Daniel Radcliffe in Total Film Indonesia
Knowing that he would be bestriding Broadway this summer, Dan Radcliffe did press junkets for Harry Potter and levitra superactive the Deathly Hallows : Part II last summer, and I was honoured to sit down with him in a central London hotel, and interview him for Total Film Indonesia,
The interview has now been released and translated into English…
You’ve worked with the buy ultram er no prescription same people for a decade. In the future, are you going to avoid them or, if they’re attached to a project, are you going to jump at the question?
Nice question! I would jump at the chance, absolutely, definitely, both in terms of crew and cast. Actually, funnily enough, our second unit first AD on Harry Potter is in The Woman In Black. Which is brilliant. He’s a guy I know really, really well. He gets the set moving, and he’s fantastic. It’ll just give me that little bit extra confidence, knowing that I know somebody there because then it’s not like your first day at school. But Richard Griffiths said something to me once, that after your second job you will never again have the experience where you don’t know anyone. After you’ve done two jobs in the film or theatre industry, you will always know somebody you’re working with. Which is, fairly true, I have to say. What would be interesting, actually, is that I think probably directors would be more hesitant about combining people from Potter. I don’t think the issue would be us being reticent about that at all. I think it will be that they don’t particularly want to put us together because it’s so… When we’ve all grown up and look wrecked, like we eventually will do, then they might use us, together because nobody can tell the difference. But I think they’d probably try to buy viagra online without prescription split us because, you know, if my next film I was playing Alan Rickman’s son, people might find that a little hard to take so quickly after Potter.
After all this… you remain so polite, patient and enthusiastic – even to the viagra professional canada point of cialis from canadian pharmacy talking to all the little Hufflepuffs between takes. How are you not a total diva?
(laugh) I don’t know. I love talking to the background because we have great kids on our films. They’re brilliant and they all want to be there. In the earlier films, there were some quite obnoxious kids in the background. On the last few films, they have just been brilliant. I think that, if you’re an actor, especially if you’re the principal in something, you have to see yourself as the… just like Amanda Knight is the head of the make-up department, and Lisa Tomblin is http://lifeinabundance.org/buy-generic-cialis-cheap the head of hair, and Jany Temime is head of costume, you have to view yourself as the head of your department. So you lead by example and set a good example. I hate the hierarchy of the film industry. It’s one of the only things I dislike about the film industry. You hear horror stories about actors that won’t let people talk to them. I just think that, to be honest, if you’re doing that, you must be pretty stupid. There are moments, obviously, when you say, “I just want to be alone now”. That’s fine… but I think I have a more interesting day talking to them than I would be just chatting to myself. If you’re involved and cialis usa you’re checking that everyone’s all right, everyone knows what they’re doing. There’s a legendary man called Michael Stevenson, who’s been in the film industry since long before I was a twinkle in my parents’ eye, and he is just amazing with names, If we have a Great Hall scene with four hundred extras, he will know every single one of them by their first name. He’s phenomenal. I watch him because he’s always going around and checking, “Do you know what you’re doing? Do you know what you’re think at this point?” Eventually I want to direct one day so you learn from people like that, in terms of how to run a set… how to make everyone work as happily and as most efficiently as they can. That’s kind of the art of being on a film set, I think: happy efficiency. If you can get that, then you’ll probably make a good film. Even if you don’t, everyone will want to work with you again.
The entire interview can be read here.