Denis Villeneuve on ‘Dune 3,’ Amy Adams’ Oscar Snub for ‘Arrival,’ and the Secret Rom-Com He WroteSummary
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Denis Villeneuve, director of “Dune: Part Two,” discusses the film’s success, the prospect of a third installment, and his experience with Oscar snubs. Despite the critical acclaim of “Dune: Part Two,” Hans Zimmer’s score may not qualify for Oscar consideration due to eligibility rules. Villeneuve also reveals his early passion for filmmaking, including a dark sci-fi rom-com he wrote but has yet to produce.
For “Dune: Part Two” director Denis Villeneuve,
filmmaking is more than just a career—it’s a calling.
Villeneuve approaches each project with an almost spiritual reverence, especially Frank Herbert’s “Dune” series, a saga he describes as “a world with endless depth and complexity.” For fans eagerly awaiting a third installment, he carefully manages expectations around the prospect of “Dune: Messiah.” The director remains tight-lipped, saying, “I never like to talk about projects that are unborn,” and emphasizing his need to let stories “mature in private” before unveiling them to the world.
On this episode of the Variety Awards Circuit Podcast, the acclaimed Canadian director, producer, and writer talks about the success of his film “Dune: Part Two,” what to expect from the next installment, and the script sitting in his drawer. Listen below.
Villeneuve has been behind visionary projects like “Arrival” (2016), “Blade Runner 2049” (2017), and “Dune” (2022), which have earned him a reputation for creating some of the finest cinematic experiences with intellectual rigor and jaw-dropping spectacle. With “Dune: Part Two” proving to be both a critical and commercial success, the Canadian auteur cements his place among the most ambitious filmmakers of his generation.
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Bringing Herbert’s sprawling desert landscapes, political intrigue, and complex characters to life was a Herculean task—one that Villeneuve tackled head-on in 2022 with “Dune,” which won six Academy Awards in technical categories. But Villeneuve insists he always envisioned the story as a single, cohesive narrative, split into two films for cinematic clarity. “'Dune: Part Two' is not a sequel; it’s a continuation,” he says. “‘Part One’ was like a massive rehearsal to get ready for the real beast, ‘Part Two.’ This second film is more ambitious, more muscular.”
At the heart of Villeneuve’s vision are his young stars, Timothée Chalamet and Zendaya, who play Paul Atreides and Chani. Since the release of “Dune,” both actors have grown as two of Hollywood’s most sought-after names. Villeneuve reflects on his decision to cast Chalamet, who he says embodied Paul’s unique blend of innocence and intensity. “When we did casting for ‘Part One,’ Timothée was a growing star,” Villeneuve recalls. “He was still ascending. I feel incredibly lucky that he, Zendaya, and even Austin Butler and Florence Pugh, who joined us for ‘Part Two,’ have become such huge, talented stars.”
Yet despite “Dune: Part Two” receiving widespread acclaim, Hans Zimmer’s haunting score may face an unexpected hurdle at the Oscars. Due to the Academy’s eligibility rules, Zimmer’s compositions may not qualify for consideration. Villeneuve, clearly baffled by this technicality, argues that Zimmer’s work deserves recognition. “‘Part Two’ is not a sequel,” he reiterates, “Hans created an entirely new score for it. I would love it to be, at least, considered. It’s one of the most beautiful scores he’s ever written.”
Despite his insistence that awards are not his primary motivation, Villeneuve has felt the sting of Oscar snubs. His 2016 sci-fi drama “Arrival” received multiple nominations, including a best director nod for Villeneuve. However, star Amy Adams—whose career-best and stunning turn as a linguist was widely praised—was surprisingly left out of the best actress race. Villeneuve remembers the shocking snub. “That was a big disappointment,” he admits. “Amy had the whole weight of the movie on her shoulders. It’s not easy to act in a film like that, against a green screen or a tennis ball. She made it look effortless, and it’s a shame the Academy didn’t recognize that.”
Then, in 2022, “Dune” received 10 Oscar nominations, but Villeneuve was notably absent from the director category. Though his voice hints at frustration, he quickly adds that awards are not his main driving force. For him, recognition from his peers is less about personal accolades and more about a sense of belonging. “As a filmmaker, you’re a lonely wolf. When your work is appreciated by the community, it feels like you’re part of a family. That’s what truly matters to me.”
Even as he navigates the grueling demands of epic filmmaking, Villeneuve insists that he will continue working as long as “the flame of cinema” remains inside him. Each new project is a choice, a recommitment to the medium he has adored since childhood. But he’s candid about the toll it takes. “Making movies means being away from your family for months,” he says, his voice tinged with melancholy. “Every time I finish a film, I sit down and ask myself if the flame is still there because I’ll never make a film without that fire inside me.”
That fire first sparked in small-town Canada, where a teenage Villeneuve would spend late nights storyboarding and writing screenplays with a friend. He recalls a pivotal moment at age 14, watching a behind-the-scenes special on Steven Spielberg’s “Raiders of the Lost Ark.” “It was so powerful, so romantic. From that moment on, I was captivated,” he recalls.
Looking ahead, Villeneuve’s ambition remains boundless. While he is committed to completing his “Dune” trilogy with “Messiah,” which is set to begin shooting in 2025, he’s also open to exploring other genres—even, surprisingly, comedy. When asked if he would ever consider a lighter project, he chuckles. “Funny enough, my first feature was a kind of dark sci-fi rom-com about the end of the world. I was laughing out loud while writing it, but everyone who read it found it depressing. Maybe I’m not the right person for comedy. Maybe Yorgos Lanthimos can make it,” he jokes. For now, the screenplay remains tucked away, awaiting the right moment—or perhaps the right director—to bring it to life.
Also on this episode of the podcast, “The Piano Lesson” star Danielle Deadwyler discusses working with the Washington Family and bringing August Wilson’s acclaimed play to life.
Variety’s “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 of “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.
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