Michael B. Jordan Returns to the U.S. with a New Challenge
After a year away from American soil, directing “The Thomas Crown Affair” in London, Michael B. Jordan is back—and he’s getting back into the swing of things. His latest project, Ryan Coogler’s “Sinners,” set in 1930s Jim Crow-era Mississippi, has given him a role that demanded everything from the actor and showcased depths we haven’t seen before.
In “Sinners,” Jordan plays twin brothers navigating a world where survival and ambition collide with supernatural forces. The role was not just a technical challenge—it was an opportunity to explore two fully developed men, not boys becoming men, but characters who knew exactly who they were. “These guys identify themselves as who they are. They’re not changing,” Jordan explains. “So I was really excited at getting that opportunity to be like, some feel really adult, feel very grown.”
The project came to him through Coogler’s personal connection to the material, rooted in the director’s relationship with his Uncle James and blues music. What struck Jordan immediately was how this felt like Coogler doing something purely for himself after years of franchise filmmaking. “I felt like he wanted to do something for him fully, and I felt that passion, and it made me excited about it,” Jordan recalls.
A Creative Swing
Playing twins wasn’t just a technical challenge—it was an opportunity to explore two fully developed men, not boys becoming men, but characters who knew exactly who they were. “These guys identify themselves as who they are. They’re not changing,” Jordan explains. “So I was really excited at getting that opportunity to be like, some feel really adult, feel very grown.”
The shoot in Louisiana proved to be Jordan’s most demanding work yet. Fresh off directing “Creed III,” he had to silence the producer and director voices in his head. Coogler made that directive clear from the start. “One of the main things that Ryan told me upon pitching it was like, Yo, bro, I don’t want you to think about nothing else but the performance,” Jordan shares. “Turn off the producer side, turn off the director side, turn off all that. I want you to give me everything on this.”
Jordan describes it as “the second hardest thing I’ve ever had to do in my life,” and says he had to find comfort in discomfort. The period setting, the Southern dialect, the fantastical elements, and above all, the duality of embodying two distinct brothers—all of it pushed Jordan to discover where his limits lie.
A Family Atmosphere
The cast surrounding him rose to the occasion as well. Miles Caton, making his film debut, learned guitar in just months for the role. “There’s no way you can sit there and tell me this is his first movie,” Jordan says with evident admiration. Delroy Lindo, Hailee Steinfeld and the ensemble created what Jordan describes as a family atmosphere—the kind of environment Coogler is known for fostering on set.
For Jordan, the promotional push for “Sinners” isn’t just about his own performance. “I want everybody who took the time away from their family to come down here to make a movie with us. I want them to get all the love and the respect and the props they deserve,” he says. But he’s particularly focused on ensuring Coogler gets his flowers. “I think it’s really important for him to get his flowers, man. It’s up to us to lift him, and he’ll lift us up the same way.”
A Significant Moment for Black Cinema
The film represents a significant moment for Black cinema and for the horror genre at the Academy Awards, where such work has historically been overlooked. As Jordan navigates the awards conversation, he’s candid about wanting the best for his collaborator. “I want the world for Ryan Coogler. I think he’s one of the realest humans I know, unapologetically who he is—a man of his word, an amazing husband, amazing father, amazing friend and collaborator.”
On this episode of the Awards Circuit Podcast, Jordan talks about working with his longtime collaborator, challenging himself with “Sinners,” and what his next ventures will be, including “Miami Vice” and “The Thomas Crown Affair.”
Also on this episode, “Sentimental Value” star Renate Reinsve discusses her creative partnership with Joachim Trier. Plus, the Awards Circuit Roundtable dives into Thanksgiving plans, previews the Gotham Awards and looks ahead to the early precursors that kick off Oscar season. Listen below!
Looking Ahead
You’ve been gone for a year working on “The Thomas Crown Affair.” What was it like coming back?
“I’ve been gone for a year—pre-production, development, and shooting ‘The Thomas Crown Affair.’ I got back 48 hours ago. It’s the second hardest thing I’ve ever had to do outside of ‘Sinners.’ Directing, producing, writing, acting. It was a lot.”
Living in London, I missed being ten toes down in North America. I didn’t really get to feel what people here have been going through. Since I got back, it’s been nonstop—interviews, mics, questions. Last night was the first time I got to relax with my niece and nephew. Uncle Mike could just show up, play Pokémon, talk colors, buy some Legos.
What struck you about “Sinners,” and what did Ryan Coogler want from you that was new?
Before I even read it, what struck me was Ryan’s personal connection—his Uncle James, blues music, and how that transformed into this story set in 1930s Jim Crow Mississippi. It felt like a new muscle for him. After 10 years of franchise work, this was something personal. That passion made me excited.
