Anthony Carrigan’s Journey: From ‘Death of a Unicorn’ to James Gunn’s ‘Superman’

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As Anthony Carrigan’s Emmy-nominated stint on “Barry” ended in 2023, he had already made it clear to his representatives that he aimed to continue pursuing both individual and high-profile projects.

Born in Massachusetts, Carrigan promptly transformed her ambitions into tangible achievements, starting with “Death of a Unicorn” produced by A24, followed by “Superman” directed by James Gunn. Notably, “Death of a Unicorn” serves as the feature directorial debut for writer-director Alex Scharfman and is one more instance where the influential indie studio has successfully drawn high-caliber talent with its intriguing, unorthodox projects. This comedic creature feature boasts another impressive ensemble cast, with Carrigan joining acting greats such as Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, and Richard E. Grant.

As a devoted fan, I find myself immersed in a captivating tale where I am Carrigan, the loyal butler to the Leopolds – a family reminiscent of the Sacklers in the pharmaceutical world. The Leopolds invite Elliot Kintner, their attorney, and his daughter Ridley on a retreat at their secluded mountain lodge. In an unfortunate twist, the Kintners accidentally strike a mythical creature en route – none other than a unicorn. Seizing this serendipitous moment, the Leopolds aim to harness the unicorn’s horn for both medicinal and financial benefits.

Griff suppresses most of his anger towards his bosses, only to later explode, yet this situation afforded Carrigan an opportunity to delve more profoundly into physical and subtle humor.

As a gamer, I found myself in a spot where it wasn’t just about pressing buttons; it was about weaving a tale through my actions. To do that, I immersed myself in the silent storytelling masters like Buster Keaton and Charlie Chaplin to pick up their knack for conveying emotions without uttering a single word.

Regarding the role of Rex Mason/Metamorpho in July’s Superman, as depicted by Carrigan, this character has the ability to transform into various chemical substances at will, according to the comics. When questioned about whether Superman would harmoniously blend action, drama, and humor like Gunn’s Guardians of the Galaxy trilogy, Carrigan provides a unique perspective on the movie’s overall tone.

Carrigan is reluctant to compare it to Guardians, but he believes that [Superman] shares the same compassion and intellect. That’s a characteristic of James. However, he thinks this project will be unique in its own right. ‘The experience of creating it was extraordinary,’ Carrigan says, ‘and the entire cast was committed to making it something exceptional. I hope that feeling is reflected on screen.’

In a recent chat with THR, Carrigan reflects upon the finale of Barry and the change in tone for his cherished character, the Chechen mobster NoHo Hank from Barry.

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Last night, I caught a part of the series ‘Barry’, and I heard NoHo Hank utter an interesting line: “It seems Cristobal and I are in a unique, one-of-a-kind situation.” This phrase struck me as a relevant connection to our current circumstances.

(Laughs heartily.) Man, that joke still cracks me up! I completely forgot about that line. I might just have to rewatch it again, just for that moment alone. You know, I truly do miss that show. It was such an incredible journey, and it paved the way for so many other things, including Death of a Unicorn. What a fantastic experience!

In this case, did the A24 label and a title like Death of a Unicorn do a lot of the convincing?

Indeed, stories about unicorns truly spark my curiosity, and I’d jump at the chance for any “unicorn scenario.” Frankly, it was the script itself that caught my attention so strongly. It was not only engaging but also entertaining to read through. An excellent indicator of quality is when reading a script leads me to watch the movie as I go along, which happened in this case. Consequently, I was immediately captivated and eager to contribute to this project.

Is it possible that A24 is currently seen as the “in” group within the film industry, similar to having a popular table in school or any social setting?

Without a doubt, it’s incredibly impressive. It’s astounding how a production house can thrive significantly by showcasing independent films, particularly during such a tumultuous era in the industry. I truly hope for a resurgence of supporting and honoring independent cinema. Frankly, traditional methods are failing, and I believe that studios like A24 will continue to excel in this new landscape.

The pivotal moment for the unicorn occurs when Elliot (Paul Rudd) and Ridley Kintner (Jenna Ortega), while driving their rental car, collide with a unicorn on their journey to the Leopold family lodge. This incident brings back memories of when my high school basketball team’s bus accidentally struck a Clydesdale horse during a late-night trip following a road game.

Oh my god, that’s crazy. What an unfortunate circumstance. 

Of course, it was quite an experience. By any chance, have you ever found yourself in a nerve-wracking situation with either a wild or tamed creature?

What stands out to me now is being thrown from a horse. This incident happened at a friend’s wedding in South Dakota, where we all decided to go for a ride on horses. However, my horse seemed rather spirited that day, and as we were galloping, it suddenly didn’t want to carry me any longer. Consequently, it bucked me off while we were galloping, causing quite a fall. But after that, I developed a better understanding with my horse. In essence, the story teaches us to respect nature and understand that control is often beyond our grasp.

In your role as Griff or Alfred, the loyal butler to the Leopold family, there’s a recurring joke about your dejected expression whenever asked for something extravagant, whether it’s an omelette station or a large format printer. It seems you drew inspiration from the comedy style of silent films for this character.

Absolutely, you’ve captured it well. Throughout most of the movie, my role is largely in the background without much dialogue, yet it’s essential to the family’s absurdities. It was about finding that equilibrium: stepping in to resolve issues and then fading back into obscurity. It might seem straightforward, but portraying a character’s story through body language is crucial. Although it may not appear so, expressing the character’s emotions accurately is vital. I spent a significant amount of time studying the works of Buster Keaton and Charlie Chaplin to help me with this task.

When you’re sharing a scene with eight other actors and you’re not required to speak, about how frequently would you engage in some form of action or gesture to keep the viewer engaged if they happen to focus on you?

