The Crimes Of Grindel­wald cast as­sem­ble to spill se­crets on witchcraft, wiz­ardry and baby nif­flers.

Total Film - - Contents - Words Jane Crowther

De­spite the swel­ter­ing, sunny Au­gust weather, there is a pal­pa­ble sense of dread hang­ing over the swanky Rose­wood Ho­tel in Hol­born, Lon­don. A pall of anx­i­ety, a tan­gi­ble ten­sion. Is it the men­ace of Ob­scu­rus? Or the threat of Dum­ble­dore arch-neme­sis and bad­die wiz­ard, Grindel­wald? Well, sort of.

With both ethe­real dangers haunt­ing the in­com­ing se­quel to Fan­tas­tic Beasts And Where To Find Them and promis­ing more peril and char­ac­ter in­tro­spec­tion, there’s also an­other shadow hang­ing, phan­tom-like, over the cast as they gather with TF in a glossy suite on the third floor. That of J.K. Rowl­ing’s dis­plea­sure or the fall­out of break­ing a con­trac­tu­ally agreed code of si­lence if any of them should so much as hint at a plot de­vel­op­ment or talk specifics.

Ed­die Red­mayne does a nice line in an­swer­ing (charm­ingly) a dif­fer­ent ques­tion to the one you’ve asked. Ezra Miller de­flects with tall tales about cir­cus train­ing and wide-eyed dis­cus­sion of the Man­dela Ef­fect. “Whooops!” chas­tises Ali­son Su­dol when she thinks Dan Fogler has in­ad­ver­tently let a se­cret go (he hasn’t). “That was smart! I was to­tally about to an­swer that ques­tion!” fin­ger-wags Zoë Kravitz when TF thinks she’s about to spill.

But, let’s agree – not know­ing is part of the fun of J.K. Rowl­ing’s sor­cery world. So here’s what we do know: part two of a planned five­film arc sees re­turn­ing ma­g­i­zo­ol­o­gist Newt Sca­man­der (Red­mayne) co-opted by Hog­warts’ head­mas­ter, Al­bus Dum­ble­dore (Jude Law), to help track down es­caped dark wiz­ard Gellert Grindel­wald (Johnny Depp), who is on a cru­sade to take over the world. As Newt is drawn deeper into a dan­ger­ous fight for power, re­la­tion­ships are tested, lines are drawn and sides must be cho­sen. Oh, and nif­flers have ba­bies.

Let’s talk around that premise, shall we?

TF sits down with Law, Red­mayne, Kather­ine Water­ston (Newt’s MACUSA Auror friend and fu­ture wife, Tina Gold­stein), Miller (Ob­scu­rial, Creedance Bare­bone), Clau­dia Kim (Male­dic­tus Nig­ini, who can turn into a snake and will even­tu­ally be­come Volde­mort’s pet and hor­crux), Fogler (Ja­cob Kowal­ski, Newt’s no-maj mate), Su­dol (Legili­mens sis­ter of Tina, Quee­nie), Cal­lum Turner (Newt’s older war-hero brother and Brit Auror, Th­e­seus) and Kravitz (for­mer Newt love-in­ter­est and now fiancée of Th­e­seus, Leta Les­trange)…

Glam­orous lo­ca­tions (erm, not)

Ed­die Red­mayne Last time, the whole film was set in New York and we shot it all in Wat­ford, just out­side of Lon­don. So when Jude got cast, and I knew that the film was set in Paris, I emailed him go­ing, “Mate, if you haven’t done your deal yet, will you just not sign it un­til you in­sist that they shoot some of it in Paris?” [laughs]

We tried and failed.

Jude Law I shot in La­cock [near] Bath. That was about it. Ed­die Red­mayne I got to go to Can­ning Town [in

Lon­don]. I was ac­tu­ally quite ex­cited about that. I lived re­ally close at the time so it was a very small com­mute.

