what that's like. James: Thank you for admitting, because everybody thinks they can do it. I'd like to hear a man say it — never will happen. I always say my confidence in myself and in what I'm doing is earned. I think that's part of what some people don't like in Ava. Some people don't like confident people because it makes them think about themselves. I feel like it's OK to be confident. There's confidence and narcissism. My confidence comes from putting in the work. I have the respect of my peers, in comedy and now in acting. I know what I'm doing. And, so, I don't really need the instant feedback, but it's lovely to have it, which is why I'm back onstage. Villarreal: Do you think she always had it? James: Ava? Yeah. Especially like I said, the first season, I'm the joke machine. One-liners wasn't my thing, but I know what the beats are. I know the jokes are supposed to sound like and how it's supposed to hit and how we're supposed to parry off of another statement. Can you say parry? Is that a word? I don't know. Is that tennis? I might have made it up, but hey, confidence. It's a word. Villarreal: One of the great things about the show is how the writers build the characters with these seemingly small details that say so much about the characters. For Ava, she owns a party bus, or she dated Allen Iverson, or she hasn't used capital letters in years. What are some of the details that you've loved learning about her? James: One of my favorites is that her 'Hello' sign [on her desk] is facing her and that was totally a mistake when we did that. I had turned it and props turned it back, and both me and Quinta was like, 'No, that's funny if it's facing you,' and now that's become a thing because that's totally something she would do, like, 'Don't come in here.' Anybody that comes in, she's like, 'Don't come in my office, I'm doing my side hustles; I'm not really trying to talk to you, so no hello. Hello to me. You're doing a great job, Ava.' I love just the continuity of our props department is hilarious in that I think Season 1 we took the picture with Gritty and she says, 'Oh, this is cute picture I'm gonna have to Photoshop Janine out.' Then behind me for the whole season [is the framed photo], not Photoshopped, [but what] I think is is is even more cutting: She literally cut her [Janine] out [of] the picture with scissors. That's some real hate. I love that. And the fact that she does know all these people that she's talking about. She's popular outside the school. She has all these hookups. Just recently, she had her list of high-net-worth drug dealers that came in. But also, that rings true. That's who she would know. And those are the high earners in a neighborhood like that. It's just, again, excellent storytelling to remind people where we are. We're in the inner city in Philly. That's what she knows. She grew up in that neighborhood, she knows them. She know they got money. That's her friends. But she just happens to be a principal. Villarreal: As you mentioned earlier, you've been in writers' rooms before — 'The Rundown With Robin Thede,' 'Black Monday.' How does being behind the scenes and knowing what goes into making the show inform you as a performer? James: Well, like I mentioned earlier, I leave them alone. I know it's a different process than what we're doing. I know it's difficult to craft out a whole season. I've never been on a show that's done 22 episodes and we just [deliver] back-to-back bangers — that's amazing [and] even more reason to leave them alone. They know what they're doing; Quinta knows what she's doing. I feel like Quinta has a vision, not only for each season but from the start of the show to when we eventually end it. And I know for me, as the seasons go on, I've become more comfortable with suggesting things and maybe improv-ing. But only when asked, and I always ask first. I always try to say what's on the paper. I never try to be like, 'Oh, what I think might be funnier...' or whatever, even though that's what I believe. I always do what's the paper first. And then I say, 'Hey, I have a suggestion,' and then I get to find out if they chose mine or not, and they frequently did. Villarreal: How were you in writers' rooms? James: How was I? I feel like you got inside information. Villarreal: No, no, I don't. I don't. Please share with me that experience because it feels intimidating. James: Nah — I mean, it depends. I guess for some people. I ain't intimidated by much. I'm a joke machine. I've only written for comedies so far, so that's my bag. Pitch, pitch. If you want a joke, I'm all day with it. I have a story. I thought you had inside information with 'Black Monday.' When I first started — it's usually men. Was I the only woman? No, there was two women in that writers' room. One of my favorite jobs, by the way. Let me just say that before they think I'm talking s—. All the men are pitching, and I said, 'Ugh, ugh.' And I had just gotten there because I came in, like, late to the season. And my boss, David Caspe, was