A New Pulse
Reda Elazouar on Omar, Prep and The Family Plan 2
interview + written ALBAN E. SMAJLI
Reda Elazouar speaks about The Family Plan 2 with the kind of clarity that comes from living deep inside a role. Omar began for him in a stretch of intense weeks marked by parkour sessions, stunt rehearsals, boxing drills and a steady routine that shaped his body and focus.
REDA ELAZOUAR wears full look AMIRI
The preparation built a discipline that stayed long after production wrapped; he still trains with the same consistency, still carries the structure that the job demanded. He joined a cast that already moved as a unit, and the film’s chronological shoot gave him a rare advantage, the story introduced Omar at the same pace Reda met his scene partners. The early days on set shaped the tone for everything that followed. Wahlberg’s guarded intensity, Monaghan’s warmth, the fast rhythm of the action scenes — all of it created a space where Omar’s openness grew naturally. He talks about those first scenes in London with a kind of ease, as if the city itself kept feeding the role through every corner they filmed in.
REDA ELAZOUAR wears full look by TODD SNYDER, belt by FRAME, boots by JIMMY CHOO, and a ring by MEJURI
Alban E. Smajli
When you think back to The Family Plan 2, what’s the scene that still lives in your body?
Reda Elazouar
I would have to say my introduction scene when I come out of the shower because the amount of discipline that it took to train literally changed the way I live my life to this day. In order to keep up with the amount of exercise that I was doing, after I wrapped I continued with the workouts and so I came away from the job a lot more disciplined than I was previously. The prep for that scene also involved eating much healthier than I was before so I stuck to that too, which definitely makes me live in my body differently.
How does it feel to step into a franchise where the chaos is already in full motion?
Amazing! I got to jump straight in the deep end and straight off some buildings. The first film did a great job at explaining who Dan was and the lie that his family had believed for so long but in this one, we get to the action pretty quick. Because of how familiar everyone was with each other already, it was super easy to slot in and be a part of that family dynamic.
Working with Mark Wahlberg, Michelle Monaghan and Kit Harington — what dynamics emerged between the four of you that shaped your performance?
Since we filmed it pretty much chronologically, I didn’t know any of the cast well when I filmed my first few scenes. So our characters were getting to know each other at the same time that we were which was a welcome ‘art imitating life’ moment. That dynamic worked best with Mark as Dan had to be distrusting of Omar but as the film goes on they get closer. Michelle is so maternal as well in real life and in character so that helped make everything feel real. Unfortunately, the only scene I was in with Kit is when he’s chasing after the family so we didn't get to interact much which probably worked for the character dynamic that we had to have. Overall, though, the way all the cast were so welcoming helped me have a great time on this one.
What did this film demand from you that earlier roles didn’t touch?
A lot of physical prep in a short time. I’ve never had to physically prepare for a role before but the moment I got the call up I went straight into parkour, stunts and boxing training. I had amazing teachers in Tom Cotton and Kyle Freemantle who taught me everything I needed to know in order to look like I was a parkour professional. In the times I wasn’t training with the, I had gym sessions with Simon Waterson and Tim Blakeley to get me prepped for my first scene as Omar when he steps out of the shower. Since I had only 5 weeks to get in shape, all my time outside of these sessions were either spent walking to get my steps in or resting for the next workout. Even though it was a big task, I felt very privileged to work with amazing professionals who made the experience so smooth and enjoyable.
After the production wrapped, what stayed with you the longest?
How thankful I was to be on a project of this size with actors that I had watched growing up. That feeling still hasn’t gone away and was there every day that I was filming. We filmed in such iconic locations around London and since I live here and walk around those locations often, I am constantly reminded of my experience.
Describe the moment you realized your character had a completely different rhythm from everyone else on screen.
It was actually in the first scene I shot which was in the Chinese restaurant. Omar first pumps the air and is happy when Dan says “you’re in” to which he replies “in what?”. That part made me realise how oblivious he was and how he doesn't really understand exactly what's going on. It’s one of my favourite moments in the film as the audience knows that type of craziness the Morgans get up to while Omar has no clue!
When you look at scripts now, what makes you pause — in a good way?
If I’m genuinely interested in the pathology of the character and start wondering why they’re doing what they’re doing then I know I’m reading a great script. Also, most of the time that I'm reading scripts is because I'm auditioning for the project and there's a certain feeling between nervousness and excitement that makes me feel like I'm reading a great script that I'd love to be unpack and work on.
Is there a role, a genre or a mood you’re currently orbiting that you haven’t played yet?
There's a few things that I can think of. I haven't yet had the opportunity of leading a film/show which I'd love to do whenever the time is right. I also would like to dive into theatre and back on the screen side, I would love to do a mockumentary. I've been writing one on-and-off for a while where I would play the three central characters and I think that could be a great challenge and also lots of fun.
What question do you ask yourself before stepping into a new character?
I’m always curious to find out what is intrinsically different about the character and I. At what point was there fork in the road where the character went one way and I went another. In that, I also learn the ways in which the character and I are similar and to what degree. So I guess to boil it down to a question it would be: “what would've had to happen in my life for me to become you?”.
Away from set life, what keeps your imagination awake?
I take acting classes in between working and mainly do improvisation with a company called Talking People. Every few months we do an improv show which helps keep me on my toes. It’s a place for me where I can flow and do some theatre in between screen roles. I also train in kickboxing which I’ve come to learn is a physical form of chess. It’s nice to be able to have a hobby in something that has completely different stakes from acting and keeps me fit and disciplined too. It also reminds me of a saying I heard once: “if you want to become a better actor, read a book on kayaking”. The things away from acting that keep my imagination alive will in turn help me become better at what I do.
Is there a piece of advice someone gave you that returns at unexpected moments?
‘Slow down’. When I first started training in theatre, I didn’t really pay attention to how fast I spoke and so when I’d rehearse I would just speed through the lines. That was most likely because I was so nervous that I wanted to finish as quick as possible but I remember my teacher Robbi telling me time and time again to slow down and make sure that I was heard. That was a tough task as when you have that adrenaline hit of being on stage, everything speeds by. But that piece of advice has helped me in all aspects of my life to just slow down and take the moment in.
If your younger self could watch you working today, what do you think he’d be most excited about?
I think the mere fact that I actually started working as an actor would be enough for my younger self to smile ear-to-ear. I was told from young how hard it was to get started in this industry, especially coming from a working-class background with no one around me that worked in the creative field. On top of that, being able to work with people in front and behind the camera that worked on projects that I grew up watching is something younger Reda would give me some cool points for.
credits
talent REDA ELAZOUAR
thanks to AMBER MOTTO / AMPR
seen DAVID REISS
styled HOLLY WHITE
grooming CHARLIE CULLEN