Girl brawls similar to John Wick's style
In the shadowy realm of the "John Wick" universe, a fresh story unfolds under a new director - Len Wiseman, renowned for his work in the "Underworld" series. Despite initial apprehension, "Ballerina" surpasses expectations by blending the precision of "John Wick" action with emotional depth, creating a unique tale worthy of the franchise.
In an exclusive conversation with ntv.de's Linn Penkert, Wiseman and the film's lead, Ana de Armas, shed light on their vision for the project and the journey that led to the creation of the captivating character named Eve Macarro.
ntv.de: Congratulations on "Ballerina" - a fantastic film. With spin-offs "in the world of...", one is often skeptical.
Len Wiseman (LW): That's the best kind of reaction! I love it when skeptical fans enjoy it. I'm the same way. When I'm not directing myself, I'm skeptical about franchises and things I love. So it's great when you can convince those who thought: I'm not sure if this is going to be good ...
Can you describe how you brought your own style into this franchise?
LW: Honestly, it's not a conscious process. I don't think: How do I bring my style in? My style just comes from what inspires me. With "Underworld," it was the same - I didn't say: I want to bring my style, I just follow my own visual language, my way of storytelling, my handling of light - all the things that speak to me visually and emotionally. "Underworld" looks completely different from "Ballerina." But that's natural. And that's what ends up becoming what people might call my style.
How did you try to maintain or even surpass the quality of the "John Wick" films?
LW: One of the things that was really important to me was the tone. The "John Wick" films have a very particular atmosphere that I love, and I really wanted to keep that. Besides the tone, of course, action is crucial. I think it's at an incredibly high level in "John Wick," so it was very important to me to meet that standard with full concentration, respect, and time. I love action movies, and in the last few years, there have been incredibly impressive scenes and sequences - many of them inspired by "John Wick." And whenever someone does something different or new, I find that interesting. We've seen many classic action patterns executed very well. I always try to find something that we haven't seen before - or give a familiar pattern a fresh twist. That's my hobby. I just love it.
It was so refreshing to see a female protagonist in a genre that's usually so male-dominated. Especially when it comes to violence, "Ballerina" is on par with the "John Wick" films.
Ana de Armas (ADA): One of the first things I made clear to Len was: I love the project, I see the potential in the story and I really want to do it - but only if I can do it right. I didn't want to just be the 'female version of John Wick', I wanted to be on equal footing and give it my all. I told him: "Please don't treat me differently just because I'm a woman." (laughs) Luckily, we were all on the same wavelength. Everyone knew: This isn't a copy, it's a unique character in this world. We wanted to explore what makes her tick, how she operates, who she is. She should be strong - but in her own way.
But are there similarities between the two protagonists?
ADA: I think the similarity lies in that inner fire and the need for revenge or justice. That defines the characters. There's this beautiful line in the film: "Fight like a girl", which is often used in a derogatory way against women. I wanted to turn it around and give it power, to use it as a driving force for the character, so Eve can discover who she is. It was about finding her strengths and showing how women - regardless of their size - can have enormous advantages over men. Women can achieve so much and do things that men can't. I wanted to play with that, have fun, and be strong in my own way.**
Cinema Ana de Armas is "Ballerina" A well-aimed shot to the vagina The contrast between Eve, the ballerina - sweet and feminine - and Eve, the killer - brutal and unapologetic - is very strong. Was it important to you to show both sides of the character?
ADA: I love the idea that these two worlds reflect and merge in Eve. That was really clever and immediately sold me on the idea. One fascinating aspect of the story is that the Ruska Roma organization teaches ballet. Ballet may seem beautiful, elegant, and graceful at first glance, but what's often forgotten is the amount of pain, discipline, and perseverance behind it. When I understood that, I immediately thought: Of course, they would train assassins in ballet! It's not just about physical control, but also body awareness, precision, choreography - and that's exactly what you need in a fight. Fighting is essentially like a dance. And if you imagine that John Wick also went through this training school, it all suddenly fits together nicely.**
In "Ballerina", the fight scenes look less choreographed and more emotional and raw. Was that intentional?
LW: Yes, that was done on purpose. We didn't want to repeat what "John Wick" did - that would be a mistake, and we had no interest in doing so. Instead, we wanted to give Eve her own language, her own style, and her own feel for the action. You could say her fights are more driven by survival instinct than by a calculated attack. Often, she's surprised, ambushed - it's less about winning the perfect fight and more about surviving while still taking out her targets. That's why the action has a rawer, more instinctive character.**
De Armas: I didn't want to come off as invincible or tough, because that's not realistic. People wouldn't buy it. I'm small, and these men are twice my size. Every hit, every kick - it all hurts. I want the audience to feel how overwhelmed Eve is. It's not a job, she didn't sign a contract. It's personal, and when emotions are involved, it doesn't matter how prepared you are or how skilled you are. We wanted to show that she's exhausted because she doesn't know what to expect.**
How would you describe Eve's development?
De Armas: She's learning and becoming the person she's meant to be. Everything is a surprise, everything is too much. I want the audience to feel that - that it could kill her because she's not prepared. What makes her strong isn't how good she is, but that she keeps fighting because it comes from her heart. Her mission starts with revenge and inner rage, but it transforms into protection and understanding that there's something greater - the chance to help someone else what she never had. That development is beautiful and makes the story unique.**
Do you see Eve as a victim of her world or someone who chooses the path of violence?
De Armas: Oh, I don't see her as a victim at all! It was definitely her choice, even if she comes from a vulnerable, difficult starting point.**
You're right, she didn't have control over becoming part of the Ruska Roma as a child...
De Armas: (pauses) As a child, someone else made the decisions for her. But what would the alternative have been? I don't think she had another choice. As an adult, Eve realizes that it is her decision.**
In "Ballerina", Wiseman and de Armas deftly portray a raw, unfiltered universe of violence and redemption, introducing a strong female lead with hidden vulnerabilities and unmatched resilience. While maintaining the essence of the "John Wick" franchise, the film offers a fresh perspective on a world shrouded in secrecy and death.
The unique blend of precision and emotional depth in "From the World of John Wick: Ballerina" serves to create a captivating tale that surpasses expectations, demonstrating Len Wiseman's ability to bring his own style into a franchise without consciously doing so.
In the realm of action movies, Ana de Armas portrays Eve Macarro with unparalleled resilience, ensuring a female protagonist who stands on equal footing with her counterparts in the male-dominated genre. Her character is both brutal and unapologetic, while also displaying hidden vulnerabilities in a refreshing contrast to her background as a ballerina.
