By Any Means brings audiences back to the Deep South during one of America's most turbulent chapters, following a fictionalized young Black FBI agent forced to work alongside a notorious mafia hitman to hunt down a wave of racially motivated killings. Directed by Elegance Bratton and based on true events, the film stars Yahya Abdul-Mateen II and Mark Wahlberg in roles that blend heavy historical truth with unexpected moments of levity. The film has also faced pushback from members of Vernon F. Dahmer Sr.’s family, who have called for a disclaimer clarifying that elements of his story were fictionalized. In this exclusive interview, Yahya Abdul-Mateen II, Mark Wahlberg and Elegance Bratton talk racism, justice, and their new film, By Any Means.

REVOLT’s very own Angie B sat down with the two stars, along with director Elegance Bratton, to talk about prosthetics, transformation, growth, and what it really means to fight for justice — then and now. From Wahlberg's transformation into real-life mob figure Greg Scarpa to Abdul-Mateen II's deep dive into his character Wayne Strider's psyche, and Bratton's own personal journey researching the true story behind the film, here's what they had to say.

Let's talk about prosthetics and becoming Greg Scarpa. What was that like?

Mark Wahlberg: Have you talked to Elegance yet? You'll have to take it up with him because it was his idea. I would not be one to say, "I want to put on a bunch of prosthetics." He really felt like Greg was infamous enough that people know what the real Greg Scarpa looks like, and so the more I could look like him, the more I think it would help audiences believe that I was that guy... As long as it didn't hinder the way I moved and talked... It wasn't like I loved it because I don't like sitting in the chair... but he wanted to try it and I thought we'll go for it.

It was said that Greg's real son was actually on set. What was that process like having him there?

Wahlberg: It could be... when you bring somebody in who's never been involved in a movie, and they understand that maybe we weren't there, we don't know exactly how things happened, and we're taking certain liberties. But he was super positive about the entire experience, and he was very helpful in anything that I wanted to know — especially just reminding me that Greg was still a father and a husband, despite the fact that he lived in this world... where it was all about violence and murder. He was still a doting father and a husband and how do you humanize him and make him a little more relatable to audiences. Having him there was definitely a plus. Super helpful.

I feel like every single time you do a character, you don't just play them — you become them. What did it fully take to become Wayne, and what part of him do you carry with you right now?

Yahya Abdul-Mateen II: I talk a lot about just his name. When I was trying to figure out whether I had a take on the character before I said yes to the film, I walked around and sort of felt what it would be like if my name were Wayne Strider. I remember walking around, I had my little strutting, getting my shoulders going, things like that... I learned a lot about his confidence. I learned a lot about his arrogance — whether that was shown or not. I knew that he really believed he was a substantial person. A lot of pride, a lot of dignity. And opposition is always good — building up a character to have some sort of idea about himself and about the world, and to know that if it's a good script, it's going to try to take that away from him. This story definitely did that... That's what I leaned into.

In terms of what I learned about myself... I'm not sure... I'll continue to think about that as the movie plays and as I have more conversations. It was nice to portray a family man — a leading man. I don't think I've done that in film. The closest I've done was maybe in "Watchmen," where I played a husband, but that was a different type of setup. I really enjoyed playing a family man on film. I got a lot out of that.

You want to do it again? In real life? Are you looking for a wife?

Abdul-Mateen II: Oh yeah, in real life... I am looking for a wife. Yeah, actually am...

Wahlberg: As I've always said, the most important thing is choosing the right partner — to become one and have that support system... My wife and I finally found a place where we really work together. We've identified each other's roles. It was a lot of work to get to where we are. But that's why when I proposed in the church, got married in the church, I made a commitment to Christ as much as I did to my wife. It's a lot of work, but it's also very fulfilling — to know that somebody really has my best interest at heart and has my back no matter what... Of course, things happen, there's lots of issues all the time, but it's such a blessing having the right partner, because it's a commitment you're hopefully making for the rest of your life.

The comedic timing was excellent. I feel like when you're in a film as heavy as this one, it can be hard to digest — these are real truths we're dealing with about racism in the Deep South. But I think your character was able to make it a lot more digestible because of the comedic relief. How much of that was scripted, and how much was you, Greg?

Wahlberg: There was a lot that was scripted, and there was a lot that was improvised. We knew we wanted to give it a little bit of levity — you wanted to make sure there was as much humor infused as possible, and just the dynamic of this odd couple who have completely different views of the world... They have convictions and beliefs in how they see the world and how you have to go about dealing with these situations. It was literally a lot of room for a lot of humor.

