Few films this year have generated as much buzz as “The Apprentice.”
Directed by Ali Abbasi, the movie explores the formative years of Donald Trump (portrayed by Sebastian Stan) under the mentorship of the ruthless lawyer Roy Cohn (played by Jeremy Strong).
The film has stirred controversy at the Cannes Film Festival, faced potential legal threats from Trump’s campaign, and endured a long search for a distributor until Briarcliff Entertainment decided to release it in theaters.
As the film’s premiere approaches this weekend, Abbasi, Stan, Strong, and screenwriter Gabe Sherman share insights into how this unconventional project came to life and their hopes for its reception amid the upcoming election season.
Sherman discusses the inspiration behind the film’s concept, noting how individuals who had worked with Trump in the ‘80s revealed that he employed strategies taught by Cohn during his campaign.
The idea quickly coalesced into an origin story depicting the mentor-protégé dynamic that shaped Trump’s ascent to the presidency.
Abbasi adds that both Donald and Ivana Trump have often been portrayed in extreme, mythological terms.
To challenge these narratives, he believes in taking a more humanistic approach, which could help dismantle the myths surrounding them.
Stan, who had been on board with the project since its conception, reflects on the challenges of bringing the film to life and acknowledges that there was little competition for the role.
Abbasi underscores the significance of having Stan as a committed ally, while Sherman praises Stan’s fearlessness, noting that many actors shied away from portraying Trump due to the role’s complexity.
Strong, who was captivated by Abbasi’s filmmaking style, shares his fascination with Cohn, labeling him as one of the most interesting figures he has ever analyzed for a role.
Stan sees the film primarily as an origin story that reflects the socio-political ideologies of the ’80s, highlighting the American Dream notion of winning at all costs.
Abbasi draws parallels between Trump and the character Barry Lyndon, emphasizing Trump’s ambiguous motivations and desire for self-ascendancy.
Delving deeper into Cohn’s character, Strong remarks on the duality of Cohn’s public persona, who was both adored and loathed, filled with contradictions reflected in an eclectic collection of stuffed frogs.
He acknowledges the intricate nature of Cohn’s representation, striving to maintain objectivity while exploring such a dark character.
Stan adds that human imperfection is universal, advocating for empathy as a tool to understand complex narratives, especially when examining their darker counterparts.
Abbasi voices his discontent with the notion of reverting back to historical conflicts for artistic expression, encouraging creators to tackle contemporary issues head-on as part of their responsibility.
In discussing the eventual distribution of the film, Abbasi expresses his surprise at the challenges they faced, having entered the project under the belief that the U.S. was a bastion of free speech.
Strong highlights the unsettling feeling around the film nearly being “banned,” asserting that regardless of its political implications, it remains primarily a film and not a political event.
Stan emphasizes the importance of creative works to address challenging topics, stressing the necessity of discussion in understanding societal issues.
Abbasi admits feeling disheartened by the fear and anxiety surrounding the production, pondering whether this resistance stems from its originality.
Sherman recounts the turbulent negotiations for distribution, as he faced uncertainty about showing the film at the Telluride Film Festival.
Abbasi concludes with his conviction that memorable films provoke emotions and shape discussion, even if they invite controversy.
Strong speculates on the film’s potential influence, believing it can provide insight into modern issues intertwined with historical narratives.
