Regina Hall on Oscar Buzz, the ‘Sense of Grief’ Behind ‘One Battle After Another’ and Teasing Brenda’s Return in ‘Scary Movie 6’: ‘She’s No Better of a Friend to Cindy’
Regina Hall defies expectations.
She reinvents herself every few years, prompting audiences to reconsider their perceptions of her. From the slapstick absurdity of “Scary Movie” to the layered nuance of the indie gem “Support the Girls,” Regina Hall has navigated Hollywood’s narrow categorization with grace, range, and an unshakable instinct for truth. Now, with Paul Thomas Anderson’s “One Battle After Another,” Hall delivers what may be her most profound performance yet—a portrayal that carries the accumulated weight of loss, resilience, and hard-won wisdom.
As Deandra, a quiet member of the militia group French 75, Hall doesn’t speak much. However, what she conveys physically, emotionally, and through her sheer presence is nothing short of extraordinary. “There was a lot of talk with Paul [Thomas Anderson] about Deandra — who she is, what she felt, what she’d been through,” Hall tells the Variety Awards Circuit Podcast. “I think Deandra is kind of a lens into the stakes of what is happening, what transpired, what went wrong. There’s a weight that Deandra carries, and the only way you know — if you aren’t going to be talking about it — is you usually feel or see someone’s weight.”
Anderson, known for guiding actors into raw, unguarded territory, shoots much of the film in close-up, leaving no place to hide. Hall’s restraint becomes a force of gravity. “Paul shoots a lot of close-ups in this film,” she explains. “There is a lot to convey in those moments and in those seconds, without it necessarily having to be spoken—that kind of nonverbal use of expression that Deandra uses.”
The final shot, with Hall’s eyes glistening, and her face a terrain of conflicted emotion, has become the anchor of the film. It’s a reminder that certain actors embody their characters. And that some performances don’t fade when the credits roll.
Oscar buzz is building around Hall’s work, positioning her as a leading contender for best supporting actress, which would mark her first Academy Award nomination. It feels long overdue. From the pitch-perfect comedic chaos of “Girls Trip” to the quiet devastation of “Master,” Hall has consistently delivered, often in roles that demand an interiority rarely recognized by mainstream accolades. “It’d be great. It’d be hard,” she admits. “It’s an exciting thing. I remember the first time I got nominated for a Gotham and then a Spirit — I’ve lost all three times. It was fun to get nominated, and you really do feel like it’s an honor… until you lose. Then you’re like, damn, I actually did want to win.”
Hall’s journey to this moment has been shaped by personal grief, the kind that doesn’t fade but lingers beneath the surface, subtly and profoundly shading her work. She lost her mother in 2021. “Those things add layers to a grief that you carry, and to what loss is, and to what life is and the meaning of life,” she reflects. “You lose enough where you understand what there is to lose. I guess I walk with that sense of grief, so it probably shows. My eyes probably have changed.”
“One Battle After Another” represents an artistic breakthrough and a personal reckoning for Hall — in a role that allows her to channel years of experience into something indelible. In an industry that often confines its actors, especially women and especially Black women, Hall continues to carve a path defined by risk, depth and courage.
On this episode of the award-winning Variety Awards Circuit Podcast, Hall discusses her role in Anderson’s film, her return as Brenda in “Scary Movie 6”, and what’s next for one of Hollywood’s most underestimated talents.
Also on this episode, Chloe Zhao, the writer and director of the emotional drama “Hamnet.” Additionally, the Awards Circuit Roundtable discusses the main contenders for Netflix, the winners of regional festivals, and the dark horses in the Oscar race. Listen below!
Read excerpts from her interview below, which has been edited and condensed for clarity.
There was a lot of talk with Paul about Deandra, who she is, what she felt, what she’d been through. I think Deandra is kind of a lens into the stakes of what is happening, what transpired, and what went wrong. It was the idea that you really have to trust Deandra, her commitment to the French 75, and then that’s her commitment, ultimately, to Willa.
There’s a weight that I think Deandra carries. The only way you know — if you aren’t going to be talking about it — is you usually feel or see someone’s weight. Seeing how Paul shoots — he shoots a lot of close-ups in this film. Every film he does is so different, but in this film, there is a lot to convey in those moments and in those seconds, without it necessarily having to be spoken — that kind of nonverbal use of expression that Deandra uses.
