It's a very upsetting ending.
Miller: It's only film two, baby. I'm sure it's going to get worse before it gets better.
What did you think about the reveal of Nagini, her backstory and relationship with Credence?
Miller: Look, as a Potter fan I'm in love with this flip mode, this inversion of perspective that's happening with this character, particularly in a story that's about right beasts and trying to understand beasts for who they are before we just know their name. Like, "Oh, there's a Wampus Cat." Sure, anyone can identify a Wampus Cat. You look at me you go, "Oh, that's that insane mentally ill queer actor." To reduce someone -- or any being -- to reduce it to a label is the great danger.
The flip mode is the greatest, and to invert the understanding of this being we only ever knew as a snake and a snake who was a Horcrux, a snake who was a servant of the Dark Lord. But to understand Nagini as this fierce, beautiful, sensitive, and compassionate, complicated, dimensional creature, for me as a Harry Potter fan this is amazing and is blowing my mind in every way. For me as an actor, working with Claudia Kim was one of the greatest honors, privileges, delights, and joys that I've known so far. So my feels are positive all around.
In terms of the controversy, you know, representation and proper representation of cultural experiences is incredibly important and it is something that has been completely missing from mainstream cinema for all of mainstream cinema's history. So as we are now endeavoring to completely uproot some of those structures and create a type of empathy machine, a type of shamanic project tool for the reflection of our own experience through cinema, it's vital that these conversations take place across the board no matter what they are or what they refer to or how deep the intricacies get.
Everyone is in the right to be angry, upset, confused about anything like this at any point. I think it's really good if we can not shy away from these things as controversies that we're supposed to avoid because it would be better if we can all just get along about everything. But if we can actually endeavor to discuss some of these things in a fair and receptive manner, in which people are listening to each other in a genuine and sincere way, this is going to help an acceleration that will take us into the true first golden age of cinema, which will be the rainbow age. It will be the equivalent of Dorothy stepping from black and white into color through the tornado, and this is the tornado, revolutionary struggle is about that tornado. We are about to get it on harder than ever before in global history, and that's coming and everyone can feel it, and some people are scared. Because the history of film hasn't just been black and white -- it's just been fucking white.
That's completely unacceptable, and misrepresentation through the tool of cinema has been a tool of genocide. The Nazis used it, everyone has got it on with cinema as a means of propaganda. That's what it's been. So let's do it, let's talk about everything, and let's make space for everyone to try stuff out, have it go terribly wrong, have it go right, have it go half-right, half-wrong. And let's keep talking, let's engage collectively in this conversation not as enemies, but as people who are here together in this world now. It is incumbent upon us to figure this shit out.