As a gamer immersed in the world of Death of a Unicorn, it’s crucial to tone down my character Griff slightly. What I love about this game is that your perspective shapes the experience. If I focus on Téa Leoni or Will Poulter, I get two distinct narratives each time I play – a testament to the depth and replayability of the game.

One scene I particularly enjoy in the movie occurs when Odell (Richard E. Grant) faces off against the unicorns, creating a tense and critical situation. Téa’s character, Belinda, witnesses this scene and expresses genuine hope and admiration towards her husband. Meanwhile, Griff, standing nearby, is filled with fear, anticipating a dire outcome. This contrast between hopefulness and fear adds depth to the movie as a whole.

There’s a great background moment where Griff is frantically lighting incense or whatever it is.

Yes! He’s smudging the room. There’s no shortage of appropriation in this film.

Does the footage contain numerous scenes where characters are calling for Griff, asking him for various requests?

Absolutely, those parts did turn into a series of comedic scenes, but remember, we should focus on what matters to the plot and moves the story along. There were plenty of funny moments that had to be eliminated because they didn’t contribute to the progression. In essence, when speaking like a butler, it’s about serving the movie and ensuring that the narrative flows smoothly.

Prior to the arrival of Ridley (Jenna Ortega) and Elliot Kintner (Paul Rudd), was Griff perhaps at his limit dealing with the Leopolds?

Indeed, the demand placed upon him is astonishingly high. He’s laboring for individuals who are notoriously cruel, and such an environment must take a toll on anyone, no matter their proficiency at work. Over time, you can observe, particularly in these unique circumstances [with the unicorn], a decline and a clear indication that he is nearing his breaking point. However, as events unfold, it becomes apparent that Griff is one of the few capable individuals amidst the chaos.

When families similar to the Leopolds watch films that have similar themes, do you suppose they ever pause and reflect deeply on themselves?

We can only wish that a family similar to the Sacklers might view this movie and contemplate, “Perhaps we’ve been misusing resources.” However, I doubt it will trigger self-reflection within them. Instead, it may serve as a form of release for viewers to witness affluent, greedy, despicable characters receiving their just desserts.

Unicorn signifies an exciting year ahead for you. By any chance, have you encountered any glimpses of Superman during the Additional Dialogue Recording (ADR) sessions or similar events?

I’ve only watched the previews so far, but I’m incredibly thrilled about it. Sometimes I find myself forgetting that I’m actually part of this film. Whenever someone mentions it to me, I’m always taken aback and exclaim, “Oh, right! Superman! Yes, I am indeed in that!” It never fails to amaze me each time.

What kind of tone would you say it Is? Is it comparable to Guardians of the Galaxy?

To be honest, I wouldn’t say it’s exactly like the Guardians series, but it carries the same emotional depth and intellectual substance – which are characteristic of James’ work. However, it’s going to carve its own unique path. This approach is what will best honor its potential. Working on this project was truly exceptional, and everyone involved was committed to creating something truly extraordinary. Here’s hoping that spirit shines through on screen.

Did it ever cross your mind, while portraying DC characters on TV shows like The Flash and Gotham, that you’d eventually become a key element in one of the most impactful DC films ever made?

I had no idea, but I have no idea what’s around the bend at any point …

“Hey there! Back to the big picture, I’ve gotta ask – even with all the odds stacked, did you ever imagine yourself being part of something this grandiose?”

Absolutely! In an industry where the future is uncertain and unexpected, it’s hard to predict what will come your way. However, I made it clear to my representatives that I aim for exceptional storytelling. I want to be associated with intelligent projects, produced by studios that are both artistic and enjoyable. At the same time, I also desire to be part of grand narratives that have a significant impact on people. Frankly speaking, nothing is larger in scale than Superman. So, I believe we’ve found the perfect balance with A24 and Superman.

Did you become friends with Alex Winter during the filming of ‘Adulthood’, or was that friendship established while working together on ‘Bill & Ted Face the Music’?

I’m in!” The moment I started delving into the script, I could sense the character’s voice, which made me eager to be a part of it again. And let me tell you, I’m overjoyed with my decision because working together on this project has been truly fantastic. It was an unforgettable experience that I cherish deeply.

Bill Hader asked if you had been worried about reshooting Hank’s final scene where Sally (Sarah Goldberg) wouldn’t be the one to place Hank’s hand on Cristobal’s statue hand, and you responded with a sigh of relief, “Thank goodness.” Was that concern weighing heavily on your mind until he mentioned it?

I believe it’s not something that constantly bothered me, but given the narrative progression of a series like “Barry”, it’s crucial to conclude things in a manner consistent with the entire storyline. It was such a pivotal scene, and there was some uncertainty among us as to whether it fit well. Therefore, having the opportunity to readdress that and make adjustments that feel appropriate is truly appreciated. Such chances aren’t always presented, and sometimes, what’s decided becomes set in stone, unchangeable forever.

In the last season, Hank underwent a significant change that became quite somber. The way he parted with Cristobal (played by Michael Irry) in the finale still resonates with me. Did you find the transition to this more serious tone satisfying after years of seeing him as a comedic element?

Indeed, it was a delightful surprise for me. It has a touch of Shakespearean flair, truly. The series titled Barry, initially starting as a comedy, incorporates some profoundly somber undertones, eventually evolving into a tragic tale. For many viewers, this transition was quite unexpected and startling. However, it left a lasting impression. The characters, despite making disastrous choices, were portrayed so authentically that the only fitting conclusion was to depict the repercussions of their actions and their inability to confront their own truths. I found the ending to be quite symbolic.

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Death of a Unicorn opens in movie theaters on March 28.

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2025-03-26 23:55