A Hollywood Icon Rewrites the Script

Jodie Foster, the two-time Oscar winner whose career spans over five decades, has never shied away from challenging roles. In 2013, she took on Secretary Delacourt in Neill Blomkamp’s dystopian sci-fi thriller Elysium, a part that cemented her as a formidable on-screen antagonist. What makes this role particularly intriguing is that it was originally written for a man, named Secretary Rhodes, before Blomkamp reimagined it as a female character and cast Foster. Revealed in a 2013 Entertainment Weekly interview, this gender swap sparked fascination among fans and critics, highlighting Foster’s ability to transform roles and her strategic approach to tackling Hollywood’s gender biases. In Elysium, set in a 2154 world divided by wealth and class, Foster’s Delacourt is a ruthless, power-hungry Secretary of Defense, a character whose steely ambition and anti-immigrant stance made her unforgettable—despite the film’s mixed reception. This article dives into the story behind Delacourt’s creation, Foster’s history of playing roles written for men, the challenges of her performance, and the broader implications for women in sci-fi cinema, all while exploring why this casting choice remains a pivotal moment in Foster’s storied career. 🌌

The Genesis of Delacourt: From Male to Female

Elysium, released on August 9, 2013, by Sony Pictures, is set in a future where Earth is a polluted, overpopulated wasteland, and the elite live on a luxurious space station called Elysium. Directed by Neill Blomkamp, fresh off the success of District 9 (2009), the film explores themes of immigration, class disparity, and healthcare access, with Matt Damon as Max Da Costa, a dying worker seeking Elysium’s advanced medical technology. Foster’s character, Secretary Delacourt, is the iron-fisted Defense Secretary tasked with keeping Earth’s desperate immigrants off the station, resorting to illegal tactics like hiring psychopathic mercenary Kruger (Sharlto Copley) to shoot down refugee shuttles.

The role of Delacourt was not initially envisioned for Foster—or any woman. In a 2013 Entertainment Weekly interview, Blomkamp revealed that the character, originally named Secretary Rhodes, was written as a male. “Her role was created as Secretary Rhodes, who was male,” he said. But one morning, inspiration struck: “It suddenly occurred to me the character could be a woman.” Blomkamp and producer Simon Kinberg compiled a list of actresses, with Foster’s name high on it, though Blomkamp doubted she’d accept. “I thought, ‘That would be f—ing awesome, but there’s just no way,’” he recalled. To his shock, Foster agreed within a day, saying, “I want to play it.” Her enthusiasm stemmed from her admiration for District 9, which she called “a perfect movie that I wished I’d been a part of,” per EW. This swift decision turned a male-written role into one of Foster’s most commanding performances.

Foster’s History of Gender-Swapped Roles

This wasn’t the first time Foster stepped into a role written for a man. In her 2005 thriller Flightplan, she played Kyle Pratt, a mother searching for her missing daughter on a plane—a part originally conceived as a father, with Sean Penn attached, per The Daily Beast. Foster’s strategy of seeking male-written roles dates back years, as she told Entertainment Weekly she’d instructed her agent to find leading-man scripts that could be adapted for her. “For years, I asked my agent to seek out leading-man scripts that could be made into leading-lady ones,” she said. This approach mirrors that of other actresses like Angelina Jolie, whose 2010 film Salt—originally written for a male star—grossed $294 million worldwide.

Foster’s knack for redefining male roles highlights her frustration with Hollywood’s limited offerings for women, especially as she aged. In a 2013 LiveJournal post, fans praised her tactic: “That’s a really good idea, what Jodie does—having her agents specifically look for roles written for men—considering the options for women (and esp older women) in Hollywood.” Her ability to imbue these roles with depth and authenticity, as seen in Elysium and Flightplan, underscores her status as a trailblazer. By taking on Delacourt, Foster not only challenged gender norms but also brought a nuanced intensity to a character that could have been a one-dimensional villain.

Crafting Delacourt: A Performance Under Scrutiny

Foster’s portrayal of Delacourt was a masterclass in controlled menace. Described as “steely, power-hungry, and anti-immigrant” by IndieWire, Delacourt is a bureaucrat of French descent who orders the destruction of refugee shuttles and plots a coup to seize control of Elysium. Foster’s preparation involved a physical and vocal transformation, including a controversial accent that blended French and other Western influences. In a 2012 Movieline interview at Comic-Con, she described Delacourt as “methodical” and “committed to keeping the ‘have-nots’ out of paradise,” emphasizing her character’s belief in her cause.

