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It’s not easy to stand out in a movie with two showstopping Michael Jackson performances, but Michael star KeiLyn Durrel Jones threaded that needle with quiet power.

Jones plays Bill Bray, a former LAPD officer who served as Michael’s head of security from 1971 to 1996. Given Michael’s fractured relationship with his father and manager, Joseph “Joe” Jackson, Bray quickly became a surrogate father and confidant to the gifted performer. As the Antoine Fuqua-directed biopic depicts, if Joe (Colman Domingo) was trying to control every aspect of Michael’s (Jafaar Jackson) life, then Bill was trying to empower every aspect of Michael’s life en route to a life that’s truly free of Joe’s influence.

That moment finally came at the end of the film during the Jacksons’ (formerly the Jackson 5) last stop on the North American Victory Tour. Michael announced on stage that it would be the fraternal group’s final performance together. Naturally, Joe blew a gasket backstage and tore into Michael. Then Bray delivered the metaphorical knockout punch by stopping Joe in his tracks and telling him the decision was final. 

For Jones, the chance to conclude the film’s character drama is a career highlight.

“An astonishing dream come true is how I would describe it. To help tell the story of this icon on this level and scale — and to have that moment in the end — it was very satisfying and fun to watch,” Jones tells The Hollywood Reporter. 

It’s important to note that this exchange was not a focal point in Michael’s original ending. The film’s third act previously covered the 1993 sexual abuse allegations against Michael that would snowball throughout the rest of his life. However, due to an overlooked clause in the 1994 civil settlement with the accuser’s family, the Michael creative team had to remove its depiction. But instead of addressing that particular chapter in a more indirect way, the producers opted to end the movie in 1988, punting the complicated story point to the inevitable sequel.

As a result, controversy hasn’t slowed down since the film’s release on April 24. Critics largely praised the performances and song-and-dance numbers, but drubbed the film for being an overly sanitized and idealized portrayal of Michael. Audience members who enjoy the film, including Spike Lee, have countered by saying the critics primarily panned the film based on what’s not in it, arguing that they should only engage with the story’s timeline.

But that position routinely omits the fact that Fuqua, screenwriter John Logan, producer Graham King and the Jackson estate actually wrote and filmed a movie exploring the darker side of Michael’s life — until they hit an unexpected legal roadblock. Thus, how can any film critic with their finger on the pulse of the industry ignore the filmmakers’ original intent that was well publicized? Additionally, how can they ignore the Michael brain trust’s decision to kick the can down the road by ending the movie in 1988? As proud as they may be of their $424 million-plus grosser that’s currently in theaters, it is not the film they all signed on to make.

Jones makes it clear that he’s merely an actor in a movie with no control over broader creative decisions. That being said, he applauds his collaborators for making a crowd-pleasing movie that will presumably set up a more challenging sequel. 

“I know that everyone involved really wanted to tell this story in any capacity that we could. And so if there were legal limitations, then I think they handled it with grace and aplomb in the way they decided to tell this story,” Jones says. “Listen, you’d be hard pressed to tell your story or my story in two hours, let alone an icon like Michael Jackson. The Thriller album itself could be a two-hour movie. So being that they decided to tell the story the way they did, I’m just honored and flattered to be along for the ride. I think it turned out beautifully, and whatever’s next is whatever’s next.”

Below, during a conversation with THR, Jones also discusses his preparation for the inconspicuous Bray, as well as whether any of Michael’s roughly 90 minutes of unused footage could be reapplied to the sequel.

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You made a self-tape for the role of Bill Bray, and I believe you finally heard back ten months later. Did you assume you’d lost the role to somebody else after all that time?

No, there’s no timeline to these things. Also, it was a wonky time in the industry. The writers’ strike was in full swing, and if memory serves, the actors’ strike was imminent. So, as an actor, you get your hopes up enough to do the best work you can for an audition, and then you leave it to the gods or whatever you believe in. I don’t like to think one way or another, whether I lost it or it’s still on the table. I just wait and see.

I found one brief interview with Bill Bray that aired on German television. A handwritten letter from Michael to Bill, circa 1992, is out there as well. Were those the main items you relied on during prep? 

If I’m being honest, I hadn’t seen the German interview you’re speaking of until this week. It might’ve been as recent as yesterday that I saw it. But there was about a 27-second clip of Bill Bray speaking to the Jackson 5 before a performance, telling them to stay away from the side of the stage where the crowd is a little close. It had a “Jacksons on three” kind of vibe. It was very curated; there were news cameras backstage. But it was enough for me to hook into his mannerisms and his tone of speech. So between that and the letter, that was all I had to go off of to build a character.

