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26 February 2018

Film School Rejects interview

Interview with Daniel by Film School Rejects in promotion of Beast of Burden. But there's also a question regarding Harry Potter's spin-off Fantastic Beasts and Where to Find Them.

You spend 90% of this movie in this tiny Cessna cockpit set.
Yes.

I imagine that’s the appeal of the film, but it also has to be a little terrifying, jumping into that experience.
Yeah, totally. It’s a lot of … I was reading this script, going, “God, this would be a lot of me, similar to when I read Woman in Black. I went, “Wow! This is a lot of just me in the middle of this movie, just walking around on my own.” It was part of the appeal because I was … I think, from a film-making standpoint, it’s a really interesting thing to … it’s a hard thing to do, particularly from a directorial and editing standpoint. How you make something visually compelling when you’re in the same location for so much time is really … and from a writing standpoint, finding all of the obstacles you need to keep that … keep some tension throughout.

It just seemed like a really interesting challenge, and I … and having seen one of Jesper’s [Ganslandt] previous movies, I was sort of hopeful and thought that he might be intent on making this film in a similar way, which … On his previous movie The Ape, he kind of just live-directed his actor through the film. The actor was on a blue-tooth headset as part of the story, and so Jesper was just talking to him constantly and telling him what to do. He didn’t really have a script. He’s just telling him what was happening, and so I sort of thought maybe he’s going to do something kind of like that with this movie because I’ll be on the phone so much.

And that was what we did. It was the most like a play of any film I’ve ever shot ’cause we’d do 25-minute or half-hour takes that accounted for 20 or 25 pages of script, and we … being able to do that much in one go, and being able to take that much time while you’re filming, kind of does allow everything else to melt away after a few minutes. And after about ten minutes you sort of forget that the camera and the lights are there. You really do start to just be a guy pressing buttons in a plane.

But that’s why I think Jesper also took some delight in it ’cause Jesper also liked control, or could cue the hydraulic rig that the plane was on to judder and do stuff. So, I think he took delight in making me start long, complicated portions of dialogue and then, just making the plane shake or making the lights go or shouting stuff in my ear, which was really like … I don’t know what, at that point. It was very, very difficult.

Yeah, I watched it with my wife, and she made the comment that it felt like a radio play in a lot of ways because of all those phone calls.
Yeah. I know. I’m sure. But that was one of the things that I really liked about the story was that it was just kind of a … It’s a simple sort of “We are gonna take this guy from A to B and see how much shit we can throw at him in the middle, and what can we put him through?”

And so from the mechanics’ standpoint of the performance, Grace [Gummer] and Pablo [Schreiber], they’re not on set with you, are they? They’re not reading the lines to you.
You know what? Bless her. Grace was. Grace was … Yeah, Grace was … I wouldn’t … I was not expecting her to be there. I was not expecting her, and I would not have expected Pablo or anybody to be there to do all that, but Grace was there for a lot of time, anyway, ’cause she had to be there for fittings and stuff. She’s incredibly generous and a total pro, and so she, yeah, she did do a lot of that off-camera work for me, which was amazing.

That is impressive. How much time did you have to build a relationship with her? I doubt you had a lot of rehearsal. You have this real tragic backstory.
Yeah, I mean … No, there was not. There was not a lot of time at all, but it was … I think, when you’ve got two people of a similar mindset — and I think me and Grace were of very similar mindsets, as you say. We both got down there, recognizing that, yeah, we have to know what this relationship is, and we did actually have a little bit of rehearsal time in which to talk about the script and stuff. But I think it was mainly that when you get two people who get down there with the same mindset of being open to one another and open to … I think chemistry a lot of the time is just being serious about the other person and listening in the scenes and being really aware of them and sort of playful and just being alive to the whole situation. And I think Grace certainly came down ready to be all of those things, and I hope I did, too. It was not a challenge to find that chemistry quite quickly ’cause Grace is … She’s fantastic.

And not the spoil the film, but as it progresses, it’s slowly revealing details to your past, your character’s past. But it still holds back a lot of information. Do you fill in those gaps? Do you work on a backstory?
Yes. Definitely, and actually, there were … I think there’s a challenge with this type of film where you can start to fill in those gaps and all, but you … Suddenly, you realize that you filling in those gaps, all you’ve revealed is deeper gaps that are there.

So there was actually an issue. Probably some of the things I imagine you’re talking about were actually in there, like we explained them, but I think, in explaining them, they sort of just gave rise to more questions so we sort of pared down that stuff. We certainly had an idea of what was happening, but you have a choice of … We had a very firm idea of what was happening, but it’s choice of how much of that do you … it could be where all the people in the story know the details of what has happened and there would be no reason for them to be actually talking about it so that … It becomes very … There’s a choice between being slightly ambiguous or very expositional. I think in that … out of those two, I would always go with the ambiguous route.

Did you film it chronologically?
We filmed pretty much all the plane stuff chronologically, yeah, but we did the … when we got to the teams outside the plane, it was all jumping around a little bit more … but no, yeah, all the plane stuff we filmed chronologically in about … I think it was eight days we spent in the plane. It was very, very fast, but there was something about, yeah, getting it all done in one big hit that was like … that I think helps with the kind of mild claustrophobia that he was supposed to be feeling. By the end of that eight days, I feel like me and the entire crew were ready to get off that stage and stop filming that plane.

Well, you know, what I was struck by is you have to stay in such a state of panic for the majority of that film. How do you remain in that emotional state?
Yeah, I mean, it’s definitely something that we were … I was very conscious of, with … This is a film where you sort of, ten minutes in, you are at 100%, and then, you just stay there for the rest of the film so I did … I think I was trying to find ways of taking a moment of … What is the actual lowest moment in here? Where does he fall … and then, sort of building the rest up to that point. But yeah, it was frantic, but I think there was … again, the long takes really helped that because you could just had to do it … but you had enough time to really work yourself up into a bit of a frenzy by the end of it. Yeah, I think that was really … It was helpful to be able to build up that much momentum and … rather than stopping every few minutes, which obviously, that … works — and well, I’m fine with that — but on this particular one, it was really useful.

These types of confined spaces movies, they’re a little sub-genre unto themselves, and Beast of Burden is going to be compared to films like Locke and Phone Booth and the like. Do you ever think about your films standing next to other movies?
Not particularly. I feel like that’s not something that I judge or get to affect in any way, more than I already have by making the film, so I don’t think about those things particularly. I just think, “Okay, did I enjoy making it? Am I happy with the final product, the finished article?” That’s all that matters, really, and generally, most of it is about the experience I have making it. I will say I never go back … I really, generally speaking, never go back on watch stuff that I’ve been in so the thing that affects the making of these things is the experience I had doing it and the people I met and the places I got to go. I think about things like that, I guess, really, but I definitely don’t think it’s for me to impair myself. I haven’t seen Locke, actually, but I love Phone Booth.