Chase is great. That started from the moment she came in for the audition. She was the last person we read with that day, after seeing several other people who were really good. She came in steady, and she had this truly special quality about her — a quiet resilience, a strength she carried. Then she tested, and she was great.
There’s also this part of her that still maintains such innocence, which you need for Willa — to want to protect her, to think, “People are going through a lot to get this girl.” But at the same time, you have to show that she’s her mother’s child. As a person, Chase is a wonderful human being. The same way you want her to win as Willa, you want to see her shine.
It’s her first film. And the fact that she was able to, despite whatever nervousness or fear she may have had, steady herself and deliver such an incredible performance — it was remarkable. What I love most about her is that she’s funny, smart, and caring. The things she’s interested in are just sweet. There’s a goodness to her, and I think that resonates.
Initially, you’re just saying yes to work. I think “The Best Man” was one kind of role, and so was “Love & Basketball.” With “Scary Movie” — because no one really knew me at that point — it became so big that people were like, “Oh, she’s a comedian.”
But I didn’t want to be known just as a comedian. I wasn’t a comedian at all—I’d never studied comedy or done stand-up. Many people thought I had. After “Scary Movie,” I returned to auditioning for the types of roles I typically pursued. You’re still auditioning, still trying to work. But I made a conscious decision. I thought, “I want to be able to do something else.”
It wasn’t completely random. When you start saying no to certain things, you do get offered the same kinds of roles again and again. You have to say, “No, I want to hold out for something else,” so you don’t get stuck. But at the same time, you also think, “I need to work.” You’re living in both realities—trying to pay the bills while still hoping to make thoughtful choices.
Definitely, after “Scary Movie,” people saw me as someone who only does broad comedy. But then, when I didn’t do broad comedy for a while, I remember people asking my agents, “Well, does she even do comedy?”
I think a lot of people haven’t seen the breadth of the work. It’s just about what they’ve seen. That happened again after “Girls Trip.” It was strange — suddenly they were asking if I could do comedy, because I was playing the straight role. Which is funny, because I was the straight one in “Think Like a Man,” but definitely not in “About Last Night.” It all comes down to visibility. If the work isn’t part of the mainstream conversation, people don’t know it exists.
Absolutely for sure. I lost my mom during “Master.” Those things add layers to the grief you carry, to what loss is, to what life is, and to the meaning of life.
There’s a matter-of-factness to nature and life. No one is exempt from loss, pain, heartbreak, or struggle. It may come in different ways or amounts, and maybe there are layers added depending on how things unfold and what closure you get — but it doesn’t take away from what it is.
In life, you learn more and lose more. You gain, and you lose. There’s a constant learning—of yourself and of others. You lose enough, and you begin to understand what there is to lose. You start to realize the fragility of everything. I walk with that sense of grief, so it probably shows. My eyes have probably changed.
I read the script — and it was really funny. I knew what they were intending to do. I always think a work of art is in flux until it’s done and in someone’s hands — you just never know. But the original cast coming back was exciting. Having the Wayans involved again, and Anna Faris too — Brenda can’t live without Cindy. And she’s no better a friend to Cindy this time than she was before, even though they’re still best friends.
I think the nostalgia and timing just made it feel right. It was a good time to do something so broad and fun. I read the script and thought, “This is funny.” And I think something is refreshing about doing something a little bit irreverent right now.
It’d be great. It’d be hard [laughs]. My assistant is probably going to hear about it the most. It’s an exciting thing. I remember being incredibly excited the first time I was nominated for a Gotham Award and then a Spirit Award. I’ve lost all three times. It was a lot of fun to be nominated, and you really do feel like it’s an honor — until you lose. Then you’re like, “Damn, I actually did want to win.” That competitive nature kicks in.
When “Scary Movie” first came out, it got panned by critics — even though people loved it. At the time, comedies like that weren’t taken seriously. With “Support the Girls,” it was different. Critics really loved the work, and that was actually wonderful. People always say, “I don’t care what critics think,” but when they say nice things? It feels good.
“Scary Movie 6,” which we’re still shooting — I’m going back to work tomorrow. We started on October 1. And then “Judgment Day,” which I did with Will Ferrell. That was great. And then SpongeBob — it was my first animated film. And then “Three Bags Full,” a sheep detective story.
