NEW YORK — After encountering some technical difficulties while trying to connect to a Zoom call, Hugh Grant ultimately chooses to join via phone instead.
“I apologize for that,” he remarks, adding, “Tech hell.”
Grant has never been fond of modern technology. He refers to smartphones as the “devil’s tinderbox.”
“I believe they’re detrimental to us. I absolutely dislike them,” he shares. “I sometimes take extended breaks from them, three or four days at a time. It’s wonderful.”
The theme of struggle with hellish circumstances coincidentally aligns with the premise of Grant’s new film, “Heretic.” In this thriller, two young Mormon missionaries (Chloe East, Sophie Thatcher) arrive at a door they will soon come to regret. They are greeted by Mr. Reed (Grant), a seemingly affable man who puts their beliefs to the test through theological debates, eventually leading to far darker scenarios.
Throughout his career, Grant has predominantly starred in romantic comedies, but in recent years, he has shifted to portray narcissistic characters, oddball personalities, and even murderers—often earning significant acclaim in the process. Yet, “Heretic” marks a new peak in his venture into darker roles. The actor, known for his charming stuttering in films like “Four Weddings and a Funeral” and his dance moves in “Love Actually,” now engages in unsettling actions against young individuals in a basement setting.
“It was a challenge,” Grant reflects. “I believe human beings need challenges. Climbing a mountain makes your beer taste better in the evening.”
Set to release in theaters on Friday, “Heretic” is directed by Scott Beck and Bryan Woods, the duo behind the hit film “A Quiet Place.” In Grant’s portrayal of Mr. Reed, he embodies a nefarious figure—a scholarly creep with witty monologues that extract inspiration from various sources, including, amusingly enough, Radiohead’s “Creep.”
In an interview, Grant explored his character’s nuances and his evolution from a romantic comedy star to a horror film antagonist.
When asked about the rising popularity of horror films, he stated, “It’s intriguing, isn’t it? I’m not quite sure. Perhaps we’re experiencing the end of days, a kind of apocalypse. Deep down, we may recognize it, but we seem hesitant to face it. Regardless, it’s amazing that it drives people into theaters.”
Addressing his experiences with horror cinema, he confessed, “I can’t watch them; they’re too terrifying for me. I saw “The Exorcist” too early in life, and I’ve been in therapy ever since. I mistakenly played “Midsommar” recently, thinking it was a lighthearted Swedish comedy. My wife, who’s Swedish, needed cheering up, and she’s still recovering from that choice.”
Grant expressed concern over the evident decline in people attending theaters. “This is truly a sign of the end days. One of the most disheartening signs is the gradual closing of cinemas — not only where I reside in London but also the nearby bars. The bar where I met my wife, once bustling with activity every night, has nearly shut down. The fact that we prefer to stay indoors, fixated on our ‘devil’s tinderboxes’ or streaming content by ourselves or with just a couple of family members, is genuinely tragic. Such experiences should be shared collectively.”
He explained his criteria for choosing roles, emphasizing their entertainment value. “My ability to assess what’s entertaining used to fill me with pride. In my earlier career, I always claimed, while my acting wasn’t something I was boastful about, I took pride in the entertaining choices I made. Then, overnight, that skill seemed to vanish. I lost touch with the zeitgeist, maybe. But now, I feel like I’ve rediscovered that ability.”
Grant elaborated on the shift in his career post-romantic comedies. “The turning point came after ‘Did You Hear About the Morgans?’ which signaled the conclusion of romantic comedies for me. Afterward, not much occurred in my career. I spent some time engaged in political campaigning, which I enjoyed. However, gradually, unique projects surfaced, like the Wachowski’s “Cloud Atlas” and Stephen Frears’ “Florence Foster Jenkins” and “A Very English Scandal.” Complex and often unsavory characters began to appear on my horizon.”
When asked if future roles might be more challenging to find now that he has embraced darker themes, Grant agreed, noting, “I concur.”
He was then asked whether this realization would drive him to explore even darker roles or revert to lighter ones. “That’s an excellent question, and I don’t have an answer at the moment. However, I do have something peculiar and relatively new sitting on my desk in the next room. I’m uncertain about my direction at this stage. Perhaps I could explore song and dance.”