Oh, yeah?
I love that … I wonder if that holds up? I should watch that again. I loved it when it came out.

I literally just watched it a couple months ago. It still holds up. It’s good stuff.
Yeah? Okay, good. I remember really enjoying it. Yeah, okay, good.

You know, from my point of view, you seem like a very challenge-driven actor. I look at Swiss Army Man. I look at your recent films, Jungle and Horns, and these are … these seem like they are physical and torturous undertakings. What is driving you right now in choosing your roles?
Honestly, it’s more about “Do I think I’ll have a good time doing it?” and “Do I think it has something original to say or something interesting about it, or is it a director that I think will be really interesting to work with?” or … Yeah, it’s about all of those things, and if … or sometimes, it can be just one of those things, like I can just be … the script can be just incredibly original, or … I don’t wanna repeat myself. My job is more fun for me when I’m doing a greater variety of things. But yeah, in terms of … I think most roles should be challenging in some way or some scenes will be at least, and that … but I also have a job where the more challenging it becomes, the more fun it becomes, in theory, as well. Challenging doesn’t negate it from being something you would want to do. I think it’s … (Laughter) And it’s also because what you’re being offered at the time.

And you take the most interesting script that you have available at that moment, and often that is one that involves some … I did … When I was doing Jungle, I was like, “Yeah, I’m not gonna do something where I have to starve myself again for a while.” I had a moment on that, when I was crawling through the mud, and I was like, “I think this is the third time I’ve done this in my career and, maybe, try and avoid films with mud pits in them for a while.” That’s my M.O. in choosing scripts, at the moment, no mud pits.

Well, when you’re not on set, when you’re not in the middle of a project, where are you pulling your creative energy from? Are you a big film guy? Do you watch a lot of films? Do you read a lot of books?
I read quite a lot. I don’t actually watch a ton of films. I don’t find it particularly relaxing to watch films. I find that either I am … If it’s good, I’m jealous that I’m not in it, and if it’s bad, I just … I immediately want to stop watching it. I have no interest. I listen to a ton of podcasts, and I read quite a lot. Somebody got me the Jane Mayer “Dark Money” book for Christmas.

Oh, yeah.
And it is fantastic. If you haven’t read it already, it is … I thought it was gonna be like, “Okay, it’s gonna be a kind of journalistic dry, very informational book,” and it is … It has got a ton of … It’s very informative, but it reads like … She’s just a great writer. I’ve never read any of her stuff, but she’s a great writer so it’s incredibly compelling. So I’m reading that, and I’m listening to lots of podcasts and watching … I’m honestly watching a lot of shit on TV and watching the Winter Olympics.

Naturally.
Which is obviously … I’m enjoying that, even though … Britain got our first medal the other day. We got our bronze.

Alright. Daniel, so last question, and this is the obligatory Harry Potter question. Now, in the post-Harry world of the Potterverse, with Fantastic Beasts and it’s sequels … How do you feel about the series moving beyond your character?
I think it’s great. I don’t think that Harry belongs to me. I don’t think that world belongs to me. I loved being a part of it, and I love that I’ll always be associated with it to some extent. But that whole universe belongs to Jo Rowling and belongs to the fans of it. I think there is such a clear love of that world. That’s, I think, a sign you’ve created a truly amazing series.

People love the characters, but it’s not even about characters, especially. It’s also about spending time in that world, and I think that the fans … There is still such a longing to be in that world and find out new things about it and play in it that I think it’s fantastic that there’s … they’re doing more, that she’s writing more films, and that they’re doing more. That desire that everyone has to see it will be sated, which is … not sated, but will be … They’re gonna … They can still enjoy that series. Yeah, I think it’s great. I’m very happy for everybody involved.


source: filmschoolrejects.com

23 February 2018

Beast of Burden US release

Beast of Burden is in select theaters and on demand and Digital HD today in the US. If you are looking for the iTunes link click here. And if you want to read more about the soundtrack click here. Then there's also a new clip released via Access and a spot via Daniel's Google+ page, both are added below. Also new are two interviews: Elite Daily and Entertainment Tonight.

30 seconds spot


Access clip

22 February 2018

KSM Film acquired distribution rights to Escape from Pretoria

KSM Film has acquired the German distribution rights (theatrical and home entertainment) for Daniel's upcoming movie Escape from Pretoria at the Berlinale European Film market. For all fans in Germany who are wondering: no a release date hasn't been set yet. Filming is set to start soon.

The following photo/poster was featured with the post.

mit Daniel Radcliffe, Sam Neill
USA 2018
source: ksmfilm.de

Beast of Burden clip

A new Beast of Burden clip is released today. It's called I'm Sorry and is exclusively released via movietickets.com.


This video is also shared by danieljradcliffe.tk on Facebook.

Birth.Movies.Death interview

Birth.Movies.Death's Scott Wampler was one of the people who was invited to speak with Daniel about his new film Beast of Burden and they eventually ended up talking more about Daniel's life and interests.

Hello, Daniel. Should I call you Daniel?
Let's go with Dan!

I can roll with Dan. I'm excited to talk to you. Your reputation precedes you.
Oh?

Yeah. I'm told you're one of the good ones. 
Oh, haha. Well, that's very nice to hear! I don't ever really know what to do with compliments like that, but that's very nice of you to say. To be fair, there seems to be an incredibly low bar that actors have to pass, and I kinda think that - as a by-product of me having gotten famous when I was young - people expect me to be a raging maniac, or some kinda terrible human being. So just by being, y'know, vaguely normal and not terrible, people maybe make more of a fuss over me than they should.

How do you feel like you avoided that, by the way?
It's hard to say. I do think there's definitely something to [having filmed the Harry Potter films] in London rather than Los Angeles. Switching between the two at an early age would've been a crazy adjustment for me to make, because when you're in L.A. movies are all anyone talks about. They are the be-all, end-all of existence. I feel like I was prevented from developing that perspective by being kept in London. I was also very conscious early on of the reputation that some movie stars had, and I knew I didn't want to be that. I've also got really good parents who never would've let me be a git to people, or get away with behaving like that.

Y'know, I'm almost in awe of actors who are horrible people on set, because it's amazing to watch someone fuck up something that should be so easy. This is an open goal you should have here. In terms of enjoying your job, acting is an open goal. You come into work every day, and you just gotta do the thing and you'll have a fun time. If you want.