like, 'What's going on with you?' And I was like, 'None of this is funny. I'm just waiting to hear some funny s—' or something like that. He wrote it on the window, and it stayed there for the whole season. Seeing it written, I was like, 'That's outta line.' But I meant it. Villarreal: How did your fellow writers feel about that? James: They loved me. I just saw one just recently, hugged me and everything. Villarreal: Would you ever want to write an episode of 'Abbott'? James: Yeah, I was just talking about that with someone. I don't know if we're allowed. I also don't how it would work because I wouldn't be in the room to build with them. They start way before we do, and I know each episode is assigned to a writer. But it's already pretty formulated by then. I don't know if I would write, like, a one-off type of situation, but however it would work out, I would love that. Villarreal: I would love to see that. Which character would you be interested in writing for? James: Ooh, I think Tyler's character is so interesting and funny. Tyler's comedic timing is so funny and underrated. Quinta too. I love the Janine character. And then myself, duh. Everybody. I feel like I know the least about Barb's. I feel I would maybe write her too much as a caricature. Villarreal: I can only imagine the lines. James: Easter Sunday every line. Chris too. Just some real — ooh, I almost cursed. Some real high jinks for him. Villarreal: Do what you want. James: Some real f— high jinks. That was in me the whole time. I was like, 'Oh, God, can I say one curse word?' Villarreal: Let it out. James: One of my favorite things to do as the cast is when we're in a group in the kitchen, and we have like we're all bouncing off of each other — those are my favorite scenes. So, yeah, anything. Villarreal: What's it like filming with the kids? You don't do it as often as some of the other actors on the show. James: It's great. I'm just always constantly surprised and impressed with how chill they are. I know me, we do [a scene] three times, I'm like, 'All right, I am done with that.' But they are engaged, and they're doing it, and they're good. And it's so amazing because I know, especially first season, we had a lot of kids who had never acted before, who aren't even professional actors. A lot of Black kids, which we want to represent where we are, it's very hard to be a child actor. A lot of times, if you're a professional child actor, your parent has quit their job because they've got to drive you around auditions, they've got to be on set with you. And a lot of Black kids don't have that privilege. So to have all these Black kids there and it's their first acting job, and they're so good. And now they've grown with the show. Villarreal: Do they call you Miss James? James: No, they call me Ava. Which is fine. The kids are the least annoying as far as approaching me as a character. They can call me whatever. Of course, they think that's who I am. And I don't mind performing for them. You want me to do the TikTok dances with you and all that? I don't want them to feel like they have a job. I think that's lame. You're a child, let's have fun and reward them for being so chill. Villarreal: When the show was entering its second season, you made the decision to move out here. I know Tyler had to persuade you not to buy a Mazda — James: Oh, that story. I have regrets, actually. I love a Mazda. Villarreal: I'm more curious what that transition was like, moving out here, that period of settling in. James: I had lived in L.A. for short periods just for a job, and I would go back to New York. That's what happened with the first season. I remember we did the pilot and I was like, 'That was cool.' I went right back home. Then we got picked up. I truly didn't even know what that meant. Then we like did 13 [episodes] in the middle of the pandemic, by the way — I feel like a lot of people, of course, have wiped that from their brain, but we did all of that with the masks and [personal protective equipment]. So that was just a whirlwind of things happening. Then all of a sudden it's, 'Oh, it's a hit, 22 episodes next season.' So that's nine months out of the year. I'm like, 'Well, I guess I live in L.A. now.' It was a big transition. I've been in New York for a long time, and I am a New Yorker — you hear it? I'm a New Yorker. And my family is still on the East Coast and my friends and my nightlife and my community. So, yeah, it's been a big transition and I've left all my comedians, and I hang with actors. Villarreal: On the subject of the growth with Ava, is there a limit to the growth you would like to see with her? Is there something that you don't want to see from Ava as the series progresses? James: I'm not afraid that this is going to happen, because if it would have, it would've happened already, [but] one thing I'm very pleased with is, although we're revealing more about her, her core personality stays the same. She's still that b— I liked, especially when she got fired, it wasn't this big [moment] — on