Magic mo­ments

Jude Law Ed­die en­cour­aged me to be open and play­ful. One great piece of ad­vice he did give me was dur­ing one of our early scenes. We were try­ing to come up with a de­vice that would help cre­ate an el­e­ment of mys­tery. He re­minded me I had a magic wand, and there­fore could do what­ever I wanted!

Kather­ine Water­ston The spe­cial ef­fects depart­ment al­ways pan­ics when the ac­tors start com­ing up with, “Oh, I could just…” But that’s how we did the change in the first film, when we changed our out­fits. Be­cause I was an Auror, I thought it was like un­der­cover work, so I’d need some­thing so that I wouldn’t stand out as a de­tec­tive. You sort of go up to [the spe­cial ef­fects team] and say, “Could I just…”

Ed­die Red­mayne Can I tell a story? There was one mo­ment on set when Jude – or Dum­ble­dore – out of nowhere pulls an ad­dress card out of the air [as seen

in the lat­est trailer]. We got to re­hearse the scene. We’re shoot­ing it. We were go­ing to do it, and Jude was like, “Can I have the card?” David [Yates, di­rec­tor] and the ef­fects guys said, “Oh, no, no, guys, you don’t need the card. We’ll just put it in with vis­ual ef­fects.”

Jude was like, “Give me the card. I’ve spent the first three weeks train­ing with a ma­gi­cian to fuck­ing pull this card out of the air.” The look on his face when he was told they could just put it in, in post… He was like, “No way. That’s not hap­pen­ing.” I’ll have you know, he did it him­self, and that’s the one in the film.

Zoë Kravitz It’s very easy to feel silly [work­ing with CG], be­cause the thing is, you have to com­mit 100 per cent, or it doesn’t look right. But you also feel so silly. I re­mem­ber one day, it was me and Ed­die, and we were fight­ing these crea­tures, and there’s noth­ing there. We were both – they call “ac­tion!”, and me and Ed­die are like [makes fight­ing noises and waves arms

around]. And if you watch play­back, you watch your­self strug­gling by your­self on the ground, and you’re just like, “I hope they put a crea­ture there, or else it’s go­ing to look re­ally awk­ward!”

Tak­ing on Dum­ble­dore

Jude Law David [Yates] and Jo [Rowl­ing] both gave me a huge amount of free­dom right from the get-go, but I’d be ly­ing if I didn’t say that those two great ac­tors [for­mer Dum­ble­dores Richard Har­ris and

Michael Gam­bon] were some­what hang­ing over my head, even if it was just sub­con­sciously. But in a way, you know, it’s a bless­ing. It’s very rare you play a part where you can close your eyes and pic­ture your char­ac­ter as an older per­son. Know­ing that that’s where he gets to… so I didn’t re­ally feel re­stricted by it. [I was] more cu­ri­ous about things that we’ve all read in the novel. There’s things I read in the novel that I was able to demon­strate a bit more vis­ually, the chal­lenges that he’s go­ing through as a man, as op­posed to be­ing an older man hav­ing re­solved all of those is­sues, or at least put them to bed. I was able to phys­i­calise them a lit­tle bit more, or emote them a lit­tle bit more. I was free – with im­pend­ing doom!

Newt and Dum­ble­dore

Jude Law There’s a cer­tain el­e­ment of mas­ter and ap­pren­tice, but I feel like Newt’s ca­pac­ity to be him­self against all odds is some­thing that Dum­ble­dore’s ad­mired. Newt’s al­ways sort of loved Dum­ble­dore

– but there’s a mo­ment when the kid is be­com­ing the adult, and for­get­ting to ques­tion his mo­ti­va­tions, and what his agenda is, and whether he’s go­ing to speak cleanly to him. Quite of­ten, in that way Dum­ble­dore has, ev­ery­thing is through the gauze of caprice. I think the dy­namic of Harry Pot­ter and Dum­ble­dore is… the age gap is far more ac­cen­tu­ated. He al­lows Harry to grow up and he’s steer­ing him, but at the same time he’s al­low­ing him to make the dis­cov­er­ies him­self. He’s aware there are cer­tain things he can’t help him with, just be­cause of his age, and that he has to grow up.