But people who, say, go to work in a mine every day have to work really hard to have a good time. We don't, and yet there are some actors you see on set who are actively ruining what should be a nice existence, not just for themselves but everyone around them. How is that more fun for you? How is that better, making a film while knowing that you're isolated from the crew who secretly resent you rather than just being a part of it and having a good time? I don't get it.

I won't ask you to name names, but how often do you actually encounter that?
I've been very, very lucky. I've seen what I'd consider some bad behavior, but moreover it's stuff I've heard about on other sets. It's also worth pointing out that I've been the lead on most of the [films] I've done - which I know sounds very conceited but I've just been very lucky in that sense - and that gives you the chance to set the tone. As the lead, if you're not being a dick, no one else is gonna do it ... well, I guess some people might, but on the whole, if you're cool and the director's cool and the DP is cool, no one's gonna get too [dickish]. But I've heard stories from other sets that are just insanity, people being incredibly rude to other actors or the background crew. I really rail against that stuff.

Do you ... I'm trying to think how to phrase this. You have an unbelievable amount of fame. You're known all over the world. Is your life just weird as fuck? 
Haha, well, probably. Like if we suddenly Freaky Friday'd, I'm sure we'd find each other's lives weird. I don't really find my life weird, but I also think you'd find my life weird in unexpected ways. It's probably more boring than you'd think.

The main thing I'm thinking about, the thing that happens on a daily basis, is people coming up to me on the street, or in a shop. I think other people find that weird, but I actually don't. If it happens while I'm out with a girlfriend or some friends it's weirder for them than it is for me. That's been happening to me for a very long time, and people are generally very nice. To me, that's fine, but when I'm with other people they're like, "Yeesh, I don't know how you deal with this all the time." And I say, "Well, it's really not that bad!" Someone comes up to you and says they like a film you did, then they go away. That's 90% of the interactions I have. So, like I said: other people might find my life weird, but I live it every day, and I don't mind.

Right.
To be clear, that wasn't meant to sound like a complaint!

No, no - if anything, that was the opposite of a complaint. 
Ok, cool.

Yeah, you're not coming off ungrateful, you're good. 
Ok, good!

Do you think you're a workaholic? You seem to be working constantly.
The thing about the film and TV industry is, breaks will happen. Sometimes you'll finish one job, and yeah, they're like, "OK, we need you to start this other job on Monday", and I've done that before and it's crazy. But it's more often the case that you'll work on a job and you'll work three months and then maybe you'll have a month off. So, I sorta just plan to work and know that breaks will come naturally. Like, I didn't take a vacation this year - which I should've done and which I promised my girlfriend I'd do - so this year I definitely think I'll take some time off to go somewhere and chill out. I used to not think I'd be able to do that, but I can just do nothing for a few weeks at a time now.

But also, I'm doing a job that I fucking love, and I do see a lot of value in just staying busy. I guess I do see myself as something of a workaholic, in that some of my self-worth is tied up in how much I'm working and the work I do, but I've definitely gotten better at relaxing in the past year.

That's a learned thing, y'know? Being comfortable with doing nothing.
Right! There is definitely a part of me where, if I'm having my first day off in however long, and I'm just sitting there doing nothing and I start to feel guilty, I try and remind myself that that's an unhealthy way to think. And you don't want it the other way 'round, where you're super comfortable doing nothing and then work is the chore. No, I'd definitely rather be wired this way.

Alright, this is a real hack question to ask, but I believe I'm contractually obligated to ask you what drew you to Beast of Burden.
That's a perfectly fine question to ask!

I just assume you've answered some variation on that question 500 times today. 
Well, I have, but that's my job, Scott!

OK, fair.
So, Beast of Burden. I read the script, and there was something incredibly simple and effective about it. There was this very simple story: we're taking this character from A to B, and we're seeing how much we can throw at him in the middle. I really enjoyed that aspect of it. Then I talked to the director, Jesper [Ganslandt], and I had seen one of his previous movies called The Ape, and I was like, "Whoa. This guy with this script could yield something really interesting."
That previous movie, The Ape, was about a guy who's on a Bluetooth headset all day, and there was no real script - Jesper would just direct him live, through his ear. When I read the Beast of Burden script, the character was on the phone or the radio all the time, so I was thinking he might do a similar thing here. And we kinda did! Jesper would be off-camera doing the lines to me via a walkie-talkie or whatever, and we'd do these super long takes - like, thirty minute takes - that would eat up twenty, twenty-five pages of the script. It felt somewhat like doing a thing that was somewhere in-between doing a play and a film. It was really cool.

The movie reminded me of Locke, or Buried.
Yeah! And I think that kind of thing's a real challenge for a director, as well, in terms of how you film something and edit something and keep something visually interesting when you've basically got one location for the whole thing. Jesper did a really great job with it. Y'know, I rarely watch the final [version of a film I've shot] anymore, but on this one I saw several different cuts on its way to becoming a finalized film, and it was really cool seeing how Jesper changed it [throughout that process].

(Note: At this point in the interview, the publicist hopped in to let me know I had time for one more question)

Alright, I'm guessing you can't say much about this, but I learned you're onboard Shane Carruth's next film, The Modern Ocean. Can you tell me anything about it?
No, because -

(Just then, the signal drops out. I can hear only about every seventh syllable Radcliffe says. I don't want to interrupt him, so I lay low and hope for the issue to go away. It persists, but eventually I can hear that Radcliffe has stopped talking)

I'm sorry, I didn't catch any of that, but - 
Well, I was saying that -

(Again, the signal drops out. Radcliffe speaks for another thirty seconds, but I can't make out any of it. Eventually, the line goes silent)

Damn. I'll get you next time, Shane Carruth.

source: birthmoviesdeath.com

The Daily Beast interview

The Daily Beast interview in promotion of Beast of Burden. Imperium is also mentioned.

Did you view Beast of Burden as an acting challenge, in a sense? It’s mostly you trapped in the cockpit of a plane juggling multiple conversations, sort of like an airborne Locke.  
Yeah, definitely. We shot it in sixteen days, and before we started Jesper sent me a text like, “Are you good with learning lines?” and I said, “I think so! But now that you’ve sent me this question I’m doubting that I’m good enough for whatever you’re planning!” But it was great. It was the closest thing to doing a play I’d done on film, in a weird way. Because I’m on the phones for so much of the film, and because we had so little time to shoot, we’d do twenty pages [of script] in one go and half-hour-long takes. We’d do that three or four times during the morning, then we’d change the camera position and run another section three or four times in the same way and block-shoot parts of it. All of the stuff in the plane was the first eight days of the shoot and the rest was outside.

