Première magazine interview (FR)

French Première magazine reposted their interview with Daniel from back in 2015. This in promotion of a replay of Victor Frankenstein (Docteur Frankenstein), this Friday on TF1 Séries Films.

Translation by Daniel J Radcliffe Holland.

Films like Kill Your Darlings or What If had made us bet our shirt that you were done with the fantasy. It looks like we lost a shirt ...
I'm sorry, sometimes I don't quite understand the consequences of my actions.
(Laughter.) But it's true, I kind of dove back and, the strangest thing, I'm still not a horror or fantasy freak. Like the overwhelming majority of people who know Frankenstein, I haven't read the book. I don’t have geek tastes, I prefer to read things more deeply rooted in society. You talk about Kill Your Darlings: you could say I'm more Allen Ginsberg than Mary Shelley, if you will. I like crazy narrative postulates, twisted psychological sub-texts.

But, precisely, a myth like that of Frankenstein is built on a crazy premise and a twisted psychological subtext ...
Absolutely, that's probably why I always end up coming back to ghosts and Gothic castles.
They make it possible to convey breakneck ideas to the general public. Look at Horns: a criminal investigation led by a young horned guy, it would still be a pity to miss it because I refuse the fantastic! This is why, while I apologize for losing your bet, I do not apologize to those who moaned at the announcement of Victor Frankenstein. Yes, this is another Frankenstein movie, but come on! These people should know that we are aiming for something other than cheap thrills. No way to compete with that damn Annabelle or other stuff supposed to knock you off your chair.

It feels like the movie is all about your complicated relationship with James McAvoy. Everything Kill Your Darlings or Horns was already about the ambiguous relationships you had with other stars.
With James, we acted like a devious buddy movie that pits the doctor against Igor, the feverish assistant I play.
It’s true that the experience reminded me of the job with Dane DeHaan in Kill Your Darlings: a charismatic guy confronts his more vulnerable double. Working in pairs does me a lot of good. But when you have played an eponymous hero of the saga, the tragedy is that you are relentlessly building films on your name alone. I love The Lady in Black but, frankly, walking around alone in a mansion has been a rather razor-sharp experience ...

Is sharing the poster also a way to blend Harry into the background once and for all?
No, I don't believe in that idea. It won't take a movie to forget Harry, only time will. It would be an illusion to seek at all costs the miracle counter-use which will suddenly reinvent me. I repeat to my actor friends: if you find yourself in a saga, take it.

But do you still advise them to think twice before making this choice?

On the contrary, I encourage them to sign! There are two types of franchises: first, those that only capitalize on success, without bothering to level up every step of the way. These die the day the audience resumes. Then there are those who engage with the public. When you've planned to string together seven episodes of Harry ..., every movie has to be flawless for the next to exist. From that point of view, Harry Potter and The Lord of the Rings were a real game-changer. Previously, suites galore could afford to be crap.

But for you actors, isn't the burden heavy?
You have to be smart. Take Channing Tatum, he got himself two "small" franchises, 21 Jump Street and Magic Mike. They have nothing to do with each other and therefore attract two very different audiences, as if to convey a message: "Channing, he's the somewhat clumsy colossus of 21 Jump Street, but he's also his. exact contrary. In the end, these licenses broaden his panel. This is why the public will follow him everywhere and why he can work with producers who agree to lose a handful of millions for his beautiful eyes. (Laughs.)

Would you also like to find yourself in “risky” projects?

Yes, I would love to star in old school musicals, me screaming home alone while listening to Sufjan Stevens! (Laughs.) But I admit it's easier said than done. In the field of franchising, if a project costs less than $ 100 million, producers believe that it is not unifying enough and move on to the next. Finally, thank goodness I found my franchise to be successful a long time ago, so now I can flirt a bit and dabble in horny investigator stories or goth buddy movies. So I don't regret anything.

source: premiere.fr

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