The movie presents Bill and Joe as these opposing paternal voices on each of Michael’s shoulders. Do you believe that was their genuine dynamic since Michael literally wrote to Bill, “Thank you for being a father”? 

Things are dramatized for the screen, but yeah, I think there is some truth to it. All the research that I’ve done — including the letter handwritten by Michael himself — proves that Bill was very much a paternal figure in Michael’s life. So I don’t know if they were necessarily opposing or at odds, but they were definitely two paternal figures in his life.

I read that Michael paid for Bill’s medical bills later in life and that he was inconsolable when Bill died in 2005. So that certainly adds more weight to Bill being a surrogate father.

1,000 percent. I  came across those things in my research as well, but based on the timeline of the film [1966 – 1988], I just tried to focus on the parts of their relationship and rapport that were relevant to what we were filming.

The character drama ends not with Michael, but with you as Bill. He tells Joe “it’s over,” and then he smiles as he walks away. That must’ve been quite a moment when you realized you were putting the exclamation point on Michael’s arc. 

Yeah, an astonishing dream come true is how I would describe it. I’ve had the opportunity to work with some great people, but to help tell the story of this icon on this level and scale — and to have that moment in the end — it was very satisfying and fun to watch.

Both of the Michael Jackson performances in this movie deserve praise. Did you work with Juliano Valdi’s young Michael before Jaafar Jackson’s? 

I worked with Jaafar first. We didn’t do the intro scenes where Bill meets Juliano’s Michael until a little later in my process. But I was astonished by both of their talents. They’re both incredible singers, dancers and actors.

When did you first witness Jaafar in Michael mode for the first time? When did he first knock you sideways?

First of all, the hair and makeup team did their big one, as the kids say. But one of my first days on set was the “Don’t Stop ‘Til You Get Enough” video. Jaafar and I went from “Hey, I’m KeiLyn; Hi, I’m Jaafar” vibes to him instantly locking in and absolutely nailing the dance moves and voice the moment action was called. He was locked in in a way that I can only imagine an athlete or a live performer would be. It was truly magical to witness.

Did the cast and crew ever have to catch themselves from being spectators? 

I think some did. They had also started shooting some of the musical performances before I actually signed on to the movie. But we were all continuously wowed by what was being created, and we all felt a sense of duty and propriety. Whether it was the cast or crew, director or producer, we all wanted to do our part to uplift and uphold this story while going on this magical journey.

When Joe hired Bill to protect Michael, he said, “Guard him with your life.” Did any part of you feel like you had to protect Jaafar throughout this high-stakes experience? 

The short answer is yes, mainly because Jaafar is such an incredible human and just a really sweet, genuine guy. I wouldn’t say we’re best friends. We don’t hang out a whole bunch on our own time, mainly because we live in different places. But we quickly built our own rapport. I’m not as old as Bill was to Michael, so Jaafar and I instead had big brother-little brother vibes [as opposed to father-son]. I was just proud to witness his growth. His work ethic and talent were inspiring, holy smokes.

I just figured the protective dynamic to all your scenes would carry over.

Yeah, that’s also something that’s innate in myself. I’ve had that sort of energy my whole life with my own brothers and cousins and family. It’s just the way I try to move through the world. In general, I feel a sense of wanting to protect and guard the people around me, but especially someone who I feel close to like Jaafar.

So you filmed the movie, and then you got a call that you’d have to come back for major reshoots. The original opening and third act involving the 1993 sexual abuse allegations had to be thrown out because it violated a clause in the 1994 civil settlement with the accuser’s family. But instead of alluding to it in another way, shape or form, the producers opted to forgo it entirely by ending the movie in 1988. How did you feel about that decision to not address that component of Michael’s story?

Well, far be it from me to comment on anything outside of my purview, but I know that everyone involved really wanted to tell this story in any capacity that we could. And so if there were legal limitations, then I think they handled it with grace and aplomb in the way they decided to tell this story. Listen, you’d be hard pressed to tell your story or my story in two hours, let alone an icon like Michael Jackson. There’s so much story. The Thriller album itself could be a two-hour movie. So being that they decided to tell the story the way they did, I’m just honored and flattered to be along for the ride. I think it turned out beautifully, and whatever’s next is whatever’s next. But I’m really happy and pleased with what was done.

As an actor, you don’t control which takes of yours make into a film, let alone how the story is told. 

Precisely.

But it’s got to be tough to know that there’s footage you’re likely proud of that no one will ever get to see. 

