The Scene Drift

The opening of Beast does not just ease the viewer into the story; it grabs you by the collar and throws you directly into the arena. The sequence is visceral and immediate, a decision intended to anchor the audience in the high stakes of the world from the first frame. For star Daniel MacPherson, that intensity was the specific mission from day one. “If you can make an audience feel something like that in that first four minutes, then you know instantly and immediately the feeling that you’re trying to get back to,” MacPherson reflects.

That opening sequence, a complex one shot mantra scene, was captured on Russell Crowe’s last day on set. MacPherson recalls that while the first few takes were functional, it was not until the final attempt—after Crowe began pushing the intensity, that the chemistry truly ignited. “The fourth take is the one that every person’s hair on the crew was standing on end. Everybody had goosebumps, and we went, ‘I think we got a movie here'". This project marks MacPherson’s third collaboration with Crowe, but the dynamic shifted significantly from their previous work on Poker Face and Land of Bad. On this production, Crowe acted as both a co-writer and a supportive anchor for MacPherson’s leading performance, telling him: “This is your shot, and I’m going to come in and I’m going to support you and we’ll elevate anyway we can together”.

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Beyond the technicalities of the shoot, Crowe provided essential psychological guidance during a preparation trip to Thailand. Crowe warned him that the biggest pitfall for actors in tough roles is putting up walls that shut the audience out. “He was in my ear like: ‘This is what it takes to be a leading man. It’s all about heart, it’s all about openness, it’s all about letting the audience come in and come with you’”.

The physical commitment required for the role of Patton was grueling, spanning nearly three years of preparation. Once the film was green lit, MacPherson ramped up to a relentless schedule of three sessions a day. “I left no stone unturned,” he says. “High intensity interval training, fasted cardio, then big three or four hours a day of MMA fighting and choreography stuff”. This discipline was driven by a desire to authentically represent professional athletes. To get into the right headspace, he studied legends like Georges St-Pierre, citing St-Pierre’s book, The Way of the Fight, as a key resource for understanding a fighter's mindset.

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MacPherson is a genuine fan of the sport, citing Charles Oliveira and Alexander Volkanovski as favorites, though he admits some matchups are more daunting than others. When asked who he would most want to face-or rather, be defeated by-in the Octagon, MacPherson doesn't hesitate: “I’d quite happily let Demetrious Johnson kick my ass in the Octagon!”.

Even with the intense physical toll, the presence of longtime friend Luke Hemsworth on set provided a necessary sense of balance. Their history stretches back twenty five years to their start on Neighbours, and that deep personal bond helped navigate the heavy lifting of the arduous shoot.

 MacPherson notes that Luke plays a ruthless character in the film, one reminiscent of a young Jack Nicholson with no remorse. “Having Luke there as a supporter but also as an extraordinary actor... some days it’s nice just to hand off some of the heavy lifting to those guys,” MacPherson admits.

Daniel MacPherson, Tyler Atkins & Luke Hemsworth
at the Sydney Preview Screening of Beast

However, the off screen dynamic remained lighthearted between the two friends. When asked which Hemsworth brother he’d rather face in a fight, MacPherson chose Luke over the taller Chris or Liam. “He’s also one of my best mates, so if in doubt, we’d probably just end up laughing”. It is that blend of professional respect and deep personal connection that gives Beast its unique pulse. Arriving in theaters this April 10, the film stands as a testament to the belief that in both the ring and on screen, "you’ve just got to give it everything you’ve got".

Beast is now playing in theaters.