Recently, JoBlo was invited to visit the set of Chris McKay’s Renfield, a action-comedy-horror reimagining of the classic master-servant relationship the title character has with the Prince of Darkness himself, Count Dracula (played by Nicolas Cage). While on set, a bunch of us got the chance to talk to Nicholas Hoult about playing the iconic character, working with Cage, and his own take on the classic Dracula mythos. Here’s a transcript of the group interview we got to participate in with Hoult!

So, it sounds like your character goes through quite a journey.

Yeah. Yeah, I guess. In this film, we pick up with Renfield. He’s kind of been working for Dracula for probably around 100 years, just under 100 years or so. So, the Renfield that we’ve seen in–you know, from Bram Stoker’s novels and from previous films, he’s kind of been living in his boss’s shadow in this very toxic relationship in a Devil Wears Prada way for a while, and then through the circumstance of this film kind of starts to, you know, realize that that’s not what he wanted in life, and he kind of got tricked and trapped into this relationship. And he starts to find his voice and capability to ultimately become a hero himself.

What’s your relationship to Dracula? Did you grow up watching the movies?

I–well, I didn’t really grow up watching them too much. I mean, I’ve been watching a lot of Hotel Transylvania with my little boy, so that’s probably more of the Dracula that I know. 

I mean, I’d–you know, I’d seen the–in terms of horror movies, a lot like Young Frankenstein and whichever ones were, like, big through my childhood just coming out in ’90s. Sorry, I have a terrible memory. 

Dracula Untold, the movie? 

I didn’t see Dracula Untold. Sorry. 

Bram Stoker’s Dracula? 

I’ve see Bram Stoker’s Dracula, obviously. I’ve gone back and watched a lot of them for this. But, yeah, growing up, I wouldn’t say they were a big part of my life growing up. 

But, yeah, I’ve gone back to watch and study them, and particularly like, Dwight Frye’s performance (in the 1931 Bela Lugosi version), I suppose, and trying to steal some stuff from him when possible, particularly that laugh and–

–Yes–. 

He brought–when possible to fit it in, you know, and I do my best. I’ve just–and gone back and read the book again as well, just see if there was anything in there that I–but as I said, we’d kind of joining Renfield at a very different point in his journey at the start of this film.

So, that was one thing I wanted to ask you about, was Dwight Frye’s Renfield kind of stole the show in the original Dracula.

Right, right, right.

And I was curious, what did you borrow from him? I was going to ask about the laugh, but I’m not going to make you do it if you can’t.

The laugh I have tried to squeeze in a couple of times. Whether it stays in the edit and it keeps in the cut, we’ll see.

But I was curious what you borrowed from him and what do you do make it your own, because his performance was so iconically beautiful and sad and manic.

Yeah, yeah, yeah. I think this version of Renfield is not probably as manic in this story. He’s more worn down by his lifestyle and environment and always having protect Dracula and how he treats him. 

But, yeah, the laugh, I mean, I had–you know, I’d just go back and listen audio of him. And also, I have a couple of times just taken bits of dialect from the book–or from that iteration of the film and tried to kind of weave that into this dialogue. But, again, it’s very different, because this was written–Ryan Ridley is writing in the more modern tone and voice. So, it’s a modern monster take.

How has it been working with Nicholas Cage again? NOTE – the two starred together in Gore Verbinski’s The Weather Man (a Best Movie You Never Saw fave) when Hoult was a teenager.

It’s been so fun. Yeah, we did a film when I was 14. I played his son in a movie, and then I haven’t seen him since. But I’ve been such a–I mean, obviously, a fan of everything he’s done film-wise and acting-wise, but also just particularly recently with Pig and the–and I’ve watched the trailer for The Unbearable Weight of Massive Talent.   