That’s not present in this re­la­tion­ship. I think it’s a much more mu­tual and bal­anced re­la­tion­ship. But at the same time, there’s still a cer­tain amount of ma­nip­u­la­tion go­ing on. And I think there’s also a huge amount of ad­mi­ra­tion. With­out giv­ing too much away, I think Al­bus in this film is deal­ing with a cer­tain amount of his past and re­gret, and demons that he’s try­ing to deal with that have put him in a cer­tain po­si­tion. He sees in Newt some­one who is pure and more up­stand­ing. There’s a great line in it, which I’m go­ing to para­phrase, which is to do with how Newt sees the good in all beasts and mon­sters. There’s a part of Al­bus that sees him­self as a mon­ster, and loves the fact that this com­pan­ion is some­one who’ll not judge that, and sort of see the good in him.

Newt and Tina

Kather­ine Water­ston One of the most amaz­ing things about be­ing in this process with Jo is that she doesn’t short-change any of the char­ac­ters. There’s time and room to grow through­out the en­tire series. Ob­vi­ously, in the first film, I’ve been de­moted at work, and then at the very end, I get my old job back. So that’s a big change for Tina. And she cer­tainly has a great deal more con­fi­dence in this film than she did in the first. She was right about what was wrong in the first film, so she feels a lit­tle bit more con­fi­dent in her in­stincts – and I think quite proud to have that po­si­tion back, and to be do­ing what she thrives at do­ing. But it’s not all com­ing up roses for her, be­cause there’s still some things keep­ing her on slightly un­sta­ble ground, be­cause some boys aren’t al­ways what they seem to be!

Ed­die Red­mayne It’s a bit like what Jude was say­ing about know­ing who Dum­ble­dore [be­comes]. We all know that Tina and Newt live hap­pily ever af­ter, hope­fully, in Dorset some­where, I think. But at the same point, it’s about how you’re go­ing to get there. Newt has al­ways been very con­tent in him­self and his own world, af­ter strug­gling to so­cially en­gage for so long. And through­out the last ad­ven­ture, he con­nected with three peo­ple, and par­tic­u­larly Tina, and sud­denly it’s opened up a whole chunk of his heart. At the be­gin­ning of the film, that’s all he wants, to re­gain that. But sud­denly, all these things are put in his way…

Favourite Beasts

Kather­ine Water­ston I feel like it’s go­ing to be Pick­ett for life for me. Ed­die Red­mayne I love how loyal you are.

Kather­ine Water­ston No crea­ture is go­ing to top Pick­ett. He’s so ex­pres­sive and ten­der.

Ed­die Red­mayne He has a tiny lit­tle face. There are baby nif­flers in this new film and there’s a lit­tle scene where they’re just caus­ing havoc, and Newt’s try­ing to re­cap­ture them. I worked with this woman, Alexan­dra Reynolds, who’s a dance chore­og­ra­pher. We looked at hacky sack. There are guys in the States and all over the world who, like you keep a foot­ball in the air – they do it with hacky sacks, and they catch them in all these places. So that was like my in­spi­ra­tion.

Ali­son Su­dol We’re all very ex­cited about the fact that ev­ery­one loved the nif­fler – I’m ob­sessed with the nif­fler. And then there’s ba­bies! We’re all just… Dan Fogler They’re very cute. Re­ally cute.

Ali­son Su­dol I can’t deal.

Zoë Kravitz I love the baby nif­flers! They’re so cute! I mean, the nif­flers are cute, and then the baby nif­fler is even cuter. It’s go­ing to make you swoon.

Dan Fogler There’s a re­ally cool crea­ture. It’s a Chi­nese lion dragon, the Zouwu. A long tail. They’ve mas­tered the fur. It just looks like it’s there. And it’s ag­gres­sive. I’m very ex­cited about that one.