Was it tough to act—to keep your composure—in that rattling cockpit for eight days?
[Laughs] It very quickly became my home. I was spending so much time in there and quite kind of came to enjoy it. I took two flying lessons before I did the film so I had a vague sense of how to do things or how to move things, but at the same time it was a limited amount. There was a certain amount of me pressing buttons inside the cockpit so it was like, okay, I’m going to find an internal logic in these eight days to where, when Jesper would tell me to do this, I’d go to push that button. It made sense to me, but I’m just hoping no pilots are watching and going, “What the fuck is he doing?!”

Oh, I thought it looked pretty convincing. There’s a combat drone trailing you—and really, haunting you—throughout much of the film. Did you view that as a subtle commentary on the horrors of drone warfare?
I don’t know that he’s making any kind of overarching political point with it. It wasn’t like Eye in the Sky. It’s more of a case of, OK, we’ve got this guy in the air, how much shit can we throw at him? It’s a film about going from A to B, and how much awfulness can we put this guy through along the way.

I found it to be a commentary on drone warfare, given how the drone is being controlled by a governmental agency—the DEA—and redirecting the sense of paranoia that people in other parts of the world must feel with combat drones flying over them onto an American.
It’s something that we associate with not being directed at white people normally. That’s true. That’s interesting. Another thing is, with all the stuff that’s going on about “The Wall” at the moment, we made the film about a guy who’s literally flying [drugs] over the border. We loosely based it on an article, and in it, with people who are flying drugs over the border, the plane I fly in the film is basically a jetliner compared to some of these things, which are like hang-gliders with engines on them and crazy dangerous. It’s a one-time-use thing, and they just fly them over and dump the drugs. We were making this before any of this [wall] stuff kicked into high gear, but it was definitely something that occurred to us when we were doing it.

Your character, Sean Haggerty, sees himself as a failure. It’s almost like this one (last?) crazy mission, he feels, is penance for his sins. 
With all the choices he’s made in his life, he sees himself as a complete failure and someone who’s actively screwed up situations in his life. He’s trying to make everything right by doing the only thing he thinks he can do—and the only thing he knows how to do—but it’s something that has never brought the best result for him. It’s an addict’s mentality: to do something over and over again and think something different will come of it when you’re really just grinding yourself down. He’s trying to do this for a good reason, but his lack of being able to be honest with himself—and then be honest with his wife—about what he’s actually doing means that he’s endangered everybody he loves, as well as himself, and dragged them to a much darker place than they would be otherwise.

I enjoyed your performance as an FBI agent who infiltrates a gang of white supremacists in Imperium. It must seem pretty surreal to you to see these white supremacists in America coming out of the woodwork. You filmed it in rural Virginia in September 2015, well before the neo-Nazi march on Charlottesville.
It’s been disturbing. When we were filming the KKK rally scenes in that film, we did have some people think we were a real rally. There were some rightly pissed off African-American people, and we’d all rush over to them and be like, “No, no! It’s only a film!” and were the most apologetic group of fake skinheads in the world at that moment. But we also had people drive by in trucks and honk their horns thinking we were a real rally, and it was appalling.

Yikes.
It was a really weird thing to experience because we were making a film about white supremacy so we didn’t think it had all gone away, but when it was that sort of casual, that was the thing that has been shocking. When we were making the film, we thought, “This is way more prevalent than people think but it’s still on the fringes,” and then to watch it become treated as a “legitimate” political point of view in some quarters because of how elevated some of its voices have become, it’s crazy.

It is indeed crazy. And it’s not just happening in America.
Yeah, a version of this is happening in a lot of places around the world. We all obviously focus on what’s going on in America because what’s going on in America affects everyone everywhere, but some version of it is happening everywhere. I, like most people, am particularly spellbound by what’s going on in the U.S. It’s sad, and it makes me worried. This level of division is not just going to go away when Trump goes. It’s something frighteningly, deeply ingrained. I hope it can just dissipate, but I don’t know. Any exposure to Twitter and YouTube comments and you go, “Oh my god!” It’s so hard to see these people feel less strongly about these things than they feel right now.

It’s not a good time to have a Jewish last name on Twitter. I know from experience.
Oh god. Best of luck to you with that.

I wanted to talk to you about your LGBTQ advocacy work. One of the things I’ve admired about you is that you spoke out against homophobia at a young age, and have been a strong supporter of The Trevor Project, which focuses on suicide prevention for LGBTQ youths. I’m curious how you feel Hollywood is doing as far as providing a platform for LGBTQ actors goes, as well as its overall acceptance of those who identify as LGBTQ?
It is definitely getting better. I think there’s a lot more effort being made to tell stories about different people—and about different groups of people. That’s something that can always improve, but it is something that is happening, though not as quickly as people would like. I think people are starting to think differently, when you’re writing a TV show or a film, about the perspectives that you’re choosing to right from, who you’re choosing to include in that, and handling that with care, versus just being like, “Oh, I’m a middle-aged white guy, I can easily capture the voices of these young, diverse people.” I’m explaining this badly, but I do feel like it’s getting better and we’re a good industry for that.

The thing that made me want to get involved [in LGBTQ advocacy] was less specific to the film industry and more the amount of young kids that are killing themselves around the country, and having my attention drawn to that. I’m from a family of actors and I grew up around a lot of gay people and it was never even explained to me, I don’t think—or if it was, it was in passing. It was never explained to me as being something different. It was just, “Oh, this is my parent’s friend Mark, and Mark has a boyfriend.” When you’re a kid, you’re not going to question that unless somebody tells you to question it, so I didn’t. And then I got to school, and that’s where you hear homophobic slurs being thrown around as kids experiment with swearing when they’re nine or ten, and then you get a sense of homophobia, and how prevalent it is.

Right. All too prevalent.  
Very. I’m from a fairly secular upbringing and am totally in support of anybody being religious or having religion in their life, and that’s great, but if your religion tramples on the feet and the lives of the people around you, that was something that I felt is an issue. It’s an issue in the middle of this country—in super-religious areas in the middle of America, it’s very, very hard to be young and gay. If I as Harry Potter or somebody they have watched or whatever saying “don’t worry about who you are” made any difference to anybody, then that seems like a very small thing to do on my part. The thing about The Trevor Project is that the people that man the phones and do all that on a daily basis at The Trevor Project are the people who are on the frontlines of actually saving lives. It’s something that people do mention to me occasionally as having been important to them, and whenever they do I feel incredibly honored to have been able to help in some tiny way.

