Sam Rockwell and John Malkovich find themselves in a rhythmic, albeit contrasting, dance during interviews for their latest project, Wild Horse Nine. While Rockwell offers enthusiastic praise for his co-star, Malkovich maintains his signature stoicism. Rockwell frequently interjects with a playful “Earmuffs!” whenever the conversation shifts to his admiration for Malkovich, noting that the veteran actor dislikes being the subject of such gushing tributes. Malkovich, meanwhile, remains composed, insisting he does not mind the attention, even as Rockwell insists otherwise. According to ‘E armuffs!”, Sam Rockwell, pausing his gushing tribute mid-flow and turning to face John Malkovich on the couch. According to he’s one of the world’s finest actors and annoyingly modest to boot. “Earmuffs!”, Rockwell and pivots back towards me. “He hates hearing all this. That’s why I keep saying ‘earmuffs’.”. So he takes Lee aside and asks for one last big favour.
In the film, directed by Martin McDonagh, the pair portray bickering CIA agents operating in 1973. Following their involvement in the Chilean coup, the characters find themselves idled on Rapa Nui, surrounded by moai statues and the crashing waves of the Pacific. The production team leaned into the film’s atmosphere, transforming their Venice hotel headquarters into a hub of themed merchandise and bustling activity. The production team commandeer suites at an opulent Venice hotel and hand out hats and T-shirts to each new arrival, ahead of the film’s premiere.
McDonagh, now 56, describes Wild Horse Nine as his first foray into “old-man” storytelling. Setting the thematic tone for the script, he began with the concepts of guilt and regret. The narrative arc takes viewers from Santiago to the South Pacific, weaving a tale of agents attempting to navigate their past actions. As the film premiered, it received a significant 13-minute ovation at the festival. Which is hardly helping his mood, they’ve seen too much and sinned too greatly and now Chris has cancer.
A central tension in the movie involves the Kennedy assassination, which McDonagh describes as a “God particle” for conspiracy theories, representing a broader erosion of public trust. While he remains familiar with the official account, he confesses he is “definitely a believer in the conspiracy.” When asked about rumors regarding Woody Harrelson’s father, McDonagh humorously mimes zipping his lips, declining to comment further.
Though the film was not written as a direct commentary on current politics, the production schedule overlapped with contemporary events, highlighting how political maneuvering has evolved from covert proxy operations to more brazen displays. Reflecting on modern leadership, McDonagh suggests that while recent history offers parallels, he does not view Donald Trump as the worst president the United States has endured.
Off-screen, the two actors offer distinct professional approaches. Rockwell, who earned an Oscar for his role in McDonagh’s Three Billboards Outside Ebbing, Missouri, notes that he and Malkovich rehearsed their scenes extensively during their six weeks on Rapa Nui. Malkovich notes that he values having a consistent partner, comparing their process to the work of actors like Clint Eastwood, who prefers an immediate approach on set. Malkovich, he says, is charismatic and dangerous, half masculine, half feminine; a unique combination and the perfect sparring partner.
The location shoot provided its own challenges and comforts. Malkovich, who missed his two granddaughters during the long production, found the island to be a serene environment. Rockwell, conversely, embraced the local culture, noting their evenings spent enjoying Chile wine and the Pisco sour, a cocktail featuring sugarcane spirit and egg white, which was identified by his partner, Leslie Bibb.
The film’s plot delves into the desire of the agent Chris to document his life, despite his superiors’ fears that he might expose the “Dallas parts” of his clandestine history. Malkovich, who directed a 1994 stage adaptation of Don DeLillo’s Libra, has long engaged with the themes surrounding the JFK assassination. He remains deeply skeptical of official government narratives, estimating that a significant portion of the public shares his doubt.
Discussing his personal philosophy, Malkovich reveals he has not voted since 1972, expressing a lack of faith in the overall democratic system. He characterizes his stance with the French phrase “Je ne pratique pas,” suggesting he has opted out of the political process. Rockwell, however, maintains a different outlook, admitting he still votes with “faint hope,” specifically jokingly referencing a wish for Obama to return.
Concluding the interview, the actors reflect on the nature of a final exit. Malkovich recalls touring with an opera based on Casanova’s memoirs, where he performed a staged heart attack every night to gauge audience reactions. Though he describes the act as “terrible,” he muses that it would not be a bad way to depart, noting that even his own medical friends have been fooled by his performances on stage.