And of course, RH Negative, my production company — we’re really excited about that. We have several projects that we’re working on and plan to complete. We’re looking forward to developing and producing more. Next year, we want something out there — or at least green-lit. A lot is coming down the pipeline.
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, “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.
She reinvents herself every few years, prompting audiences to reconsider their perceptions of her. From the slapstick absurdity of “Scary Movie” to the layered nuance of the indie gem “Support the Girls,” Regina Hall has navigated Hollywood’s narrow categorization with grace, range, and an unshakable instinct for truth. Now, with Paul Thomas Anderson’s “One Battle After Another,” Hall delivers what may be her most profound performance yet—a portrayal that carries the accumulated weight of loss, resilience, and hard-won wisdom.
As Deandra, a quiet member of the militia group French 75, Hall doesn’t speak much. However, what she conveys physically, emotionally, and through her sheer presence is nothing short of extraordinary. “There was a lot of talk with Paul [Thomas Anderson] about Deandra — who she is, what she felt, what she’d been through,” Hall tells the Variety Awards Circuit Podcast. “I think Deandra is kind of a lens into the stakes of what is happening, what transpired, what went wrong. There’s a weight that Deandra carries, and the only way you know — if you aren’t going to be talking about it — is you usually feel or see someone’s weight.”
Anderson, known for guiding actors into raw, unguarded territory, shoots much of the film in close-up, leaving no place to hide. Hall’s restraint becomes a force of gravity. “Paul shoots a lot of close-ups in this film,” she explains. “There is a lot to convey in those moments and in those seconds, without it necessarily having to be spoken—that kind of nonverbal use of expression that Deandra uses.”
The final shot, with Hall’s eyes glistening, and her face a terrain of conflicted emotion, has become the anchor of the film. It’s a reminder that certain actors embody their characters. And that some performances don’t fade when the credits roll.
Oscar buzz is building around Hall’s work, positioning her as a leading contender for best supporting actress, which would mark her first Academy Award nomination. It feels long overdue. From the pitch-perfect comedic chaos of “Girls Trip” to the quiet devastation of “Master,” Hall has consistently delivered, often in roles that demand an interiority rarely recognized by mainstream accolades. “It’d be great. It’d be hard,” she admits. “It’s an exciting thing. I remember the first time I got nominated for a Gotham and then a Spirit — I’ve lost all three times. It was fun to get nominated, and you really do feel like it’s an honor… until you lose. Then you’re like, damn, I actually did want to win.”
Hall’s journey to this moment has been shaped by personal grief, the kind that doesn’t fade but lingers beneath the surface, subtly and profoundly shading her work. She lost her mother in 2021. “Those things add layers to a grief that you carry, and to what loss is, and to what life is and the meaning of life,” she reflects. “You lose enough where you understand what there is to lose. I guess I walk with that sense of grief, so it probably shows. My eyes probably have changed.”
“One Battle After Another” represents an artistic breakthrough and a personal reckoning for Hall — in a role that allows her to channel years of experience into something indelible. In an industry that often confines its actors, especially women and especially Black women, Hall continues to carve a path defined by risk, depth and courage.
On this episode of the award-winning Variety Awards Circuit Podcast, Hall discusses her role in Anderson’s film, her return as Brenda in “Scary Movie 6”, and what’s next for one of Hollywood’s most underestimated talents.
Also on this episode, Chloe Zhao, the writer and director of the emotional drama “Hamnet.” Additionally, the Awards Circuit Roundtable discusses the main contenders for Netflix, the winners of regional festivals, and the dark horses in the Oscar race. Listen below!
Read excerpts from her interview below, which has been edited and condensed for clarity.
There was a lot of talk with Paul about Deandra, who she is, what she felt, what she’d been through. I think Deandra is kind of a lens into the stakes of what is happening, what transpired, and what went wrong. It was the idea that you really have to trust Deandra, her commitment to the French 75, and then that’s her commitment, ultimately, to Willa.
There’s a weight that I think Deandra carries. The only way you know — if you aren’t going to be talking about it — is you usually feel or see someone’s weight. Seeing how Paul shoots — he shoots a lot of close-ups in this film. Every film he does is so different, but in this film, there is a lot to convey in those moments and in those seconds, without it necessarily having to be spoken — that kind of nonverbal use of expression that Deandra uses.
Chase is great. That started from the moment she came in for the audition. She was the last person we read with that day, after seeing several other people who were really good. She came in steady, and she had this truly special quality about her — a quiet resilience, a strength she carried. Then she tested, and she was great.