Speaking of Harry Potter, you recently addressed Johnny Depp’s involvement in the Potter spinoff franchise Fantastic Beasts. What do you feel the level of responsibility should be for particularly men in Hollywood with power when it comes to casting people who have been credibly accused of things like abusive behavior toward women? It seems men, as allies, can do a lot better when it comes to standing up for the women in the industry.
There’s something happening which I think is really, really good, where people and audiences are caring about the people who make these things, and what ethical or moral code they live by. I don’t know if it’s happening because of social media, or because we know so much more about everyone now, but I do think people are going to have to start thinking about that, and hopefully it will make people think about their behavior. The meaty thing is about sexual harassment, as it should be, and that should be stamped out and wiped out of our industry—from the awful Harvey Weinstein stuff to the low-key, on-set weirdness—all of that is just crazy, and needs to go, and there’s no place for it. But there’s no place for a lot of the behavior of people in my industry.

I can only speak for my industry, but particularly with actors, actors operate with a kind of freedom on set because it’s very hard to replace them during a production if you’ve already started filming—it’s just very hard to shoot them out. If half the crewmembers acted in the way some actors act, they would be kicked off and replaced immediately. The only reason that doesn’t happen is because you’ve already shot half the movie and you’re gonna have to finish. There’s not enough incentive to stop people from behaving badly, so hopefully the general knowledge that you can’t be a shit and get away with it will make people act differently.

source: thedailybeast.com

21 February 2018

Bustle interview

Bustle's Kadeen talked with Daniel over the phone on Thursday morning in promotion of Beast of Burden. He told her that when people call his post-Harry Potter movies "weird" he has chosen to take it as a compliment.
"You kind of have to, because people have kept saying it," he says with a laugh. "I don’t ever particularly see them as weird at the time." And, he adds, he'd never do a movie if "weird" was the only thing that could be said about it. "Anything that feels like it’s weird for weird’s sake, I really don’t enjoy. Particularly like Horns and Swiss Army Man," he explains. "I think of those movies as being magical realism or absurd comedy stuff. I think that’s the cool thing about film. You can have a dead body that talks, and you can have a man that turns into a demon because it’s a movie. You don’t have to be true to reality. You can find weird, fantastical... ways of discussing an idea."
Beast of Burden: the unusual set up is what attracted him to the project
"I thought it would be a chance to do something cool in the process of how we made the film and how we did those things," Radcliffe says. "I’ll probably never make another film in that way."
He is looking for stories that he considers unique
"I feel like I’ve been getting really interesting scripts because people know I’m not closed off to that," Radcliffe says. "I think it’s a combination of looking for something I haven’t done before or that I think will be a risky kind of challenge in terms of how it gets made."
source: bustle.com

The Talks interview

Interview with Daniel by The Talks in promotion of Beast of Burden. There are also two audio segments from the interview which you can listen to below.

Mr. Radcliffe, is there a certain thrill in the moments before the cameras start rolling on a film set?
There isn’t really! You don’t ever just get that adrenaline naturally handed to you — maybe if you’re doing a stunt or if you’re doing a really pumped up scene, but it’s not in the same way that you do when you step on a stage. With movies, you’re also helped by the fact that you can do multiple takes or even very long takes, so sometimes you can work yourself into that state of frenzy or adrenaline… But normally you don’t feel that in film.

You once said that you have a kind of stillness that can be really good for certain roles — is that where it’s most useful?
I think that was something I said in regards to my earliest Harry Potter auditions, right? I never really rated myself as a child actor at all. And I still don’t, particularly! So when I look back on that, I don’t see myself feeling like I have to overact. I could have done with a bit of overacting at times probably but that was the one thing I think I can see in my young self where I’m like, “Yeah, you’re not terrible at that.” (Laughs) But stillness, I think… That’s the joy of being on film. You can be really subtle and the camera will see that. It will certainly see if you’re not doing that, as well, but it does have a way of capturing that stillness.

Do you experience that kind of stillness in your life outside of acting?
Probably not nearly as much as I should. My parents meditate, but I don’t think I can operate at that kind of chill pace. I’m not very good at just slowing down! So for me, I try to just take deep breaths, focus on my breathing… It’s funny, in Beast of Burden, I was sort of doing the opposite because one of the challenges of the film is that my character is in this perpetual state of panic, so keeping that up for the whole film… You’ve got to give yourself somewhere to go in those moments, mentally.

Kevin Kline said he feels most alive when he’s acting, that it’s like capturing lightning in a bottle.
On stage, you definitely get this great adrenaline rush because of the pure fear of stepping out in front of people… It’s so acute that I think you will always have that. When it comes doing something like a song and dance number — like, I danced at the Oscars and that was terrifying — you sort of just have to remind yourself that you know how to do this. You’ve been rehearsing, so just do it. Stop thinking about it. Those are the moments I get the most nervous about because it’s both terrifying and exciting. And the feeling of making it through every night is what’s unique to theater.

There are no second takes when you’ve got an audience.
Exactly, absolutely. And that feeling never goes away! The last thing I’m thinking every night before I go on stage is about how wrong it could all go! (Laughs) Every time I do a play, I’m like, “Ugh, why do I do this? This is so scary!” And then you start doing it and you’re like, “Oh, this is why,” because when it goes well, it’s really, really fun. 🔊And there’s something really exhilarating about overpowering those fears and getting through the entire performance and being like, “Okay, we did it. Everyone’s alive.”


Is it just as exhilarating when something does go wrong?
You know, actually, there is something incredibly powerful about the first time you are on stage when something really does go wrong and somebody forgets a line and you get like 10 seconds of utter silence on stage… It happens and then it’s over and you’re like, “Oh. We just carried on.” Maybe the audience noticed but frankly, maybe they didn’t. It’s a good thing.

Most of your previous roles have been more physical — how does these kinds of mentally grueling roles compare? Is it just as exhausting?
It is, but it’s in a different way. You certainly aren’t going home and socializing in the evenings, you know? You have to have your wits about you because it can be really long spells of concentration.

Do you think that kind of mental strength or calmness is the most important quality for an actor?
No, I don’t know if I think that! You know, I think for me in my life, the most useful thing that I aspire to be is just being as self-aware and as honest with myself as possible. I think if you’re doing that then probably everything else will follow, you know? I realized sometime in my twenties that that calmness will come if this sort of self-awareness is your natural state of being.

What do you mean?
Okay, so it probably had a lot to do with my quitting drinking and then quitting drinking for the second time, which is the time it actually stuck. 🔊Alcohol is a very quick and easy way to go about not addressing your feelings or your self or what worries you. And so, removing that made me go, “Oh, I have to actually ask and answer some questions I have about myself! What am I actually like? And what do I want to be like?” And I think I’ve got closer to finding some of that stuff in more recent years, which has been nice! I have definitely felt that I’m letting people down at times… But recently, I feel like released of a lot of the pressure of having to try to be something that I think I’m not, and that’s what I felt a lot when I was in my late teens, early twenties.