her part — of like, 'Woe is me! What am I going to do now?' She was instantly like, 'Next.' Find out that wasn't even her main job. I loved that. And the next time you see her, she's rising from the audience for her speaking engagements. She had people picking up her checks. But that's who she is. She's a hustler. That's what I really relate to with her. I get that, 'Next. Let's move.' And anyone who dares to let me go, that's your loss because I'm killing it and doing multiple things, which is not only relating to being a hustler, at the core of that is relating to being poor. That's what you got to do. You got to have multiple streams. That's what all those lame guys are talking about. Multiple streams. I saw a couple people [say], 'I hope that we find out she's been like lying this whole time.' She's too fab for that. It is very true that this person exists who is a hustler, who is as fly as she says she is and who has not only book smarts but street smarts, which I think is very underrated, or what's the word I'm looking for, not valued as much as a book learning. She has both. Villarreal: Before we wrap, what is it like to have your performance captured in meme form and live on in that way? Do you find yourself actively thinking about that now? James: A lot of times, I'll see a meme, and it's not even me. I don't see it as myself. Maybe the first season, I was like, 'Oh, my God, I can't open my phone without seeing myself.' I also was living in a place where the billboard was right across from my window. I'm like, 'That's weird.' It's really been a real — they said I could curse — mindf— sometimes, seeing myself so much and not even just in the context of the show. That's what a meme is. It's in a thread about taxes and then it's me. I'm like, 'What does this have to do with it?' But now I'm taking it more like, 'Oh, wow, this character is like iconic. Not like, is iconic.' She's in the lexicon. She's gonna be around forever. Anytime somebody plays [Juvenile's] 'Back That A— Up,' they think about me. Villarreal: Talk about that moment. James: It's crazy. Everywhere I walk in — I walk into the Ralphs, 'Back That A— Up' on there. Everybody like, 'Hey, that's for you.' Villarreal: The way people like glommed onto it, like it was all over TikTok with captions like, 'This is me in my kitchen.' James: Again, excellent writing, excellent character development. Because that is the song. Nothing is written because we just want it to be. That is the jam that people such as Ava and people in that age group, you hear it, you on the dance floor, and it would make you act out at work. It's true. Villarreal: Was that so fun to do? James: Man, I was so nervous. Villarreal: Were you worried you were not backing it up right? James: Not even backing it up right. I had to find a middle ground. Hit show, ABC. I feel like I could have went crazy and they would have cut it up. But I also wanted it to be — I know grandmas and kids are watching, and I wanted it to be funny too. So I was trying to do so much in that little time. We had Randall, he's circling around. How that was shot, it was like cinematic. Villarreal: The timing. James: I had a silk blouse, I was like, 'I can't be sweaty, I still gotta look fly, the hair gotta flow, gotta be a little funny, gotta be little sexy, gotta be believable that I'm letting loose.' It was a lot. Again, we're doing so much, and I'm doing so much, in a short amount of time. That scene was maybe 30 seconds. I had to convey all of that in a dance. I'm not even saying anything. I'm doing my little giggle because that's what girls do. I had to make all of that and remember what that feels like to hear that song. Villarreal: To go from something like that, which again, like the joy and fun of a scene like that to the depth we saw this season from her, like I said, with like the moments of vulnerability, it's such a testament to you and what you're delivering. So kudos to you. I can't wait to see what's ahead with Season 5. James: Thank you so much. Mark Olsen: You've been so busy these past few years, I can imagine there are times when you're like, 'What am I here to talk about?' You have so many projects that you've been involved in. Aaron Pierre: I've been very fortunate and very blessed on my journey. I'm just trying to keep it about a commitment to doing the best work I can. A commitment to evolution and growth and just enjoying the moment. Olsen: When you came to 'Rebel Ridge,' there initially was another actor in the project who left. I'm curious, for you did you feel like you were jumping onto a moving train? What was it like to get involved in a project that was already in motion? Pierre: The first time I heard about this project was from [director] Jeremy [Saulnier] himself. My team had read this script, which we now know to be 'Rebel Ridge,' and they were just really thrilled and excited to have something cross their desks that felt original, that felt exciting and that energized them in a way that perhaps they hadn't been