Colman Domingo plays a soothsayer orchestrating the revelation of decades’ worth of evidence that aliens have visited earth in peace. Josh O’Connor and Emily Blunt are his overwhelmed disciples, imbued with discomfiting powers that could be key to making contact with these otherworldly guests. A mysterious company in cahoots with the government, both of which stand to benefit from suppressing the information, gives chase to the would-be whistle-blowers. The trio of actors spoke with TIME about how Spielberg persuaded them to believe in alien life, their encounter with fellow believer former President Barack Obama, and how the movie will continue to shift the cultural conversation around extraterrestrials.
Josh O'Connor in Disclosure Day —Niko Tavernise—Universal Pictures and Amblin EntertainmentDomingo: We would do anything, anything.
Did he discuss his preoccupation with alien life with you before or during filming?
Blunt: It’s evident in his movies, even some of his earliest work that he would shoot as a 17-year-old boy, that he has always had a fascination with what’s beyond the stars. Some directors have explored going there themselves. He has been interested in how visitations would affect us, and I think that is very true to Steven’s humanistic tendencies: How would we be shifted as a civilization?
O’Connor: We’re living in an incredibly hostile, fractured world politically. In those times, what we need is humility, and there’s nothing better to see how small we are in the grand scheme of things than to have visitors come—visitors who have never caused any harm or violence or hatred.
Colman Domingo in Disclosure Day —Niko Tavernise—Universal Pictures and Amblin Entertainment
Did Spielberg change your mind on whether aliens exist?
Domingo: I leaned in. There’s one gentleman named John E. Mack who was a clinical psychiatrist and Harvard professor, and really kind of an inspiration for [my character] Hugo. He practiced as a psychiatrist and found that the people he studied really had full experiences and emotionally connected to it, and he believed they were telling the truth. Someone who was a bit more of a scientist, he was shunned. But he believed.
In the past year, Barack Obama said he believes in extraterrestrials. Meanwhile, the Pentagon released papers related to UFOs. Why do you think the conversation around aliens is shifting?
Blunt: It’s great that it’s converging with this film. It’s hit a critical mass of people who really want to know that truth. For those who are concealing it, they want to know why? A few crumbs of extraterrestrial life have been released, but I think there’s a bakery.
O’Connor: We were not scheduled to work that day. But we needed to go in.
O’Connor: I bowed. I promised myself I wouldn’t, but it just happened.
O’Connor: And what did he say to me?
O’Connor: I felt very seen for the first time.
Emily Blunt and Josh O'Connor in Disclosure Day —Universal Pictures and Amblin EntertainmentFamously, Spielberg movies feature what’s come to be known as “the Spielberg face.” Are you familiar?
Blunt: Remember that amazing bit in Jurassic Park where Laura Dern is looking through stuff, and the hand comes down and turns her head, and she looks up [at the dinosaurs]?
Domingo: To say, “Come on, give me Spielberg face”?
Colman, you worked with Spielberg on Lincoln, which was released in 2012. How has he changed as a director since then?
Domingo: Listen, I think I worked with him for four days on that movie. And he was very warm, but maybe because of what that film needed he was probably in video village more for the big shots. Here, he had his handheld, and he was close to the action most of the time, right there with us. He also had a joy every single day. He would come in excited, so you got excited.
O’Connor: Because he also still sees as a child sees. He’s still so in touch with his childhood wonder.
He’s also known for his blocking. Emily and Josh, you have a scene where you need to jump from a car that’s being pushed into a moving train.
O’Connor: Like Emily said, he has this parental side. He really wants to make sure you’re safe, and that can be in a stunt situation. But it’s also true of emotional scenes. There’s a vulnerability you have to take on, and Steven understands that. In the same way he works with kids, he’s all about creating an environment that feels safe, that has wonder if it needs wonder, has quiet if it needs quiet. If there’s an intensity, he’ll cry.
O’Connor: The famous thing is when he calls “Cut!” and says, “That’s in the movie.” But then the other thing I found incredibly moving to witness is that he would call “Cut!” and there would be silence because he’s crying. He’s gathering himself. It’s so moving.
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