And the dedication he’s brought to this role and the ideas he’s got, the things he’s drawing from previous Dracula portrayals and what he’s bringing to it is really magical and powerful. And the dynamic between them I think is hopefully really working, because he’s just really passionate. He cares, and he loves acting, so he’s someone who’s dedicated, puts the time and work and wants to grow is very exciting.

Can we talk about Renfield’s diet?

I have been eating some bugs, yeah, mostly crickets. Did try some potato bugs. And dried ones that are flavored somewhat. Salt and vinegar I recommend, all these things that I never knew, which is kind of bizarre. I drew the line at, like, tarantulas and scorpions and stuff. And I was like, I don’t know if I want a–boiled and, like, shrink wrapped. And I was like, “That doesn’t seem so good.”  

But the props team are amazing. They also build–create some, like, sweet versions. So, the cockroaches are actually made of caramel. They look exactly like a cockroach but it’s just gooey caramel. So, that was nice, rather than having to eat an actual cockroach. And, like, the worms were just gummy worms. And then the earth that they were in was just like ground up chocolate. 

Like a dirty cake?

Yeah. Yeah, yeah. So, I was like this is–that was a good day. Yeah, so there has been some bug eating. And the concept behind the bug eating, and this obviously tracks back to the idea of that’s what gives–him consuming life forces was what gives him power. So, that’s kind of what gives him the edge when he’s caught in moments of peril. While having to protect Dracula, he eats a bug and gets that extra little bit of juice to be fighting. 

You can read more from our Renfield set visit here, as well as a great 1:1 interview we got with Nicolas Cage about playing Dracula in the film. Renfield’s final trailer comes out tomorrow, and you can see the film in theaters as of April 14th!

The new episode of the Test of Time video series looks back at the 1999 found footage hit The Blair Witch Project

Longtime readers of Arrow in the Head will probably remember the article series The Test of Time. Now The Test of Time has been revived as a video series, and you can check out the new episode in the embed above! With this one, we’re looking back at the 1999 hit The Blair Witch Project (watch it HERE)… and to find out whether or not we think this movie stands the test of time, all you have to do is play the video!

Written and directed by Daniel Myrick and Eduardo Sánchez, The Blair Witch Project has the following synopsis: Found video footage tells the tale of three film students who’ve traveled to a small town to collect documentary footage about the Blair Witch, a legendary local murderer. Over the course of several days, the students interview townspeople and gather clues to support the tale’s veracity. But the project takes a frightening turn when the students lose their way in the woods and begin hearing horrific noises.

The film stars Heather Donahue, Michael C. Williams, and Joshua Leonard.

The Test of Time series has the following description: We all have certain movies we love. Movies we respect without question because of either tradition, childhood love, or because they’ve always been classics. However, as time keeps ticking, do those classics still hold up? Do they remain must-see? So… the point of this series is to determine how a film holds up for a modern horror audience, to see if it stands the Test of Time.

This episode of The Test of Time was Written by Andrew Hatfield, Narrated by Niki Minter, Edited by Mike Conway, Produced by Lance Vlcek and John Fallon, and Executive Produced by Berge Garabedian.

What do you think of The Blair Witch Project? Let us know by leaving a comment below.

A couple of the previous episodes of The Test of Time can be seen below. To see more, click over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!

As part of our set visit coverage of Renfield (check out our full set visit report here) we got the honor of talking to Academy Award Winner and newfound Prince of Darkness himself, Nicolas Cage, who plays Dracula in the film.  Nicolas Cage is a legend when it comes to the land of movies and he always seemed destined to step into the cape of the vampire lord.  

During our interview we covered all the inspirations that came together in his performance and look as well as the balance of horror and comedy that Nicholas Hoult and Cage himself bring to the film.  The classics meet the current within Cage’s Dracula which has more than a bit of rock and roll to him.

I absolutely am so excited for this film. I got to see you on set performing, and you just looked amazing. I wanted to ask you first, what do you think has fascinated readers and viewers over the centuries to keep us coming back to Dracula?