There’s also this part of her that still maintains such innocence, which you need for Willa — to want to protect her, to think, “People are going through a lot to get this girl.” But at the same time, you have to show that she’s her mother’s child. As a person, Chase is a wonderful human being. The same way you want her to win as Willa, you want to see her shine.
It’s her first film. And the fact that she was able to, despite whatever nervousness or fear she may have had, steady herself and deliver such an incredible performance — it was remarkable. What I love most about her is that she’s funny, smart, and caring. The things she’s interested in are just sweet. There’s a goodness to her, and I think that resonates.
Initially, you’re just saying yes to work. I think “The Best Man” was one kind of role, and so was “Love & Basketball.” With “Scary Movie” — because no one really knew me at that point — it became so big that people were like, “Oh, she’s a comedian.”
But I didn’t want to be known just as a comedian. I wasn’t a comedian at all—I’d never studied comedy or done stand-up. Many people thought I had. After “Scary Movie,” I returned to auditioning for the types of roles I typically pursued. You’re still auditioning, still trying to work. But I made a conscious decision. I thought, “I want to be able to do something else.”
It wasn’t completely random. When you start saying no to certain things, you do get offered the same kinds of roles again and again. You have to say, “No, I want to hold out for something else,” so you don’t get stuck. But at the same time, you also think, “I need to work.” You’re living in both realities—trying to pay the bills while still hoping to make thoughtful choices.
Definitely, after “Scary Movie,” people saw me as someone who only does broad comedy. But then, when I didn’t do broad comedy for a while, I remember people asking my agents, “Well, does she even do comedy?”
I think a lot of people haven’t seen the breadth of the work. It’s just about what they’ve seen. That happened again after “Girls Trip.” It was strange — suddenly they were asking if I could do comedy, because I was playing the straight role. Which is funny, because I was the straight one in “Think Like a Man,” but definitely not in “About Last Night.” It all comes down to visibility. If the work isn’t part of the mainstream conversation, people don’t know it exists.
Absolutely for sure. I lost my mom during “Master.” Those things add layers to the grief you carry, to what loss is, to what life is, and to the meaning of life.
There’s a matter-of-factness to nature and life. No one is exempt from loss, pain, heartbreak, or struggle. It may come in different ways or amounts, and maybe there are layers added depending on how things unfold and what closure you get — but it doesn’t take away from what it is.
In life, you learn more and lose more. You gain, and you lose. There’s a constant learning—of yourself and of others. You lose enough, and you begin to understand what there is to lose. You start to realize the fragility of everything. I walk with that sense of grief, so it probably shows. My eyes have probably changed.
I read the script — and it was really funny. I knew what they were intending to do. I always think a work of art is in flux until it’s done and in someone’s hands — you just never know. But the original cast coming back was exciting. Having the Wayans involved again, and Anna Faris too — Brenda can’t live without Cindy. And she’s no better a friend to Cindy this time than she was before, even though they’re still best friends.
I think the nostalgia and timing just made it feel right. It was a good time to do something so broad and fun. I read the script and thought, “This is funny.” And I think something is refreshing about doing something a little bit irreverent right now.
It’d be great. It’d be hard [laughs]. My assistant is probably going to hear about it the most. It’s an exciting thing. I remember being incredibly excited the first time I was nominated for a Gotham Award and then a Spirit Award. I’ve lost all three times. It was a lot of fun to be nominated, and you really do feel like it’s an honor — until you lose. Then you’re like, “Damn, I actually did want to win.” That competitive nature kicks in.
When “Scary Movie” first came out, it got panned by critics — even though people loved it. At the time, comedies like that weren’t taken seriously. With “Support the Girls,” it was different. Critics really loved the work, and that was actually wonderful. People always say, “I don’t care what critics think,” but when they say nice things? It feels good.
“Scary Movie 6,” which we’re still shooting — I’m going back to work tomorrow. We started on October 1. And then “Judgment Day,” which I did with Will Ferrell. That was great. And then SpongeBob — it was my first animated film. And then “Three Bags Full,” a sheep detective story.
And of course, RH Negative, my production company — we’re really excited about that. We have several projects that we’re working on and plan to complete. We’re looking forward to developing and producing more. Next year, we want something out there — or at least green-lit. A lot is coming down the pipeline.
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, “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.