Interview Exclusive: Deep Dive with MJ Bassett The Sequel

Jeff Turner:
After Strike Back, you didn’t stop. You followed Phil over to Wesley Snipes and did The Player. What was it like filming with both Wesley and Phil? I’ve heard they told their stunt doubles to sit down and did most of the work themselves.

MJ Bassett:
Well, the stunt departments are integral to everything we do. There’s always a point where you say, “No, the actor can’t do this. It’s not safe. If they twist an ankle, production shuts down.” That’s why stunt teams are there: to gauge what’s safe and what isn’t.

Some actors say, “I want to do this fight.” And the stunt team goes, “No. You’re not capable of it. You’ll hurt yourself.”

But Philip and Wesley are unbelievably capable. Wesley is an extraordinary fighter. His moves are fantastic. He’s very serious, wanted to design his own fights, and has his own fight coordinator.

I brought in Will Yun Lee, a karate Olympian and also a great actor. He’d been in Strike Back with me. I had him fight Wesley because I needed an actor. And they went toe-to-toe. Wesley gives no quarter. At one point Will said, “This guy’s actually hitting me.” I asked if he wanted me to step in. He said, “No, it’s Wesley Snipes. I want to keep going.”

Philip, I knew what he liked and didn’t like. If I said, “Chase that plane down the runway and jump in,” he’d do it. He’s game for anything. That’s the relationship we had.

The Player was early Hollywood for me. The Americans thought we were crazy: “You’ll do anything.” And it’s true. There’s nothing I’ve been asked to do since that I hadn’t already done in Strike Back.

I watch a movie like Extraction and think, “Yep, did that. Maybe not with $200 million, but we did it.” Land a helicopter on a moving train and fight on the roof? We did it in Hungary over four days. That’s the fun.

Jeff Turner:
Before we move to Red Sonja—you’ve guest-directed Reacher, The Terminal List, and recently FUBAR. What’s it like just dropping in for one episode?

MJ Bassett:
It’s a different mindset. My ego doesn’t get bruised because I still make my own movies. On a show, you’re invited in for a skillset. They’ll say, “This episode has lots of action—MJ’s good at that.”

The script has already been approved. I’ll ask, “Is this what you want?” If they say yes, then I deliver it. Sometimes I’ll call the showrunner: “This doesn’t make sense—can I tweak it?” On Reacher, Nick Santora trusted me. “I need these story beats. Do the rest your way.”

That’s perfect for me—less responsibility than running a whole show, but I still leave my stamp.

Jeff Turner:
So let’s get to Red Sonja. Such a beloved fantasy icon. Back in the day, Brigitte Nielsen and Arnold Schwarzenegger starred in it. How did you approach bringing the character back for a modern audience?

MJ Bassett:
There was no grand approach—I just did what I wanted. Some say it’s modern, but it’s actually a throwback in many ways.

I don’t do camp. Even though I’m a trans woman, I don’t do camp at all. I do muscular, real, grounded things.

I knew Sonja from Robert E. Howard’s short story—different spelling, different character from the Marvel version. When Marvel imported her in 1973, she became a chainmail-bikini fantasy. That’s a 14-year-old boy’s vision of a warrior.

I wanted something else. I wanted her to be a fantasy for everyone, men and women. Not about gender politics. Matilda Lutz plays her with ferocity and beauty, but also compassion.

The film is also an environmental story—about not killing our planet. If people call that “woke,” fine. To me, wokeness equals kindness.

Jeff Turner:
What was your most memorable day on set?

MJ Bassett:
A few. Directing Robert Sheehan’s first day—he had to do his last scene first, which is tough. He was brilliant.

Burning down the forest—that was extraordinary. Being surrounded by fire while rain poured down.

And the Cyclops arena scene. Obviously digital in the end, but on set it was me running around with a 20-foot pole with a tennis ball as a head, shouting, “The Cyclops grabs you! Duck!” Exhausting but hilarious.

Jeff Turner:
Did you ever talk with Arnold Schwarzenegger about Red Sonja?

MJ Bassett:
Yes. Arnold and I are friends. We FaceTime sometimes. I tried to get him in for a cameo. It didn’t happen, but he’s seen the film and loved it. He called me—was incredibly kind.

Brigitte Nielsen also shot a cameo, but it didn’t make the final cut. Maybe in a director’s edition one day.

Jeff Turner:
Is there a genre you still want to explore?

MJ Bassett:
Noir. I love noir detective stories, especially supernatural noir. Something like Blade Runner, which takes noir and reinvents it.

I’ve touched fantasy, horror, sci-fi, action, comedy-horror. But noir still calls to me.

Jeff Turner:
Final fun question. How would you reboot The Expendables?

MJ Bassett:
I’d have killed Stallone at the end of the first film and passed the torch to Statham. That would’ve been bold.

Expendables 2 was fun—the cast was unbelievable. Arnold, Bruce, Sly, Statham, Mel Gibson, Harrison Ford—all lined up with guns. Incredible.

But by the fourth, it was done. The audience didn’t want it. Time for a new franchise.

Jeff Turner:
And finally, what do you want audiences to take away from Red Sonja?

MJ Bassett:
I want them entertained. I want them to feel something. That’s the job.

Jeff Turner:
MJ, it has been great talking with you. Honestly, don’t be a stranger.

MJ Bassett:
Thank you, Jeff. I’ve loved talking to you. Anytime.