J.J. Abrams zijn nieuwste film heeft als titel Overlord en gaat helaas niet over de video game franchise die zijn oorsprong in Delft heeft. Het gaat over een groep soldaten die er tijdens de tweede wereldoorlog achter komen dat de Nazi's Uber Menschen heeft gekweekt die onstopbaar lijken. Deze film is sinds vandaag in de US op fysieke media verschenen (In Nederland komt deze in maart uit) en daarom had Wyatt Russel een interview met de website Coming Soon en daar uit kan je nu hier onder een klein stukje lezen.

CS: In "Overlord" you play a soldier who's very driven. Everything is about the mission. The men and the townspeople, they're all expendable. What did you have to do to make sure the character was still relatable in the sense that we understand where he's coming from, and he's not coming from an inhumane place? That he realizes there's a lot more at stake than what's around him?

Russell: There's a lot of World War II movies, and this one had a different take on a World War II cinematic experience. For the character of Ford, what I wanted to do was not just play this like a rough, scruffy guy. All of those guys, even though it was a movie with zombies and monsters that aren't immediately relatable, you have to look at that person and say, "Oh it felt real. It felt like he was a guy that existed in World War II." Those guys weren't killing machines who went off to war. Now it's different. They're trained in a very different way. There's the history of war. It's different and they are training and killing machines that are unbelievably efficient at their job. Back then, it was like, this guy was like a pharmacist from Wyoming before he went over there. Through experience he became that way. You need that guy who was in a moral gray area to win wars. You can't win the war without that guy, even though some of the things he chooses to do can be seen as morally questionable, but that's what you have to be able to do.To bring that to the guy, but also have some form of vulnerability, so that when the shit hits the fan and he needs to be able to change his mind and be based on a very human condition thing that happens, which is we have to go get the kid, that's what we have to go do. That has become the mission. And to make that change, you needed to have some vulnerability in it. So it was a little bit of a balancing act, but I thought it came out pretty well.