However, her performance wasn’t universally praised, largely due to technical issues with automated dialogue replacement (ADR). Foster initially used a pronounced French accent, but after test screenings received negative feedback, much of her dialogue was redubbed, leading to sync issues. A 2013 Reddit thread noted, “All of her lines sounded redubbed… what she was saying did not match what her lips were saying,” with users calling it “jarring.” Vulture speculated that her accent was altered post-production, while a Gearspace forum post criticized the ADR as “horrible,” suggesting sync errors of 4-6 frames in some scenes. Foster herself told Movieline the role was “pretty much” always female, unaware it was written for a man, which may have influenced her accent choice. Despite these issues, some fans appreciated the accent’s uniqueness, with one Reddit user arguing it reflected Elysium’s multicultural elite: “Her character has a mixture of many different accents… I loved that you couldn’t place it.”

Critics were divided. Roger Ebert’s review praised Foster’s “vigorous defense of her right to use unlimited force,” likening her to a blend of Dick Cheney and Barry Goldwater, while IndieWire called her a “colorful” presence. Conversely, Collider criticized her “inability to pick an accent and run with it,” arguing it distracted from the film’s message about economic inequality. Yet, her commanding screen presence—evident in scenes like ordering shuttle destructions with icy precision—made Delacourt memorable, even if the film’s $30.4 million opening weekend fell short of expectations compared to District 9’s success.

The Significance of the Gender Swap

The decision to cast Foster as Delacourt was a bold move in a genre often dominated by male antagonists. Sci-fi films like Blade Runner and Mad Max typically feature male villains, but Foster joined a rare cohort of female antagonists, alongside Helen Mirren in Monsters University (2013), whose role was also originally male. HuffPost noted Foster was “one of the few female villains on screen” that summer, highlighting the rarity of such casting. This gender swap added layers to Delacourt, whose calculated ruthlessness challenged stereotypes about female characters as nurturing or soft.

Foster’s casting also sparked conversations about representation. Women and Hollywood celebrated the choice, noting it aligned with Blomkamp’s intent to include “at least one prominent lady” in his blockbuster, a nod to his creative freedom post-District 9. However, The Mary Sue lamented the film’s lack of other significant female roles, pointing out that Alice Braga’s Frey was the only other notable woman. “It’d be great if the movie had enough female characters,” they wrote, underscoring ongoing gender imbalances in sci-fi. Foster’s presence, though, was a step forward, proving women could embody complex, morally gray antagonists as powerfully as men.

Foster’s Strategy and Hollywood’s Gender Gap

Foster’s approach to seeking male-written roles reflects a savvy response to Hollywood’s systemic issues. In a 2013 Daily Beast article, she was listed among actresses like Sigourney Weaver (Alien) and Glenn Close (Albert Nobbs), who played male-conceived roles, addressing the “long-held gripe” of scarce quality parts for women. Foster’s proactive stance—actively pursuing scripts meant for men—empowered her to shape her career on her terms, a tactic she began early. Her 1976 role in Taxi Driver, while not gender-swapped, showcased her ability to tackle gritty, unconventional parts, setting the stage for later choices like Delacourt.

Her decision also highlights the challenges women face in sci-fi, where male leads and villains often dominate. By transforming Secretary Rhodes into Delacourt, Foster not only expanded her repertoire but also challenged industry norms, paving the way for actresses to demand roles beyond traditional archetypes. A 2013 LiveJournal commenter wrote, “Jodie is my spirit animal… love her for [seeking male roles],” reflecting fan admiration for her ingenuity.

The Legacy of Delacourt and Elysium

Elysium, despite its flaws, remains a notable entry in Blomkamp’s oeuvre, with a 58% Rotten Tomatoes score but a loyal cult following. Its social commentary on immigration and class resonated, as Roger Ebert noted, calling it a “not-so-subtle commentary on the immigration debate.” Foster’s Delacourt, though divisive due to ADR issues, is a standout, with IMDb users comparing her to Tilda Swinton’s Michael Clayton performance for her chilling authority. The film’s $93 million worldwide gross against a $115 million budget was underwhelming, but its streaming popularity on platforms like Amazon Prime has kept Delacourt in the spotlight.

Foster’s role in Elysium underscores her versatility and willingness to take risks. By stepping into a part written for a man, she not only delivered a compelling villain but also sparked discussions about gender in cinema. Her performance, flaws and all, is a testament to her ability to transcend script limitations, making Delacourt a symbol of ambition and defiance. As one X user posted in 2025, “Jodie Foster as Delacourt in Elysium? Still iconic. She took a man’s role and owned it. 🙌”

Looking Forward: Foster’s Enduring Impact

At 62, Foster continues to shape Hollywood, with recent roles in Nyad (2023) and True Detective: Night Country (2024), earning her a Primetime Emmy. Her directorial work, including episodes of Orange Is the New Black and Black Mirror, reflects her commitment to meaningful storytelling. Elysium’s gender swap remains a milestone, proving that women can redefine roles traditionally reserved for men. As Foster told AP News in 2018, “I want to follow my path.” Delacourt, born from a male script, is a testament to that path—a bold, transformative journey that continues to inspire. Here’s to Jodie Foster, a legend who turns every role, man or woman, into a masterpiece. 🌠