Join­ing the Pot­ter uni­verse

Zoë Kravitz I re­mem­ber when the first book came out when I was in sixth grade or some­thing. I just re­mem­ber my whole school, it was all any­one talked about. I didn’t have Daniel Rad­cliffe on my wall…

Cal­lum Turner I had Daniel Rad­cliffe on my wall. I can

say that! [laughs] It was re­ally, re­ally nerve-wrack­ing [to join the project], but ex­cit­ing at the same time. By day two, it felt like I’d been part of a fam­ily for years. It was lovely. I screen tested with Ed­die, and kissed Ed­die on the fore­head in a scene. I think that’s why I got it. It wasn’t war­ranted in the scene. If in doubt, kiss Ed­die!

Zoë Kravitz It’s so funny. I kissed Ed­die in my screen test, too – no, I didn’t, re­ally. [laughs] I taped my­self at home, and then I did a Skype ses­sion with David and Ed­die, where I had to read the scene. I got off that call and was like, “I’ve bombed that. That was so awk­ward.” But they brought me to Lon­don to screen test with Ed­die. It was a long process.

Cal­lum Turner Th­e­seus is head Auror at the Bri­tish Min­istry Of Magic – it’s a tongue-twis­ter! – and is re­ally straight-laced. And Newt’s not. He’s the com­plete op­po­site, and he ac­tu­ally wants him to get in line and try to save the world. Be­cause he knows he’s spe­cial, but he won’t do that. And that’s the ten­sion. That’s what’s go­ing on be­tween the two broth­ers. A brother try­ing to boss his other brother around, ba­si­cally! But I feel very lucky to be part of it. Priv­i­leged,

ac­tu­ally. I did the house sort­ing with my girl­friend and her friends – they all got Slytherin, and I got Huf­flepuff. I was so an­noyed.

Zoë Kravitz You’re not Slytherin!

Cal­lum Turner Yeah, ex­actly. It’s very Huf­flepuff of you.

Zoë Kravitz I’m Slytherin.

Per­fect­ing an English ac­cent

Zoë Kravitz I was very ner­vous, es­pe­cially be­ing around all English peo­ple and want­ing to not make a fool of my­self. But I worked re­ally hard. I guess the key is not think­ing about it while you’re do­ing it, so you can still be in the mo­ment in terms of the emo­tion in the scene. So I tried to stay in the ac­cent all day, and I would make my­self do it at the week­ends, get­ting cof­fee or get­ting in a taxi or what­ever, just to keep it up or see if peo­ple could tell I wasn’t re­ally Bri­tish. But it was a great chal­lenge, and I hope it sounds OK. Do I have a favourite English ex­pres­sion?

Cal­lum Turner You like cus­tard creams.

Zoë Kravitz That’s not an ex­pres­sion!

Cal­lum Turner I in­tro­duced Zoë to cus­tard creams right to­wards the end.

Zoë Kravitz And I was go­ing crazy. They were like, “Where’s Zoë? Oh, over by the cus­tard creams.” But I like that you guys say “bril­liant” for ev­ery­thing. “Bril­liant. It’s bril­liant.” Or “fabby!” That’s what David [Yates] al­ways says. If he likes a scene, he goes, “Fabby! Fabby!”

Train­ing and in­juries

Kather­ine Water­ston Some­thing I learned on the first film, there’s bits of wand work or stunts that we have to do that we prac­tised for weeks. But some­times, you get to a set, and they say, “Right, you’re go­ing to tum­ble down these mas­sive stairs and reach across here.” And you just have to do it that day.

Ed­die Red­mayne And there’s noth­ing you can do to prep for it, re­ally. The weird in­juries are still the same in­juries. There was a bit where Cal­lum and I were hav­ing to fend off some huge spell. The re­al­ity of shoot­ing that is, one would be like [acts push­ing an

in­vis­i­ble force]. You put so much ten­sion into your arms to try to make it look like some­thing is push­ing against you. You do sort of wake up with the odd­est in­juries. Wand wrist and wiz­ard’s el­bow!