Sure, but that’s also the nature of the beast. That’s the name of the game in this industry. Like you said, very few people can control what makes it onto the cutting room floor or what makes it onto the screen. That’s just part and parcel of the industry machine. I’ve been on the directorial side myself with some short films and you can’t use every take, every angle and every moment. It just is what it is.

Biopics about famous people are always challenging because the audience goes into them with a certain amount of preexisting knowledge and expectations. But here, it’s magnified tenfold since Michael is among the most well-known figures to ever walk the Earth.

It can be challenging. A lot of that burden fell upon the filmmakers and Jaafar, but like I said, they took on this massive journey with grace and aplomb. Jaafar is just jaw-dropping. Having been on set with him and also having seen the movie a few times on screen, I’m still just in such awe of the guy. I’ll probably see the movie a few more times; I’m just so inspired by the guy. Like you said, Michael Jackson is one of the most famous figures in history, and so for Jaafar to accurately depict him to his own fan base, it speaks volumes.

There was once a nearly four-hour cut of this movie. Ignoring the 1993-94 material, can you mention anything of yours that didn’t make into the theatrical cut? 

There were other moments that were very similar to the moment where Bill and Michael are sitting on the car by the Hollywood Sign. There were some genuine connection moments between Michael and Bill, but nothing that audiences would find mind-blowing or groundbreaking. As far as storytelling goes, I’m very happy with the scenes that did make it into the film. You can’t use all of those moments because then they get repetitive. My main focus for my part of the machine was honoring the man himself, Bill Bray, and the rapport between Bill and Michael. So I think Jaafar and I captured that beautifully, and I like what the filmmakers chose to use.

The sequel is all but confirmed. Have you begun to imagine the big moments you’ll get to recreate on film? 

An actor can dream. (Laughs.) But John Logan and Graham King write beautifully, and I’m excited to see whatever they have cooked up for Jaafar and I to express. I like to think that I’m in basketball’s triple threat position. Whatever they need me to do, I’m ready and willing to do it.

Do you think they’ll repurpose some of the first movie’s unused footage from before 1993?

It’s entirely possible. I know we’ve got a lot of good stuff that’s usable — stuff that I was involved in and stuff that I wasn’t involved in. But it’s a crapshoot to try to guess what will and won’t be used.

Do you hope Antoine Fuqua comes back for the sequel? 

I do. I love working with Antoine. He’s certainly one of my favorite directors, so hopefully it works out. But that’s a question for the gods as far as timing and how those things unfold.

I want to briefly shift gears to talk about a previous job of yours, one that took a huge chunk out of your right ear. 

(Laughs.)

From the earring moment and poker game to driving Saul Goodman to a meeting with Tony Dalton’s Lalo Salamanca, what can you tell me about your time playing Blingy on Better Call Saul? 

Well, I was a huge fan of the show already. I love a good lawyer drama, especially one that’s in the same Vince Gilligan world of Breaking Bad. So getting to work with Bob Odenkirk, Michael Mando and Tony Dalton, their résumés speak volumes. I hadn’t known Tony Dalton beforehand, but he and I have actually become friends since then. So I was honored by the fact that they brought me back for several episodes. Obviously, I hoped that they’d bring Blingy back for more, but as an ancillary character, what are you going to do? So just to know that I was a part of that world is definitely a point of pride on my résumé.

Did you tell Mando to really yank on your ear? Did you encourage him to go for it?

Well, Michael Mando is an intense, passionate actor, so I didn’t have to tell him much. I’m always down to get in the sandbox and play, so I’ll do whatever’s necessary to get the best take. That was a fun day.

Lastly, what’s the first question you would ask Bill Bray if he was still around today?

Wow, that’s an incredible question. I would ask him to tell me more about this sense of duty that he had for Michael. I would want to know what he saw in Michael that made him want to be such an important part of his life as his protector and paternal figure. He didn’t have to do that. He could have been a good bodyguard and still clock out at 5:00 PM to go home. But he really went above and beyond, so I’d ask him about the why of it. What did you see in Michael? What did you see in yourself that could fill the void in his life?

I would ask him how much the Pepsi commercial accident weighed on him. In the movie, Bill brought Michael all of his favorite foods in hopes of making him feel better, and you can tell he was disappointed when Michael didn’t have an appetite. So I do wonder if he felt some guilt there. 

I agree a thousand percent. He was there, he was present, he was always watching. And in my mind on set, I thought that maybe he looked away for a half a second too long. Maybe he went to go refill his coffee or tie his shoe. Because they had a close relationship before that moment, I can imagine that the commercial in and of itself dialed up the guilt to untold levels.

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Michael is currently playing in movie theaters.