Has it gotten easier to trust yourself since then?
Yeah, I do think I’ve gotten better at trusting myself a little more but I don’t think I ever particularly had a problem with that. I always kind of went on instinct! I’m comfortable with who I am now though… And now that I’m a little older, I have more of a sense of what I want to do and what I don’t want to do. I think I’ve got firmer in my beliefs about what I want to do with my career and how I want to pick things.

So there are no regrets about the roles you’ve turned down?
If a regret is something I wish I didn’t do or that if I could go back and change it, I would… Then I don’t really have any regrets. Everything I’ve done has at the very least been something I’ve learned something very valuable from. I wouldn’t change anything. I have to say — and I’m sure, now that I’ve said this, something I’ve turned down will go on to win massive awards — but over the years, I’ve been right about the scripts I’ve turned down… So far so good.

source: the-talks.com

20 February 2018

ScreenAnarchy interview

ScreenAnarchy had the opportunity to briefly chat with Daniel regarding Beast of Burden.

ScreenAnarchy: Taking a look at your post-Potter films, you’ve played an eclectic bunch of characters, from Igor (VICTOR FRANKENSTEIN) to Allen Ginsberg (KILL YOUR DARLINGS), to a multipurpose corpse (SWISS ARMY MAN) and now even a drug mule. Have you always embraced the notion that diversity is the spice of life or did you deliberately start looking for projects that are radically different from one another to show off your range?
Daniel Radcliffe: I think when I first finished Potter, it was obviously something I had thought about and was something I wanted to show: that I could do more than just play that character but I think, actually, as I’ve gone on I have the same desires that any actor has and most actors just want to do as great a variety of work as they possibly can. That's the same for me.
I have the most fun doing my job when I’m doing a wide variety of things. So yeah, I think I am a ‘variety is the spice of life’ kind of person, certainly work-wise anyway. What is interesting is I’m really not particularly that way in my personal life. I’m a creature of habit and routine in almost everything else that I do, but in my work I’m a little more adventurous.

What are you looking for when selecting a new project and what made BEAST OF BURDEN stand out to you?
I’m looking for something that I find interesting. Just going by the test of 'I want to make things that I think I would want to watch as an audience member'. But I also never want to repeat myself. I want to find new things for myself to do, either in terms of genres or different kinds of acting challenges or styles or whatever it is. But also, as it very much was with this, I really liked the script, love this director and I thought the combination of this script and director could be something very very interesting. That was what drew me into Beast of Burden.

With the exception of the climax and a number of flashbacks, you are confined to a single location, i.e. your plane, and only interact with other actors by way of aviation communication. How do you prepare for a part in which your co-stars are not physically present? Did you have someone to react off of?
[Laughs] I don’t think it’s something that I really factored into my preparation for the film. I was very lucky that Grace Gummer was actually there on set for a huge amount of filming and was kind enough to do on camera work for me.

But yeah, it’s definitely a strange one, being in the one location the whole time, but what it also meant is we were able to film very, very long takes, which I’d never done before. We were doing 25 to 30 minute takes and it meant that after a while you really did forget that the cameras were even there and what else was going on. You just became a person reacting to whatever was being phoned at them. That was a really fun way of working.

Without giving away too much, the film sort of plays like a riff on ‘how far would you go to save a loved one?’. An important part of the film is the relationship between Sean, your character, and Jill, Grace Gummer's character. If the audience is ever to care about your mission, we sort of have to be willing to root for this couple. How do you go about building a believable relationship in a movie if you only have one or two scenes with the actress playing your girlfriend?
Yeah, those are the moments where it’s really important to know or have sort of thought about some sort of backstory, so you know for yourself what’s going on. So Grace and I had a couple of days of rehearsal where we could talk about that kind of stuff. And I think I was sort of lucky on this film ’cause she’s a fantastic actress and a lovely person and she came to set to … We both came to set with a similar mindset, which is that we were going to have to build up and sort of discover this relationship very quickly. I think we both came in with an attitude of ‘let’s just be really open with each other’. Grace is an incredibly generous actress and I hope I was the same way with her. It made it easy to kind of try and build that chemistry quite quickly.

You’re something of a risk-taker it seems because KILL YOUR DARLINGS, THE WOMAN IN BLACK, SWISS ARMY MAN, IMPERIUM, THE GAME CHANGERS, these are all films that were directed by relatively inexperienced people when it came to helming a feature length project. All of your recent films, including BEAST OF BURDEN, have been indies as opposed to big budget productions. Ever worried that such creative risks might not pay off artistically?
Well yeah, that is the worry … that the gamble won’t pay off artistically, but you’re probably not gonna get to very many interesting places without taking any risks. Swiss Army Man is a great example of something that in the wrong hands, yeah, would’ve been terrible but when you meet the Daniels, the directors, you just know immediately that these guys are gonna make something amazing.

I think when you can sense that off somebody it doesn't particularly matter if it’s a first-time or whatever it is; you just get a sense. So far I’ve been very lucky. Certainly all the first-time filmmakers I’ve worked with have been amazing and actually some of the most fantastic experiences I’ve had on set have been with first-time filmmakers. So I’m definitely not shy about working with people like that.

Of all the post-POTTER films, is there one that you feel didn’t get a fair shake? Either because it didn’t perform well at the box office or because it sort of flew below the radar.
Not particularly, but there’s still a part of me that thinks ... I did a movie called What If that was also called The F Word and I think that’s one where the trailer did it a bit a of a disservice and made it look like a very cheesy, corny romantic comedy and I don’t think it was that. That’s one where I go like ‘oh, I wish more people had seen that’ because I think it’s a lovely film.

There's some films I make like Swiss Army Man or Kill Your Darlings, to a certain extent, you know there’s a certain audience for this and you don’t expect it to particularly go beyond that, but What If is one where I was hoping that it would find a bit more of an audience. I think the change of title, which was forced because of very silly reasons in my opinion, and some of the trailer maybe didn’t do justice to it. [...] It’s a very trivial thing to think that a title could make that much difference but I actually do think that on that occasion the title does make a difference. What If is not what I would’ve chosen.

