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TORONTO - Things are going well for Daniel Radcliffe.
It isn't easy transitioning from playing one of the most iconic figures in recent literary and cinematic history for over half your life to seemingly less magical roles. Or, perhaps that should be edited to note the transition is about an industry and not the actor himself. Because, as you'll learn, even Radcliffe has had to fight for roles in independent films you'd assume would kill to have someone with his notoriety on board. 2013, however, has seen the fruits of his labors. In January, he received strong reviews for his portrayal of Allen Ginsberg in the period drama "Kill Your Darlings." Sony Classics acquired the picture and it screened at the Venice Film Festival last week. It plays the Toronto International Film Festival this evening.
Radcliffe has also had two other films premiere at Toronto with strong reviews: "Horns" and "The F Word." CBS Films appears close to picking up the latter and it seems inevitable that the former finds a home as well. Good times for the young Brit, and a perfect time to sit down for a chat.
Speaking about all three projects during an interview Monday, Radcliffe waxed on his fear of being told he won't be allowed to act again, finding his projects, the inherent difficulties of making "Darlings" on a now infamously small budget and much more. Oh, and by the way, he's the one who brought up Amanda Bynes…
Q: Your director (John Krodikas) was a first time filmmaker who took years trying to get "Kill Your Darlings" off the ground. How did he convince you to jump on board?
Daniel Radcliffe: Well, that's the thing. I mean there wasn't much convincing needed to be done. I mean the script that he and Austin [Bunn] wrote was so good. I mean you mustn't underestimate the power of a good script to an actor because we read so much crap. You read a lot that's not good. And so when you read something that is just smart and funny and true and well-crafted in terms of the structure of the story…And like every scene, every scene in "Kill Your Darlings" teaches you something about one of the characters. There is no scene in the film that doesn't move along at least one character story at least somewhat. And that's I think the mark of a really good script, where the story's being told constantly rather than in chunks of exposition. And so, you know, that was just so impressive. And I leapt at the chance. And then when you meet John, have you met John?
Well, then you know. He's very charismatic and very charming and he's not somebody who you doubt. I have complete faith. When he talks to you about his film and he has such confidence in his vision for the film and he knew absolutely the type of film he wanted to make, he knew what all these characters were going through, you know? I feel like I've been presented evidence that he was gonna be fantastic, and he was. He's become a very good friend and somebody I have huge amounts of respect for as a professional as well as a person.
Q: You mentioned about all the crap scripts you get. How many scripts do you actually read a week? Five? 10?
Not anymore. I used to read probably a lot more than I do now. It's a process. You know, after coming out of "Potter," my agent sent me a lot more scripts because they wanted, I think, to find out what kind of things I wanted to do, what my taste was. And then as that developed and they got a sense of that more, now they don't send me the ones that they know, "Oh, he's never going to go for that." So, you know, I can't read everything I get sent, but I read, you know, a lot of it. I mean I got lucky because John Krokidas came and saw "Equus" in New York. And that was really, you know, as far as I'm concerned, that was what got me this part. That was what got me in the room for it.