Ezra Miller We started with tightrope walk­ing, and then we were jug­gling swords. We started swordswal­low­ing. There was an in­jury, and it was re­ally bad. We had to take a two-month hia­tus from all cir­cus train­ing. And then we got back on those balls – you just walk on those balls. At the time, when Clau­dia had to do the lion stuff, I had to go and do a dif­fer­ent es­o­teric train­ing in the Alps. It’s a very par­tic­u­lar cave where you can go. But you, of course, have to kill a ze­bra to get a map, and they’re en­dan­gered.

So I can’t rec­om­mend it to any­one else.

Clau­dia Kim [shak­ing head at Ezra’s fibs] So I worked with the move­ment coach that helped Ed­die do that dance in the first movie. So that was re­ally in­ter­est­ing. But I will say it’s more of an emo­tional jour­ney that she led me into. I would love to say more…

Zoë Kravitz Yeah, I did mess up my arm at one point. Not any­thing se­ri­ous, but you’re fool­ing around, and it’s easy to get hurt.

Go­ing darker

Jude Law What I loved about the Pot­ter series was that it evolved into that. The dark­ness was al­lowed to bub­ble up over a pe­riod of films. And it’s that el­e­ment I like about [Rowl­ing’s] world in par­tic­u­lar, that ev­ery­one has dark­ness, as we all do. I think it’s why it’s so re­lat­able, that we all have demons.

It’s how you han­dle them and what you learn from them and what choices you make.

Zoë Kravitz Leta is a pure­blood wiz­ard, and she has a dark­ness to her, which in the film, you’ll see what that’s about, and where that comes from. And I just love the way that Jo writes these in­cred­i­bly com­plex char­ac­ters. No one’s good, no one’s bad. Ev­ery­one’s just hu­man. Yeah, it’s re­ally re­fresh­ing, as a woman es­pe­cially, to get a char­ac­ter that has so many lay­ers.

Ezra Miller Grindel­wald de­ceives peo­ple by giv­ing them pop­corn ide­olo­gies that are in­stantly ap­peal­ing or grat­i­fy­ing, or en­force their sense of iden­tity. We’re all so void of pur­pose, I think, that we’re all re­ally vul­ner­a­ble to ma­nip­u­la­tion. Be­cause we just want to feel like we have some­thing to do on this dy­ing planet.

And I think the same thing is hap­pen­ing on a broader scale with a cer­tain type of thought­less, po­lit­i­cal align­ment.

Work­ing with Johnny Depp

Jude Law Well, I’ve yet to work with him. It’s all hinted at in this one. I’m just look­ing in a mir­ror at him. Lov­ingly.

Kather­ine Water­ston I didn’t en­counter him too much. But I got to be sort of skulk­ing around while he was giv­ing this big speech [seen in the lat­est trailer].

It was amaz­ing to see him work and his com­mit­ment to the work. It was prob­a­bly 90 per cent ex­tras while he was giv­ing that speech.

Ed­die Red­mayne It was in this mas­sive am­phithe­atre, it’s this huge rally. He’s hav­ing to se­duce ev­ery­one with charisma. It’s in­ter­est­ing, be­cause in film, you’re used to play­ing to cam­eras here [in­di­cates close-up], and he was hav­ing to play to an au­di­ence of hun­dreds and hun­dreds of peo­ple [throws his arms wide]. It was ex­traor­di­nar­ily com­pelling, and he had to do it again and again and again.

Jude Law I have to say, I’m so ex­cited for the jour­ney this film takes that char­ac­ter on. Be­cause ob­vi­ously Jo’s al­ready cre­ated one of the great vil­lains in cin­e­matic his­tory, and this guy is so dif­fer­ent and just as threat­en­ing. And yet, like Volde­mort, he’s se­duc­tive, too. It goes back to what we said be­fore about ev­ery­one hav­ing demons. They’re al­ways sort of se­duc­tive, too. It’s ex­cit­ing. You’re in for a treat.

74 Cal­lum Turner Did Zoë and I work with him?

I think that’s a… We can’t an­swer that, can we?

Zoë Kravitz Oh, yeah, it’s a spoiler. Sorry.