energized in a long time. So more or less immediately, I read the script, got onto a Zoom with Jeremy himself, and we just immediately connected. I think there is something to be said for instincts and something to be said for a gut feeling, and I think in both departments we had a positive experience of that with one another, and we felt as though this collaboration would only be conducive to an enjoyable time. And that's certainly what was happening. Olsen: Did you know Saulnier's work from his other films, 'Green Room' or 'Hold the Dark,' were you familiar with him before this came to you? Pierre: Yes, I was familiar. My favorite is 'Blue Ruin.' I think that is a masterpiece. And I think that is Jeremy arguably at his happiest as a filmmaker and just getting to flex all of those different muscles and talents that he has. After seeing 'Blue Ruin,' I always wanted to work with him. I didn't know if it would ever come to fruition or if it would even be a possibility. And then 'Rebel Ridge' came along, and we got rockin' and rollin'. Olsen: You mentioned instinct and how you have to learn to trust your gut working with someone like Jeremy, saying yes to a project. At the end of it, do you ever get some sense of what that instinct was? 'That was what I was responding to, that's why I wanted to do this'? Pierre: I have this sort of checklist for myself, any project that I do, when I wrap. At the end of it, if I can say that I did my best to give my best, and also if I can say that I earned my own respect — which is a very challenging thing to do because I demand so much from myself and I'm hypercritical of myself — but if I can check those two boxes, then I feel satisfied. I don't try and control or puppeteer anything beyond that because the space that I'm in, you're in, we're in, it is so subjective. But that's why we love it. It's art. And if I can have that peace in myself of, 'I really gave everything I had,' then beyond that whatever happens is just additional blessings. And to have the response that 'Rebel Ridge' received was beyond my wildest dreams, to be honest with you. Speaking candidly, I'm still processing it now. It was really moving. I think in part it was so moving because we poured so much into it. Everybody in every department. I'm not speaking exclusively about the cast. I'm not speaking exclusively about the director and the [producers]. I'm talking about everybody, from crafty to catering to transpo[rtation] to the teamsters to the crew. Everybody poured so much into it. We were all there every day from the beginning to the end. And I think there is something so beautiful about a project which is so physical and demands so much. That sort of brings you all together. So I'm just thrilled for everybody who poured themselves into this, and it really wouldn't have been possible without everybody's commitment to it and everybody's commitment to excellence. Olsen: When you say that you're still processing your feelings about it, what's changed for you? How do you feel your response to the movie has evolved? Pierre: I think what I'm processing still is just the abundance of joy that it gave people and the reception it received. So many people have reached out to myself, to Jeremy, to others who were part of project and shared what it meant to them. And even requested a sequel. I just feel very grateful, and really the film wouldn't be what it is today without the audience. And that really ties into why I do what I do — I don't take myself seriously, but I do take what I do and my craft very seriously. And that is me attempting to honor the time and the energy that an audience gifts you with when they engage with a film, or they engage with a TV series, or they come to the theater and watch a play that you're in. Life is busy. Life is hard. People have multiple things to juggle. So when people gift you with that time, I feel as though, as an artist, as an actor, whatever I want to describe myself as, I have a commitment to honor that. And that really just ties into the audience response. Just to get that, it feels really special. Olsen: One of the things that's so remarkable about your performance in the film is you remain so calm through the whole thing. No matter how wild the story and the action gets, you're still very cool throughout. How did you come to that choice? Tell me a little bit about that essential nature of your performance. Pierre: I arrived at the decision that I wanted Terry to feel like — I wanted his energy to be 'loudest quietest person in the room.' And what I mean by that is, I wanted his silence to speak tremendous volumes. Somebody who steps into a room and they don't say anything, but the fact that they don't say anything is so loud. The fact that they are not demonstrative in their physicality is so loud, and almost their lack of emoting at times, their lack of being physical at times, is what indicates their capacity and is what tells you everything you need to know about them. That's what I was playing with during the entire