Wayne's fight for justice in the 1960s is something I feel like we're still looking for today. What did playing him teach you about today's fight?

Abdul-Mateen II: Well, it's not over. One of the big ideas in the film is: what would you do for justice? What are you willing to do for justice? I think that was part of Wayne's thesis — I know that Elegance's thesis — our director — he's interested in that question: is justice worth it if it comes by any means?

To me, that means people are frustrated. It means people are angry. People want change and they want it now. But it also means that if we're still asking that question, it means that even amongst our suffering, we have a sense of goodness and morale and hope for the best... If we're still asking the question, it means that we've yet to make a decision or a commitment. So I think people are still holding on to really good values in the midst of their suffering. It says a lot about the state of the world.

Angie B also sat down with director Elegance Bratton. Here's what he had to say.

Mark said to ask specifically about the nose. What made you want him to look most like Greg?

Elegance Bratton: Well, it's a dance... I think what I love about the nose is that immediate second look, because Mark is such a big star, and when you're that big a star, people get used to what they expect to see you look like. So it creates an instant conversation, which is wonderful.

I guess the best way I can explain why it is the way it is — we were shooting the family scene where he gets the job from the FBI to go and protect Vernon Dahmer's life. I hear sobs from Video Village, and it's Greg Scarpa Jr. crying, because he's like, "That's my dad, that's my house, that's my mom." He was transported right back to 1966. So to have him see Mark in that makeup and have that kind of reaction lets me know we got it exactly right.

What was the highlight for you having Greg Scarpa Jr. on set?

Bratton: I liked having Greg Scarpa Jr. on set because he always liked my outfits. So any time I was going through hell, I could count on Greg to be like, "Yo, you look good." And that made me really happy.

What made Mark and Yahya the perfect people for these roles?

Bratton: When it comes down to it, Yahya is our Sidney Poitier — a person for whom stillness is action, and one expression can communicate dozens of pages of dialogue.

Mark, particularly as Scarpa, is chaos. Whenever Wayne Strider is in a room seeking stillness and Scarpa arrives, someone has thrown a grenade and everything has now exploded and will never be still. That tension between wanting stillness and pushing your emotions down, and being explosive — Mark has made a career of playing working-class men and humanizing men that we may have dismissed... So to have that type of experience in a role like this — I mean, they were both my first choices.

I pinch myself even now knowing they're just a few feet away from me talking about a movie we made together. I grew up with Mark Wahlberg. I got the cologne from Calvin Klein. I got the "Good Vibrations" single. I saw The Basketball Diaries... I saw it all in theaters. So to be a part of such an incredible legacy — even the fight scene — I'm like, "Wow, Mark's thrown probably 100,000 punches. I gotta make sure my punches are the best punches." It's a dream come true.

Was there a moment within filming, or watching it back, or while you were on set, when you thought, "these two men are incredible"?

Bratton: Every single day. Putting a movie together is always a battle and a fight, and as a director, you have to see it before everyone else sees it — and you have to see through it while it's going on, when everyone else wants to resort to what's easiest.

To see them on camera together was great, because so many people who were maybe not 100% convinced in my vision — once they saw that first take, everybody got in line.

If you could sit down with the real people from this story, what do you think you would ask them and talk to them about?

Bratton: I've sat down with those who are still around. I've sat down with Bettie Dahmer and Ellie Dahmer — Bettie is [Vernon F. Dahmer, Sr.'s] child, who was there the night the house was attacked, and Ellie is his widow. Vernon Dahmer Sr. is the moral center of this film. I would not have made this film without spending that time with the family.

I also spent time with the Scarpa children — Greg Jr., Linda Scarpa, and any other Scarpa I could get my hands on in the process. I spent time with the FBI, going through the case file and learning what I could — because it's not all declassified, but learning what I could learn. I spent time with the judge who prosecuted the Klan. I spent time with some of the family members of the Klan. I spent time with a lot of people.

The only people I haven't spent time with are the ones who are not here anymore. If I could see Greg Scarpa right now, I would probably ask him for betting advice, because I feel like he would get me a bag. And if I could see Vernon Dahmer, I would say thank you so much for your sacrifice, thank you for putting your life on the line.

Vernon didn't die because he was powerless. He died because he realized the power of Black citizenship, and that power is under assault as we speak. There are kids being lynched all over the South right now. Nolan Wells, whatever that was... it's clearly unjust. Vernon was a soldier in that fight, and he inspires me to fight more. So I would say thank you to Vernon, if I could meet him.

By Any Means is now in theaters.