The in­tro­duc­tion of Nagini

Clau­dia Kim I can tell you she’s the Male­dic­tus… Ezra Miller Right there, you’ve got her gen­der iden­ti­fi­ca­tion and oc­cu­pa­tion. It’s a lot. I hope you’re pay­ing at­ten­tion. She’s the Male­dic­tus. Go on…

Clau­dia Kim So, yes, she will one day per­ma­nently trans­form into a beast. She’s a cir­cus per­former. Her pow­ers are ex­ploited by the cir­cus mas­ter. And I would think that she only dreams of free­dom. And that is the very thing that Cre­dence gives to her. It’s just in­cred­i­ble to see how ex­cited the fans are, and they’re so in­cred­i­bly knowl­edge­able, that all of their [Nagini] the­o­ries are so con­vinc­ing.

Ezra Miller [laughs] Yeah. We’ve got a lot of fringe the­o­ries that hon­estly we wish were true. Do you know what I mean? We’ll be like, “Oh, that would be awe­some.” We were like, “Jo, have you read this fan the­ory? Is that a good idea or what?” She’s like, “Nuh uh.” She’s got it all mapped.

Cre­dence, suf­fer­ing and sur­vival

Ezra Miller Like all peo­ple who carry trauma, to fig­ure out how to rec­on­cile that with their life and iden­tity, that’s the prayer of the Ob­scu­rus. When sur­vivors do that they be­come in­cred­i­bly pow­er­ful bod­ies and voices in this world. A lot of the peo­ple who have given us the great­est works in hu­man his­tory have come from a place of trans­form­ing their own trauma. We also know that it’s the kid who gets abused at home who of­ten be­comes the bully on the play­ground, and that there are cy­cles of abuse where you can fall into the pat­terns writ­ten into that trauma. I think that’s the metaphor at play with the Ob­scu­rus. Ob­vi­ously we know that the Ob­scu­rial Cre­dence is an anom­aly in the sense that he shouldn’t have lived this long with this force in­side of him. So we just don’t know what’s go­ing to hap­pen.

I think that what Jo has given peo­ple is a very use­ful and pow­er­ful metaphor, be­cause it ap­plies to all of us in some way or an­other. Our hu­man power is re­pressed by the so­ci­eties that we’ve cre­ated. And the cul­tural nor­ma­tive stan­dards that ex­ist within those so­ci­eties I do feel pre­vent us from ac­knowl­edg­ing and tap­ping our full po­ten­tial of our hu­man power.

I think we all re­act in dif­fer­ent ways when we’re grow­ing up, and adopt­ing that con­di­tion­ing. But there are def­i­nitely spe­cific cases of hu­mans all over this world who, be­cause of that con­di­tion­ing, they in­ter­nalise the idea that that power is not OK. So they push it down into the shad­ows. And then the shad­ows them­selves will come to call. They want that power. So it’s the idea that if you deny your call­ing, it will come for you with in­creas­ing vi­o­lence and ag­gres­sion. And I think it is a re­ally pow­er­ful metaphor for peo­ple all over the world who feel like they can­not ex­press their po­tency in their own so­cial con­texts, or in the so­ci­eties in which they’re raised.

Dum­ble­dore’s sex­u­al­ity

Ezra Miller It is be­ing ad­dressed! It’s a funny idea to me that ev­ery form of rep­re­sen­ta­tion has to look the same. For me, per­son­ally, I find Dum­ble­dore’s queer­ness ex­tremely ex­plicit in this film. I mean, all around. He sees Grindel­wald, his young lover who’s the love of his life; he sees him in the Mir­ror of Erised. What does the Mir­ror of Erised show you? Noth­ing more than the most des­per­ate de­sire of your heart. If that’s not ex­plic­itly gay, I don’t know what is.