filming process. And it was a lot of fun to do so. That's one of the beautiful things about a character that is so wonderfully written. Terry is written in such a dynamic way, in such a nuanced way and really such a generous way. And I have to credit that to Jeremy as the writer, he was so generous in how he created Terry, so that the individual that portrayed him had so much to work from. Olsen: People often talk about Jeremy's work as being slow-burn thrillers. That's what they call them because they typically take a while to get to the action and to really pop off. Was pacing something that you talked about with Jeremy, both in how the story was going to be paced, but also how your performance was going to be paced? How do you capture that sense of the slow burn? Pierre: As an actor, I think doing things in a slow pace is not something I have an issue with. If anything, directors have to say, 'Hey, Aaron, let's [pick it up]' because I like to enjoy moments in the context of portraying a character. So this was exactly the lane that I enjoy operating in, so far as action and thriller. I love enjoying those beats and enjoying those moments and really being unapologetic about it. So it was a lot of fun. The moment where, for example, Terry rides into where the sheriff's office and he puts his pedal bike down and he just waits there calmly, and then Don Johnson comes out and he has this whole speech about P.A.C.E. and he breaks [the acroynm] down: I could be wrong, but I feel like a number of other action movies might have taken the route of, let's just get straight to it. But I love that Jeremy had his character break down what was going to happen should this police department not adhere to his request. I love moments like that. I love that Jeremy was so unapologetic about it, and that gave me permission as his collaborator within this film to also be unapologetic. Olsen: That is one of my favorite scenes in the movie as well, because it's this very tense dialogue scene between you and Don Johnson, and then it suddenly erupts into a very physical, rough-and-tumble fight, a physical sequence between you, Don and another actor. I have to say, it sure looks like that's really you in close combat with those two guys. What kind of training did you do for that? And what was it like to sort of go from paced, restrained dialogue to break into the action like that? Pierre: Oh, it was so much fun. You'll hear me commend and celebrate the crew a lot because they deserve it, they earned it, and they're just phenomenal. I had a lot of help with the physicality of Terry, with the intellect of Terry, from the stunt department and from our advisors. [Marine Corps Martial Arts Program] instructors, for example. We really did a lot of physical training prior to production commencing. We did wrestling training, we did boxing training, we sparred. So I was really in my body. I'm already a student of martial arts, and I love it. It's the most humbling thing in the world, and I just adore it. And I'll always be a student of it. So that was really fun for me, to be able to do that for my job. By the time we got to choreography, it just felt somewhat fluid and easy because moving in that way was already in my body. That was how we warmed up, that's how we would sometimes start days, that's sometimes how we would end days. That's sometimes how we would spend a day on the weekend. So it was really in me at that time. And again, it goes back to being the loudest quietest person in the room. I like that Terry goes from that speech to, 'OK, you've now left me no option but to demonstrate everything I just told you I had the capacity to do, but I was hoping not to have to do.' There was sort of a running joke in the crew that Terry is there to teach manners. Olsen: There also is a scene in the film where Terry, your character, is on a bicycle and he's racing a bus. And I've seen some of the behind-the-scenes footage. You're on this contraption that's sort of a motorized cart that has a bicycle sticking off the front of it. But I have to say, I would 100% believe that you were, like, racing that bus. Pierre: So here's the thing. As you know, it takes a lot to make a film and it takes a lot to capture a scene like that. And all of these get cut together, and then it all just looks seamlessly like one take, or whatever it might be. But there was a version of that bus scene where I'm pursuing the bus on a pedal bike, just me. There's a version of it where I'm pursuing the bus on a bike rig that is fueled by a motor, almost like a small go-kart. There's a version of it where I'm quite literally attached to the bus and I am physically pedaling and exerting myself as hard as I can. And then [key grip] Big Bruce Lawson — who I love, by the way — he's gently pushing me closer and closer to where the driver is, driving the bus. So all three of these versions require me to pedal, but not all of them am I making movement purely on my own accord. Then you put them all together and it looks seamless