One final question about one of your upcoming projects. Is there anything at all you can tell us about GUNS AKIMBO and the character you’ll be playing in it?
[Laughs] I don’t wanna say too much about it because I’m sort of very superstitious about these things and, you know, until we’re actually on set, making it, I just don’t wanna jinx it in case it falls through, but it is looking good … Hopefully, I’m gonna get to that later this year and I’m very excited by it. It’s a crazy script that’s incredibly funny and absolutely mad. I have never done a film like it before in terms of the amount of pure action there is in it. So I’m really hoping it happens ’cause I love the script, I love the director [Deathgasm's Jason Lei Howden] [...] I'm excited about the prospect of making it and fingers crossed that you’ll hear more about that later in the year.

source: screenanarchy.com

Google+: Beast of Burden clip

A new Beast of Burden clip released via Daniel's official Google+ page. It's called Passport.


Exclusive clip! The risk is high, but the tensions are even higher. #BeastofBurden In select theaters and on demand this FRIDAY.

19 February 2018

Beast of Burden clip

A new Beast of Burden clip has been released exclusively via joblo.com. It's called Start the Car.

18 February 2018

W magazine interview (US)

W magazine's interview with Daniel in promotion of Beast of Burden which comes out in the US in one week.

Drug smuggling is a pretty bold subject. What drew you to this role?
I guess I didn’t think of it as being a movie about drug smuggling—it kind of seemed incidental to me. It was more this kind of fun, very straight line story, literally about taking a guy from A to B and seeing how much awfulness we can throw at him in between. And I did a bit of research into the interesting way Jesper Ganslandt, the director, works, which seemed like it'd continue with this one, since I’m in the plane for so long, and it did. I had earpieces in and he was directing me live, saying, like, This person’s calling, and now this person’s calling, and now we’re going back to that one… We ended up doing huge chunks of scenes at one time, like half-hour long takes. It was the most like doing a play I’ve ever done on camera, just because you were able to go for so long and cover so much of the story in one hit. I really loved working with him. And I’m definitely an expert in fake-flying a plane now.

Do you have any experience with actually flying a plane? Did you try to study up?
I did—I took two lessons, just so that I had some sense of what it was like and how much you needed to move things to make things happen, so I wasn’t looking like I was trying to race a go-kart when I was trying to fly a plane. So, yes: I flew a plane for 15 minutes. My first lesson, they just gave me the controls, and it was terrifying. It did not feel like a thing that should have happened.

Was it ever terrifying when you were filming, too?
I don’t know, man. I was about to say, I get freaked out when I have to fire guns, which is kind of true. I don’t enjoy particularly doing it on set. Even though it’s obviously just blanks, you can still do some damage with a blank, and I’m always slightly nervous about that stuff, like, How far away are the camera guys? But I'm hopefully about to do an action movie where there’s a lot of shooting, so I probably should not have said that. That’ll come back to haunt me.

It does seem like you’ve been doing a lot of action movies recently.
Does it? I can’t really think of any others, though I dunno what I would define an action movie. There’s some action in Imperium, but it was mostly in the trailer—it was more of a talky thing. I did get used as a sort of jet ski in Swiss Army Man [which stars Radcliffe as a corpse], so that’s action of a kind. But I haven’t done a proper all-out action movie yet, and that’s what I’m probably going to do next—I hope. I just finished filming [the show] Miracle Workers literally in the last few days, and I loved it—it was one of the most fun jobs I’ve ever done, so hopefully that’ll be a pleasure for people to watch. There’s also a possibility of doing some theater later this year, but I’m going to wait to see how everything shakes out. I’m very lucky—I’m at a stage in my career where I’m getting really interesting, weird, cool stuff offered a lot. I’m open to all of it, and trying to get all of it made.

Getting into the culture questions, what’s the first thing you normally read in the morning?
Probably either Deadspin or Jezebel, and all the various offshoots of that site, like Splinter. That’s where I get a lot of news.

You like Gawker!
Oh yeah, I was absolutely all over Gawker. That documentary [about Hulk Hogan's privacy lawsuit against the media group, which the billionaire Peter Thiel funded and resulted in the company's bankruptcy is one of the more terrifying documentaries I’ve seen in the last couple of years. What’s it called? I want to say "Don’t Speak," but that’s a No Doubt song.

Nobody Speak?
Yes, you know the one. And then during the football season, it’s probably the NFL website, but that’s over now, so I go straight to the news.

What TV show has been keeping you up at night?
Actually, going back to the morning, the first way I digest anything after waking up is I see what stories the Rachel Maddow Show has posted on YouTube from the night before. When I’m not in America, I miss her.

What books have you been traveling with, or are on your bedside table right now?
Probably the best book I’ve read this year—well, I was reading it for ages, because I got sidetracked—is Inferior, by a woman named Angela Saini. It’s all about how science has consistently kind of underserved and undermined women—female scientists and the female public at large—through male bias, even though it’s often not deliberate. She’s amazing at explaining how science makes it from a lab somewhere to the media and the public consciousness, and why certain studies get picked up and become influential, even if they were only done once. My friend Jesse, who's a female physicist, told me to read it, and I’d say everyone else should read it, too.

Have you always read so much about women? I love that you start off the day reading Jezebel.
I think it started with Deadspin. I started reading it in 2013 or something like that, and from there found Jezebel and then Gawker, and then when Gawker closed, by that point a lot of my favorite writers and people who I follow went over mostly to Jezebel and Deadspin, and now they’ve spread out again over a lot of the websites under that umbrella. I enjoy it—I have great admiration for newscasters and their ability to be very neutral at all times, but sometimes it's nice to read things by someone who’s going, What the hell is going on! and reacting just like the rest of us, but also doing so in a much more articulate and informative way. I spend a lot of time on those sites.

What’s the last movie you saw in theaters?
Three Billboards. That’s actually like the first time I’ve given even a relatively cool answer to that question. But the last time I tried to see a movie in theaters was in fact Geostorm, when I was filming in Atlanta, and we tried to see it at a drive-in but it was cancelled because of the weather, since fog rolled in in front of the screen. I was quite disappointed in that, because I like a big, crazy, kind of dumb action movie.

What’s the last song that you had on repeat?
I’ve been listening to a lot of an Australian band called Ball Park Music, especially their song “Struggle Street.” There's also a newer Hold Steady song I’ve been listening to a lot called “Entitlement Crew.”

It was quite a few years ago, but I know you were being bombarded with questions about rap for a while after your performance on The Tonight Show. Are they still plaguing you?
Yes. I still am getting those. It’s embarrassing, ‘cause I have a very average knowledge of rap and hip hop. I’m into it, and I like it, but my actual knowledge is very, very—I mean, I grew up listening to punk and all that kind of stuff, so that’s the stuff that I know really well. But doing “Alphabet Aerobics” definitely caused people to think I was way more knowledgeable than I am.