I think it’s also re­ally pow­er­ful to have char­ac­ters who are fas­ci­nat­ing, dy­namic peo­ple, do­ing mag­i­cal works in the world, and that the story does not only per­tain to their sex­u­al­ity. Peo­ple have to also take a mo­ment and ac­knowl­edge the gift that Jo Rowl­ing gave us by writ­ing one of the great­est char­ac­ters in lit­er­ary his­tory, one of the most beloved char­ac­ters across the whole spec­trum of civil so­ci­ety, and the be­liefs and ide­olo­gies there; one of the most beloved char­ac­ters; and then, at the end of writ­ing that series, was like, “Oh, yeah, and he’s gay. What? Step to me.” She is for­ever a god for that. But ev­ery­body chill. Why don’t you wait un­til you see the film be­fore you start talk­ing shit on Twit­ter? Or wait to make up your own mind about some­thing for once in your life. Do your own re­search. Make up your own mind. Fol­low your heart, and re­ally, re­ally in­ves­ti­gate sit­u­a­tions be­fore you iden­tify your­self and pick a side, and start throw­ing things at the op­po­si­tion.

Be­cause that’s what’s to­tally screw­ing ev­ery­thing up right now. And it po­larises us. We’re all hu­man, and there’s a lot of things we can agree on. Yeah, I’m rant­ing…

Quee­nie and Ja­cob

Ali­son Su­dol It’s com­pli­cated, right? We’re not sup­posed to know each other, let alone love each other. That’s very, very, very for­bid­den, in a very back­wards sys­tem of the state’s mag­i­cal law. So Quee­nie is not hav­ing that, ba­si­cally. It’s so hard to find love. It’s so hard and so rare. But also, Ja­cob’s been through a lot of life that maybe Quee­nie hasn’t seen yet – of war, and of real di­vi­sion, and see­ing the dangers that can hap­pen in the world. So he’s much more con­ser­va­tive than she is. She’s very like, “Nope, I love you, and this is hap­pen­ing.”

Dan Fogler Jo’s writ­ten these iconic, clas­sic hero’s jour­ney char­ac­ters. They just work, man. Like any re­la­tion­ship, it gets more com­plex as spells wear off, and wars are brew­ing. Things get crazy. And ev­ery­one’s got a wand. [Be­ing a non-maj is] like be­ing in a western with­out a pis­tol, you know? But Ja­cob is mag­i­cal in his own right. My great-grand­fa­ther was a baker on the Lower East Side of New York, prob­a­bly on the same street that we were em­u­lat­ing. And holy crap, that was weird, just to read it and be like, “I know this. This guy is like an an­ces­tor.” So I think I’m be­ing one of my grand­fa­ther’s broth­ers or some­thing. I look like Un­cle Manny.

Where do we go from here?

Dan Fogler I have an idea what’s go­ing on in the next movie. But in the first movie, J.K. sat with some of us. She gave me the arc. She was like, “Here’s his arc for the en­tire five-episode run.” I was like, “Oh my God, this is the great­est jour­ney in the world.” And then I came back for this [film]. We all met for a din­ner at the be­gin­ning of re­hearsals. I was just like so con­tent. I was like, “Aha, I know ev­ery­thing that’s hap­pen­ing.” And then I just sat with Jo for a sec­ond. I was like, “I just wanted a re­cap. So just go­ing into this one, we’ll be do­ing this and that’s go­ing to hap­pen…” And she was like, “Oh, no, that’s all changed.” “Dam­nit!” I don’t know what the method to her mad­ness is, but maybe she’s just changed the whole thing. Now I’m like, I don’t want to get my hopes up or get too ex­cited about it. It could be one sto­ry­line or one arc, it could any­thing.

Ali­son Su­dol Yeah. She said one thing to me which I can’t re­peat, which was such a gi­ant bomb, but then didn’t say… You know when some­one tells you half of some­thing huge, and they’re like, “I can’t tell you the rest.” I ha­rangued her. I was at the wrap party, and I was like, “Can you just a lit­tle… can you just elab­o­rate a lit­tle bit?” She’s like, “Nope.” It’s kind of fun in that you don’t know what your fu­ture is. None of us know what our fu­ture is, right? Fan­tas­tic Beasts: the crimes OF Grindel­wald Opens On 16 nOvem­Ber.

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