Interview with the Vampire by Anne Rice An eight-episode American fiction premieres today on AMC+, on this service and on different platforms, the keys to which are recounted by actor Jacob Anderson who gives life to Louis de Pointe du Lac, who tells a reporter about his vampire experiences.
What attracted you to the possibility of playing Louis?
-I received an email about the casting and I felt a feeling of great pressure in my stomach. It rarely happens to me. Anne Rice’s writing gives you a gut reaction and makes you feel like you’re being watched. After reading the pilot written by Rolin Jones I almost got sick: there were so many things about Louis that really resonated with me. I was excited and knew it would be a real challenge. I like projects that give me that nervous feeling for no apparent reason.
-What does it feel like to be part of a story that, marked by an innovative film, is a cult title?
-I love literature, comics and movies. As a self-proclaimed nerd, I understand that feeling of dread and anticipation that adaptations bring about. One thing I love about this project is that it seems like we’re all really in love with Anne Rice’s books. We’ve fully gotten into the spirit of her stories and the questions she raises through her characters. It is like having something very valuable in your hands on a daily basis. We all connect on a personal level with a different story, depending on the reaction we had when we first read the book. How I felt about Louis, how I connected with him in the beginning… and then made sure that I didn’t lose sight of that bond on the show.
-What is the most attractive thing about becoming a vampire, considering everything Louis is experiencing at the moment?
-At first, Louis’ relationship with vampirism has more to do with fleeing from his humanity, refusing to be a person. He no longer wants to exist, so when Lestat offers him, in essence, a second life, he sees it as a way to adopt a new identity. The irony is that when he becomes a vampire, he begins to reconnect with his humanity. Louis’s story is about someone who, by becoming a monster, connects more deeply with his humanity. That’s the journey Louis takes, at least at first.
-Why are Louis and Lestat attracted to each other?
-When they meet, Lestat is everything that Louis is not: self-assured, free of thought and in his way of being, and gives the impression of having deciphered the key to existence. Internally Louis feels that he is getting further and further away from any kind of certainty about who he is or who he is supposed to be, but his insecurities prompt him to show himself as a strong-willed human being very sure of himself. same. Lestat is looking for someone to stand out and measure up to him, but in certain ways, it’s almost like he misdiagnosed Louis a bit at the beginning. Louis is quite progressive for his time; By the way he dresses and his way of seeing the world around him, he is avant-garde. Aside from Lestat’s physical attraction to Louis, he sees that Louis isn’t quite a man of his time. I think that would be a really attractive thing for a vampire, because, really, vampires don’t belong anywhere because they’re everywhere. They live forever. And I think Lestat sees that Louis was born at almost the wrong time.
-As a musician also in your case, what did you think that there was so much music integrated into the story? How did the music set the tone and mood of the narrative?
-Rolin Jones is an encyclopedia of musical knowledge and is very much his when it comes to references: what version, what year and what arrangement by whom and in what way, etc. He includes it in the script, which allows you to imagine what the outcome of the series will be. I think of music as a very visual medium: it’s evocative and I see images when I listen to music. Before shooting started, I created a playlist of everything that was in the script and then added tracks that I thought Louis would have listened to at the time. I listened to a lot of Jelly Roll Morton in my trailer before I got to the set, even before I left for New Orleans. It also had contemporary themes that reminded me of Louis and ones for Louis and Lestat. It helped me a lot to give another profile to the story. I didn’t share it with anyone or tell Rolin about it, but it helped me get into the right frame of mind.
-How much did the filming of the first season in New Orleans contribute to the magic of the storytelling?
-New Orleans makes up a big part of the romance in Anne Rice’s books. It makes a big contribution to that kind of magical, fantastical storytelling because it feels like a place where vampires live. This is a place with a great night side and so it’s the perfect place to be a vampire, obviously. There’s something here, it’s almost like a frequency that you pick up as soon as you land, but you don’t want to disregard it either. I’ve stayed away from voodoo because I respect it and it’s okay, I don’t want to upset it. I’ve had very vivid dreams here, inexplicably, and I think it’s one of those places that has a hint of magic. It is also a place that has suffered a lot, suffering from harsh weather conditions and a legacy of slavery that is very evident. I don’t want to generalize, but I think that makes the people there really resilient. It seems to me that it is very much in line with the story that we are telling and these creatures that are resilient.
-What was your first reaction when walking into the sets that production designer Mara LePere-Schloop created for the series?
-I can’t say anything more sublime about Mara because I admire her work too much. Every time we walk into a new set for rehearsals, I see her and turn around because I can’t express how beautiful her creations are. She’s very considerate of the actors, she takes into account what we might need, what we might be looking at, what we might want to touch. There’s something really tangible about her design, as if she had some kind of X-ray vision reading every word in the script, in the books, and in our dialogue. She is one of the most thoughtful set designers I have ever had the pleasure of watching work. I love Mara and she should tell him. The weekend before we started shooting, she was starting to feel the magnitude of what we were about to do. They had just started painting the set for Storyville and I was here for a costume fitting. I felt overwhelmed, I needed to get out. I walked through the Iberville Street set and felt like I was strutting. It’s such an immersive space, it seems so real that, feeling it take on a life of its own, I felt like Louis, as if I had been possessed, as if I were Louis in 1910-1911, no doubt. She was able to feel his presence as she walked down the street. That was really important to me personally: feeling safe and secure and ready to go walking down that street. Throughout the filming he would go for short walks, little escapades around the outside set.