By Rollo Ross and Danielle Broadway
LOS ANGELES (Reuters) – When Joaquin Phoenix reprised his role as the Joker in the new movie sequel about the DC Comics villain he learned that the filmmakers wanted to focus on music in a new way.
“They were kind of talking about this musical element, which, of course, was such a big part of the first film, but not quite like this,” Phoenix told Reuters, referring to “Joker: Folie a Deux” which will be released soon.
“It felt like in some ways a natural extension and yet something that felt entirely new at the same time,” he added.
The film won the best soundtrack award at this year’s Venice Film Festival.
American director Todd Phillips’ 2019 iteration of “Joker” received high praise with 11 Oscar nominations along with two wins, including a best actor award for Phoenix.
Phillips returned to direct “Joker: Folie a Deux,” which is distributed by Warner Bros Pictures, and takes place two years after the events of the earlier film.
Phoenix reprises his role as mentally ill criminal Arthur Fleck, AKA the Joker, and singer Lady Gaga plays Harleen “Lee” Quinzel, AKA Harley Quinn, who is a patient at Arkham State Hospital.
While Fleck is institutionalized at Arkham, awaiting trial for his crimes as Joker, he and Quinzel fall in love and illustrate their feelings through music.
“Joker: Folie a Deux” has its international theatrical release on Oct. 2 and its U.S. release on Oct. 4.
Throughout the film, Joker struggles to cope with his identities as both Fleck and Joker.
“Everybody probably can identify with this idea of maybe your true nature or your private nature versus your presented or projected image,” Phoenix said.
“Because we all do that in some way in our own lives,” he added, highlighting the complexities of his character’s personas.
Lady Gaga found a connection to Joker’s two identities when considering her own real-life identities, as both professional singer Lady Gaga as well as her birth name Stefani Germanotta.
“I think sometimes we all make versions of ourselves to help us understand who we are,” she said. “It’s a way for us to communicate. It’s a way to find another path to making our mark.”
The theme of identity is expanded by showing how the media can shape how people are perceived, which is displayed in the film when Joker’s court case is televised.
For Phillips, Joker’s trial is sensationalized the same way that the U.S. presidential debate is “sold as a UFC fight,” he said, and becomes what he termed “nonsense” projected by the media.
“If that becomes entertainment, then what is entertainment?” Phillips said. “Do you know what I mean? It’s like this corruption of entertainment.”
(Reporting by Rollo Ross and Danielle Broadway in Los Angeles; Editing by Mary Milliken and Matthew Lewis)
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