and wonderful. Olsen: How surprised are you when you see the final product? Like, 'Whoa, looks pretty good!' Pierre: I have to be honest, with Jeremy, I wasn't surprised. Jeremy's Jeremy, he does wonderful work all the time as far as I'm concerned. I remember well before the film came out, he showed me an early cut, I think it was maybe like the first eighth of the film, and I was just really excited by it. And then to see the final product, I just commend him. Olsen: There also are a number of scenes in the film where you disassemble a gun, a handgun, in your hands without really looking at it while you're doing it, like you're looking at another person while you are taking this gun apart. How hard is that? I don't think I could ever manage that. Had you had any kind of weapons training from other projects? Pierre: Not prior to 'Rebel Ridge.' But I really had to immerse myself in that in order to achieve what I wanted to achieve, which was authenticity. And which was honoring Marines. That's very important to me, as it's very important to me with every role that I play to be authentic and to honor the individual and the history of that individual and their respective communities and units. So I really immersed myself in it, and even reflecting on it now, I'm surprised that I managed to even get to the level where I could do a scene and be looking you in the eye but [be] disassembling a gun or unloading a gun and unloading a magazine and putting that on the side. They really had me in sort of like a boot camp, and luckily I took to it. Because one thing about Jeremy is we will not move on from the scene until it's seamless, and that's what I love about him. Olsen: Were there any other films that you and Jeremy would talk about or maybe that he showed you as a reference as you were working on this part? Pierre: Actually, no. I mean, of course, he and I were aware of wonderful films that share similar themes. But for the whole maybe three-month shoot, we didn't actually speak about any other action films. And I even remember Don, Jeremy and I one day, I think we were shooting the scene where Don's character takes Terry with David Denman's character to the hospital before they break the news to him. And Don actually doesn't watch any films when he's shooting a film. So that was kind of the energy, actually, while we were filming 'Rebel Ridge': Let's just focus on creating this original film without influence or at least without any conscious influence. Of course, it's art, so subconsciously you're always going to be influenced; it's going to be a version of [something]. And that's inspiration. But we really just focused on 'Rebel Ridge' and how do we want to tell the story of 'Rebel Ridge.' Olsen: Tell me more about working with Don Johnson. He seems like a super cool guy that it would be fun to meet and hang around with. But then it's funny that he's so good at playing this like really smug jerk of a crooked sheriff. Pierre: Don and I get along really wonderfully. It's so funny, I think actually the fact that we got along so well allowed us to create such tension and friction within the scenes because we were able to, outside of the context of the scenes, discuss what we wanted to achieve and how we wanted to achieve it. And then when the cameras started rolling, we had substance because we had everything we had discussed. And in those moments, it wasn't Aaron and Don, it was really Terry and the sheriff. Jeremy creates this environment where it really is conducive to, I think, the best work, because he protects with everything the scene and the place where the scene is taking place. So you can have a laugh and a joke outside, because you know as soon as you step into that atmosphere, that arena, you're in that world now. Olsen: The story of the film is about a Black man coming into a Southern town. Race is a real undercurrent to the story, and yet it's something that apart from one scene, where a Black female police officer calms down a group of white men, it's never really explicit in the film. For you, what was it like to have that sort of bubbling underneath? Did you like the fact that there was never a big conversation about it, that's not that scene in the movie. How did you feel about the way the story dealt with that? Pierre: I think Jeremy did a brilliant job of navigating multiple important and pressing issues, all within one film. And I think he did it in a way that was not didactic. And I might even say that ... allowed for it to resonate even deeper with audiences. Because versus the audience is feeling like they were being sat down, it was more of an invitation to come and engage in this conversation with us, within the context of the film. Olsen: I want to go back to something you said earlier, that you feel on a project you have to earn your own respect. Can you talk a bit more about what means to you? What, in essence, does it take for you to earn your own respect? Pierre: When an audience engages with your work in any capacity — theater, film, TV, radio, wherever it is — that's them gifting you with their time. Time is precious. Time is valuable. I need to feel as though I've served the character. I need to feel as though I've served the story. I need to feel as though I've served the creative team. And I need to feel as though I've served the audience. Even if an audience walks away from something and they say, 'That wasn't for me,' that's OK because the work is subjective. Just so long as the result of that wasn't me not giving my all. If I don't give my all, I'm not at peace. And I think that really just comes from gratitude for the opportunity. And that ferocity of work ethic that I have is just fueled by gratitude. I'm well aware that this is something that isn't a given, to be blessed in a position where you can tell stories on this level with such wonderful creatives. I've been in a position where this is everything I wanted to do, all I could do, but I was unemployed and I was in a very financially challenging position and telling people I'm an actor, but I had nothing, nothing to show. So I think actually having all of those life experiences of those rough times, and those challenging times, when I am now in this position where I'm fortunate to have an abundance of options and things available for me to engage with, it's just never missed on me. Ever. And it just would never feel right to take that for granted. What are we doing here? We have an opportunity, let's give it our all. Maybe it lands flat, maybe it's a major success, but whatever we're doing, let's not hold our punches, let's give everything we've got. Olsen: Last year, you were also in 'Mufasa: The Lion King,' you did the voice of Mufasa. And as I understand it, you had previously worked with Barry Jenkins on 'The Underground Railroad' — Pierre: That's big bro. Olsen: And as I understand it, he initially reached out to you. He saw you onstage, and he sent you a DM. Pierre: He did. Olsen: As an actor, is that kind of what you're hoping for? You can't even really hope for that to happen, in a way. Pierre: I thought somebody was messing with me, I promise you. We had just finished an evening performance at Shakespeare's Globe on the South Bank, of 'Othello.' Mark Rylance was playing Iago, Andre Holland was playing Othello. Phenomenal actors both. The whole team, phenomenal actors. And I just finished the evening show, and I think I was coming out of the underground at Earl's Court Station and my phone pinged. And it was a DM from Barry, and I was like, 'This has got to be a joke. Somebody has heard me talking about how much I want to collaborate with him, heard me talking extensively about what he achieved with 'Moonlight.'' And then I opened it and it had the little verified blue tick, and I was like, 'This is actually Barry Jenkins.' And he was just saying, 'Hey, man, I really enjoyed your work on the stage as Cassio, I have this project upcoming. And I would like to engage in a conversation with you about it.' That was a really special moment for me. Olsen: With 'The Lion King' in particular, what was it like taking on the role of Mufasa, originally voiced by James Earl Jones? Was it a challenge for you to find your own way, essentially your own voice, for that character? Pierre: First and foremost, James Earl Jones originated Mufasa and is and always will be synonymous with Mufasa, and his portrayal is just so beautiful and timeless. And it's not only with me for the rest of my life but with all of us for the rest of our lives. And most importantly, it can never be matched. That actually brought me a lot of peace entering that conversation and entering that creative process. Knowing that is in its own stratosphere, and rightly so, it gave me a lot of peace and it gave me permission to find my own version. And I hope that he would be proud of the version that I discovered, and I hope that he would feel as though we did everything we could to uphold the legacy that he established and the legacy that he built. Because that was our intention and that was what we were striving for. And, just on a separate note, James Earl Jones, he's the top of the mountain for me. I study him. He's just the top of the mountain for me. Olsen: As we're having this conversation, you're in the midst of production on 'Lanterns,' which is a very different production from 'The Lion King.' I've seen this iteration of the Green Lantern story described as a sci-fi 'True Detective.' And I'm curious just how that project is going for you and what the experience so far of shooting that has been like? Pierre: It's been great. It's been a really beautiful process and experience. Everybody is so close. Everybody is so tight and connected. And I think that is because we all love this project. Olsen: You also are in the upcoming season of 'The Morning Show,' again a very different project, and I'm curious, for you as an actor, do you feel like this has kind of become your moment? As an actor you work so long and so hard. What is it like for you when it seems like suddenly so many things are lining up for you? Pierre: It's very surreal. It's very surreal. There was a time when there was nothing available to me, despite me trying to have things available to me. So it's very surreal. Again, I'm abundantly grateful, and I think it's about just utilizing these moments to learn, to grow, to evolve. And just to serve this space as best I can. It's impossible not to have an amazing time on 'The Morning Show.' All of those wonderful artists and creatives, we had a really great time.