Last thing: What’s the last thing you do before you go to bed?
Listen to some podcast. If it’s not This American Life or Radiolab, it’s probably going to be some grizzly true crime thing. I do a lot of those—more than I should probably admit to, but I’m definitely guilty of getting into one of those. Or 10.

Does that mess with your dreams at all? I've heard that can be a bit unsettling.
You know, I don’t really have dreams. If I do, I don’t remember them. The only thing is I listen to a guy called Dan Carlin a lot, who does Hardcore History. Sometimes I just listen to it, but sometimes I have it on when I’m going to drift off at the end of the day and it sort of fires up the imagination. But the latest episode is literally about all the horrific things human beings have done to each other in the name of entertaining themselves over the years, so that’s been a very hard one to relax to.

source: wmagazine.com

17 February 2018

Mistral Gagnant: Elizabeth meets Emma Watson

Elizabeth got to meet her idol Emma Watson thanks to the Mistral Gagnant association in Brussels, Belgium which realizes the dream of sick children. She went to Leavesden studios back in March 2010 where she did also meet more Harry Potter cast members including Daniel. You find screencaps from this video, which was released two days ago, below.

Harry Potter and the Deathly Hallows:


source: mistralgagnant.be

16 February 2018

Google+: Beast of Burden clip

A Beast of Burden clip called 20 minutes, released via Daniel's official Google+ page. The film will be out in the US in one week.


Will the job get done in time?! Here's an exclusive clip for Dan's new movie #BeastofBurden. Its out in ONE WEEK! See it in select theaters and on demand February 23.

13 February 2018

A Celebration of Harry Potter

The following (behind the scenes) photos are featured in a video regarding Universal Orlando Resort's 3-day event A Celebration of Harry Potter which took place in January 2018.

Chamber of Secrets


Sorcerer's/Philosopher's Stone


Goblet of Fire


12 February 2018

Beast of Burden DVD & Blu-ray US release date

Good news for everyone in the US. There is a DVD and Blu-ray release date for Momentum Pictures' Beast of Burden. Sony Pictures Home Entertainment will distribute it and it will be available on 3rd April 2018. You can view the artwork below. There are no special features.


Synopsis (as featured on the DVD/Blu-ray):

The skies over the border of the United States and Mexico can be as dangerous and unforgiving as the desert below. Sean Haggerty (Daniel Radcliffe) has flown a route between the two countries many times with a secret cargo of heroin for a Mexican cartel. But tonight Sean isn't just a drug mule - he's a DEA informant. One more flight and the DEA gets what they want - a roadmap to take down the biggest cartel in Mexico. One more flight and Sean gets what he wants - witness protection and lifesaving surgery for his ailing wife. His plan is sound... until it isn't. Sean's wife, Jen, (Grace Gummer), is kidnapped by the cartel and the only way she makes it through the night is if Sean ditches his deal with the DEA. He's forced to fight for his life, and Jen's, all from the cockpit of his plane.

Daniel Radcliffe on This American Life

With Valentine's Day approaching Radio program This American Life aired stories about surviving the mishaps of love. In episode nr 638, Rom-Com, Daniel reads a short piece of fiction called The Present from Simon Rich’s book The Last Girlfriend on Earth. And just in case you missed the news, he is also the creator of Miracle Workers. You can download the podcast on iTunes.

Act One - Meet Cute (10 minutes). Daniel starts reading at 07:28.


source: thisamericanlife.org

10 February 2018

Actor Daniel Radcliffe on the honour of being chosen to play Harry Potter.

A new post via the official Harry Potter Instagram account.

Actor Daniel Radcliffe on the honour of being chosen to play Harry Potter.

09 February 2018

Google+: Beast of Burden behind the scenes photo

More Beast of Burden promotional photos have been released via Daniel's official Google+ page. I have added a bts photo (the only one featuring Daniel) below. You can view the rest here.

A few more publicity shots! #BeastofBurden

07 February 2018

Google+: Beast of Burden stills

More Beast of Burden stills have been released via Daniel's official Google+ page.


More key images #BeastofBurden
The Google+ link at this page is Dan's post shared via this site's Google+ page

05 February 2018

Daniel Radcliffe pays tribute to all the care staff working at St Michael's Hospice

St Michael's Hospice in Herefordshire, UK has uploaded the following video to their Facebook page.
When Daniel Radcliffe heard about the exceptional care the Herefordshire Hospice at Home team gave to his close friend's grandmother, Rachel Smith, he was so inspired that he paid this tribute to all the care staff working at St Michael's Hospice.
Thank you, Daniel, for your kind words.

This video is also shared by danieljradcliffe.tk on Facebook.

Google+: Beast of Burden stills

A set of Beast of Burden stills have been released via Daniel's official Google+ page.

Check out the key set images for #BeastofBurden #solo #flight #smuggler
The Google+ link at this page is Dan's post shared via this site's Google+ page

02 February 2018

Updated(7): Esquire Middle East magazine photoshoot

You might remember the post on Daniel's Google+ page regarding a photoshoot for Esquire Middle East magazine back in 2017. Since Wednesday we know that Daniel is on the cover of their February 2018 issue.

The magazine is out now and the cover has been revealed (also shared via Daniel's Google+ page, interview coming soon). I have added photos from the shoot below. Oh and there's this behind the scenes photo, I don't know the original source, plus this one by Dan Gregory which I did share on Facebook in 2017.

Update: 5th February 2018. Another photo. And the interview is online. I also added a few new photos below.
Update: 7th February 2018. Behind the scenes video.
Update: 19th February 2018. Another photo via nissamaya.com.
Update: 23rd February 2018. Another photo via gosee.de.
Update: 16th March 2018. Behind the scenes: Photo 1 | Photo 2.
Update: 17th March 2018. Another photo.
Update: 5th April 2018. A photo from this shoot on the cover of Esquire Czech Republic magazine.

 “I was incredibly lucky to fall into a career, and a role, where I got paid very well. I’m almost embarrassed by it, I don’t drive really so the flash car thing never happened for me. The real thing money does for me is let me not have to worry about it, which is such a massive thing for people in their lives.”
Photos:





source: esquireme.com
picture source: Robert Wunsch

Google+: A Throwback Thursday photo - Karl Simone

A 'Throwback Thursday' photo was shared on Daniel's official Google+ page yesterday. It's a photo from the photoshoot by Karl Simone for August Man Malaysia magazine back in 2016.

Exclusive! A great shot from a previous shoot with the amazing karl_simone #tbt
The Google+ link at this page is Dan's post shared via this site's Google+ page