NEW YORK — After some initial challenges joining a Zoom call, Hugh Grant decides it’s easier to switch to a phone conversation. “Sorry about that,” he comments, referring to the technical difficulties. He admits to a general disdain for modern technology, calling smartphones the “devil’s tinderbox.” Grant expresses a strong aversion to them, stating, “I think they’re killing us. I hate them.” To escape their grasp, he makes a point to disconnect during vacations, enjoying several days without them: “Marvelous,” he quips.
This topic intertwines with the themes in Grant’s latest film, “Heretic.” The storyline revolves around two young Mormon missionaries (Chloe East and Sophie Thatcher) who encounter Mr. Reed, portrayed by Grant. Initially charming, Mr. Reed engages the missionaries in theological debate that escalates into darker and more menacing situations.
Having primarily starred in romantic comedies throughout his career, particularly well-loved titles from the ’90s, Grant has transitioned to portraying complex characters, including narcissists and unsettling figures. “Heretic,” a horror thriller produced by A24, showcases a significant shift in his roles, with Grant’s character embodying a layered villain—intellectual and sinister in equal measure. “It was a challenge,” Grant reflects, recognizing that the struggle inherent in such roles adds depth and satisfaction to his craft.
Directed by Scott Beck and Bryan Woods, known for “A Quiet Place,” “Heretic” features Grant’s character as an unsettling figure who employs intelligence and cultural references, even pulling from Radiohead’s “Creep.” During an interview, Grant shares insights about his character’s complexity and his own transformation from rom-com hero to horror antagonist.
When asked about his surprising Jar Jar Binks impression in the film, Grant reveals, “It’s not easy for any actor.” He continues, indicating that while he may have come up with the idea, he had not expected to harness such an impression. Grant confesses a lack of experience with the “Star Wars” franchise, admitting he has never seen the films.
Although Grant finds horror films too terrifying for his tastes, he recalls a recent misstep when he attempted to introduce his wife to “Midsommar,” mistakenly thinking it was a light-hearted film. “She’s still very, very traumatized,” he comments on her reaction.
The surge in horror film popularity is an intriguing topic for him. “Maybe these are the end of times,” Grant muses, feeling that the genre taps into a collective anxiety that often goes unaddressed, yet serves as an opportunity for audiences to gather in cinemas.
Expressing concern over the waning theatrical experience, Grant laments the closure of local cinemas and bars. “I think the fact that we’re all staying in, staring at our devil’s tinderboxes is deeply tragic,” he contemplates. He stresses that watching films should be a communal event rather than a solitary task.
Grant acknowledges that one of his guiding principles for selecting roles is whether the project will be entertaining. “I used to be very proud of it,” he reflects on his previous success in this regard, but admits it has been challenging lately. However, he feels a recent resurgence of instincts that prioritize enjoyment in the characters he chooses. “If the character amuses me and I think I’m going to enjoy being that person, then I tend to do the job,” he expresses.
In terms of pivotal moments that led to his character evolution, Grant identifies the end of romantic comedy for him as crystallized in “Did You Hear About the Morgans?” After that, he found satisfaction in smaller, more intricate projects. “These interesting, complex, often not very nice, narcissistic weirdos started to emerge from the woods,” he observes, noting the fascination in these roles compared to his earlier ones.
Furthermore, Grant reflects on his earlier career, recognizing the excellence of colleagues who crafted comedies that included elements of pain and heartbreak. “Those comedies are based on pain,” he notes, praising the nuanced storytelling skills of his collaborators, which provided richer experiences despite often presenting comical scenarios.
As he drifts into nostalgic territory, Grant shares his cherished memories of being invited to a 60th anniversary of “The Sound of Music” next year. He humorously contemplates his attire choices for the occasion, laughing at the idea of donning lederhosen or an old costume he wore portraying one of the Von Trapp children.
Regarding the evolution of his taste in entertainment over the years, he shares that his love for classic musicals has grown. He finds himself gravitating towards the works of past greats like Fred Astaire and Gene Kelly, appreciating their uplifting qualities amidst the stress of contemporary life.
When considering the rewarding shift toward more dramatic roles, Grant feels that working through complex, darker characters has had personal merits that are difficult to articulate. He reminisces about his acting journey, often feeling detached from his true self while portraying silly characters early in his career. “It’s a bit weird to have a career as a leading-man romantic comedy where I didn’t get to be anyone usual or weird,” he reflects.
Touching on his methodical approach to character preparation, Grant emphasizes the importance of deeply understanding a character’s motivations and backgrounds rather than merely rehearsing lines. This meticulous exploration includes carefully examining emotional scars and traits that shape their behaviors.
Addressing the character of Mr. Reed in “Heretic,” he explains how he drew inspiration from real-life individuals to understand the psychological makeup necessary for such a role. “It’s funny how important costume is,” he comments, sharing how certain visual elements can help him crystallize a character’s essence.
As he considers his next potential roles, Grant acknowledges it may be challenging to find a character that embodies such darkness again. “Maybe it’s song and dance,” he muses, leaving the door open to explore lighter roles after a deep dive into the shadowy facets of human behavior he articulated through Mr. Reed.