The script was a fast, emotional read—laugh, cry, get upset, inspired. The twin element—playing two characters—gave me the most anxiety, but also the most excitement. Ryan wanted me outside my comfort zone. These are the most grown characters I’ve played. No coming-of-age arc—just fully developed men.
Did you feel like you were showing different sides of yourself?
I can’t list my attributes like a checklist, but this gave me space to stretch—period piece, Southern accent, fantastical elements, playing brothers. I wanted to see where my limits lie. I like to stay uncomfortable enough to grow.
It was my first film after directing, and I could feel the gear shift—working with Ryan again, with new dynamics on set. One of the first things Ryan said was: “Yo, bro, I don’t want you to think about anything else but the performance. Turn off the producer side, turn off the director side.” That was the challenge—and I was like, OK, let’s go.
That’s what was needed to happen for me to give these characters a fair shot at being something that not just works, but could bring his vision completely to life, which was a swing, a creative swing as a film.
The cast is incredible. How did you find Miles Caton, and what was it like working with the ensemble?
Francine Maisler—our casting director—helped us discover hidden gems. Miles—ain’t no way you’d know this was his first movie. He’s toured with H.E.R., so he brought that professionalism, artistry and discipline. Learned guitar in a couple of months.
He has a voice that doesn’t match. Just incredible. Hailee, Delroy, Wunmi, Lily, Jamie, Jack—everyone showed up. We became a family. That’s what happens when Ryan makes films. We create that environment. We want to create a space for people to come in and be the best versions of themselves and do the best work they can. We want to create a space so that you can take those chances and those swings the right way.
What do you think about Ryan Coogler possibly making history with this film?
I want the world for Ryan Coogler. He’s one of the realest humans I know—amazing husband, father, collaborator. His specificity and empathy—it’s food for the soul. His stories inspire more voices, more humanity, more diversity.
He doesn’t love compliments and prefers to stay in the background. But I’ll make sure he gets his flowers. He lifts us up, so we lift him. That’s why I’m pushing hard—for him, the cast, and everyone who poured themselves into this film. It’s leaving our industry in a better place. The more movies that he makes, the more stories he tells, the more talent seems to be inspired by him to double down on the things that they care about and the stories that they want to tell. That ultimately makes things more diverse and feels more human.
What can you tell us about “The Thomas Crown Affair?”
I loved the 1999 version as a kid—Pierce Brosnan, the slickness, the art. I didn’t grow up going to museums, so that film showed me a different side of New York. My mom’s an artist—so I was raised around paints and leather dyeing. It shaped my taste more than I realized.
Later, I saw the 1968 Steve McQueen version—the split screens, the style. After “Creed,” MGM asked what I wanted to do next. I said, “‘Thomas Crown Affair.’ I need that.”
It didn’t have too much baggage. It was just enough time and a gap between generations that I felt like it was almost an original story without its IP, but it’s not James Bond with crazy expectations, where no matter what I do, people are going to criticize it.
I didn’t want a reboot. I wanted a reimagination. The first two films were about rich white guys stealing for fun. That doesn’t land today. Ours is more personal. The stakes are higher. Still got the fashion, romance. Ruth Negga is the queen. We’ve got an incredible cast—Aubrey Plaza, Kenneth Branagh, Paapa Essiedu.
And “Creed IV”—is that still coming?
Eventually, definitely. It’s a franchise that’s been really kind to me in a big way. I love MGM and Irwin Winkler and everything they’ve got going on. I think there’s a bit more story to be mined through that. Do I want to be in the ring boxing for the next 15 years? Not so much. But I think there are clever ways and interesting characters we’ve established that we might want to see where that goes, along with some introductions to new ones I have in mind. I still might be able to get a couple of really good swings at the franchise a bit more.
We’re spinning off doing Adonis’s daughter, Amara’s story, the television show that’s picked up at Amazon. So you’ll be seeing different parts of the Creed-verse, I like to call it. These little IPs are going to keep the universe alive without it being completely reliant on just me to push it through the finish line every time as a boxer. I’ll be adjacent.
Rapid Fire
What’s your favorite Denzel Washington performance?
“Malcolm X” is the one that he should have got everything for. It just blew my mind.
Favorite Angela Bassett performance?
I’m going to say “Waiting to Exhale.”
Who’s the person you haven’t worked with yet but are dying to work with?
Leonardo DiCaprio. Really want to work with Leo.
Who would you resurrect to work with from classic cinema?
Give me Sidney Poitier or Dorothy Dandridge.
The “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, “Awards Circuit” features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts.