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‘Bridget Jones' Director Michael Morris on the Emmy Longform Conundrum: What's The Difference Between a Film and a TV Movie?
Michael Morris agrees with you: Yes, it's kind of unusual that 'Bridget Jones: Mad About the Boy,' which he directed, is an Emmy contender in the outstanding television movie category. But, then again, this is a race that has become very unusual in recent years. 'I think once upon a time, there may have been such a thing as a 'made-for-TV movie' that had a certain characteristic, a certain look and feel, or a certain subject matter or tone,' Morris says. 'And I think now, TV streamers go shopping for movies at Cannes. So there are some really interesting feature films that are now on TV.' More from Variety Emmy Voters: Don't Forget About Zahn McClarnon and 'Dark Winds': He's Your Next Leading Man Short and Sweet: From 'Adolescence' to 'Sirens,' This Season's Best New Shows Are Barely Longer Than a Movie Limited Series Writers on the Impact of Casting, Writing Emotional Journeys, and Finding a Tonal Balance But are they, then, 'TV movies'? It's become a bone of contention for awards execs and consultants, who have been pushing the TV Academy to rename the category. One idea being floated, which my colleague Clayton Davis recently mentioned in a column, is 'outstanding film made for TV or streaming.' The idea is auteurs whose films wind up on the Emmy track instead of the Oscars track will be less offended by being called a TV movie. In the case of Renée Zellweger-starrer 'Bridget Jones,' what's extra unusual is that film appeared in actual theaters in the rest of the world. It was only here in the U.S. that it was a Peacock original movie. Morris says he knew that this would be the case, so he's not thrown off by the odd situation he finds himself in — mounting an Emmy campaign for a movie. 'Before we started shooting the film, it was communicated to me through Working Title that Universal's approach was to release it on Peacock in America but stick to the wide-release cinema strategy everywhere else,' he says. 'There's a million ways to watch things, and if being on a streaming platform is a good way for people in America to find the movie and experience the movie, then that's great. But what was weird about this one is that it wasn't made to be a streaming movie; it was very much made to be seen on the biggest possible screen and, ideally, made to be seen with people.' Morris is sanguine about it: 'Streaming and, in this case, Peacock, allowed this film to be made,' adding, 'First and foremost, that's a massive plus.' 'Black Mirror' may have broken the category. Episodic installments won in 2017, 2018 and 2019 (that one was at least a stand-alone longform), forcing the TV Academy to rewrite the rules and slide anthology shows into the limited series field. But around the same time, cablers pulled back on TV movies (broadcast had already abandoned the field), allowing all sorts of things to grab noms — including films that could have gone to theaters, but wound up on streaming. Now, it's really hard to distinguish between a film and a longform TV show. 'I just watched 'Disclaimer,' which was seven hours, all written and directed by Alfonso Cuarón, all shot in what seems to be in one big, sort of massive production,' says Morris. 'So what's the difference between that and a three-part movie? It's just split differently.' Morris says he's fascinated to be in the TV movie category this year because it's become a bit of an Emmy wild card. Last year, the film 'Quiz Lady' won the prize, finally securing an Emmy for Sandra Oh. In 2023, it was the satiric comedy 'Weird: The Al Yankovic Story,' and in 2022, an animated film won for the first time, 'Chip 'n Dale: Rescue Rangers.' This year, the category's frontrunners includes quite a mix: Netflix's 'Rebel Ridge,' Apple TV+'s 'The Gorge,' Disney+'s 'Out of My Mind' and Hulu's 'The Supremes at Earl's All-You-Can-Eat' in addition to 'Bridget Jones.' 'This is a story of a woman learning how to live again,' Morris says. 'And in that sense, it departs from the tone of the first three films, quite deliberately, but hopefully gives enough of the comedy and the joy that is just inherent in Renée and 'Bridget' to be fun.' Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? Emmy Predictions: Documentary Programs — Nonfiction Races Spotlight Pee-wee Herman, Simone Biles and YouTube Creators 25 Hollywood Legends Who Deserve an Honorary Oscar