Well, that’s a great question. I think it might have something to do with expressing the human condition. You can supplant one addiction for another addiction alcohol or heroin or sex with an addiction to drink blood. I think Dracula is a story of an entity who has that addiction. But how did he get there? I’ve often thought of the romantic element of Dracula’s character that is love and exile, a character that is unrequited love. And ultimately the condition turns bad as a result of the vulnerability of unrequited love. That’s my own theory as to the fascination with the Dracula character and the vampire character. I don’t think it really comes up in the movie. In the movie, I’m very much supporting Nicholas Hoult, and it’s actually quite comical, the relationship there. It’s really an examination of the Renfield character in a comedy format, which Nick plays so well. He’s so charming and witty, and I think it’s a really fresh take on a Renfield character. So I got to play off of that.

That kind of feeds into another question I had, which was the pathos of Dracula and his relationship with Renfield? Because I’ve talked to Chris and Nick in regards to the film already. And they had mentioned you have a scene where Dracula discovers Renfield’s really betrayed him, and you break, like your character’s heart is broken on screen. And I was curious about the loneliness of Dracula and that connection to Renfield, and that’s basically his one connection to another person.

Well, I think that Dracula is a character that’s been around for hundreds of years, and there is a curse, it’s the consistency to which his heart is broken again and again and again. And I think there is a well, let’s call it a perverse love there that he has for the Renfield character, which is more in the realm of toxic relationships. But there is a kind of affection there, nonetheless, as twisted as it may be. And so, yeah, his heart gets broken. I think that’s the thing, is that he’s constantly coming up against the human experience, which is to break each other’s hearts. And I’m glad you’ve picked up on that.

Well, you also brought up the comedy aspect of the film, which I can’t wait to see play out. But comedy and horror and finding the balance, because they’re two of the most extreme spots of humanity and emotion and also film. Can you talk about finding that balance within this film?

Well, it’s something that I feel lucky to have innately in my chemistry. I just see things in a humorous way. I always have, ever since I was a small child. But it just comes out that way. Not always. Sometimes I’m doing something more dramatic and it’s not amusing at all. But I try to find the humor in everything, no matter how intense it gets. And I think that’s a great life lesson for me, too. It’s a good mantra to always find the humor in it. But you’re absolutely correct. Despite that balance on camera in cinema, it’s a very tricky balance, and one wouldn’t think it, but oddly enough, the two horror and comedy go beautifully together when it’s done right. And to that, I would have to defer to our director, Chris McKay, which I feel he was always aware of that balance, and he made sure it stayed in the zone, but he didn’t want it to just be amusing. He did want there to be pathos, and he did want there to be menace.  When I saw An American Werewolf In London for the first time. For me, that Landis picture was always the model. The experience I had in the cinema, going as a young man was that was absolutely marvelous.

I went home thinking about it and how much fun I had with it, the performances of (David) Naughton and (Griffin) Dunne and all of it. But it wasn’t only funny. I mean, there were really terrifying moments. So it kind of knocks you around. You don’t know when you’re supposed to laugh or scream. And I like that feeling. It keeps you on the edge of your seat. And I think Chris was going for that.

I’m actually looking at my American Werewolf in London figure that I have on my desk right now. So one thing that I agree with you on, which is Nick Hoult and yourself, you both have a really good knack for, you can play a very serious role, switch it to being charming and funny and then turn back into, I’m going to kill you with the snap of my fingers. And I wanted to ask you about playing those two parts because it seems like Renfield and Dracula are those kind of characters where they can just snap.

Well, it’s timing. I mean, ultimately, any good comedy has to have the timing. It’s really a rhythm thing. And that’s something that’s in your body. And Nick has that. Nick Hoult has that in his body. It’s impeccable timing. He has it at his fingertips. And I just saw him in The Menu recently and called him to tell him how terrific I thought he was in that. But what was also compelling is that he can be vulnerable. And you can see him switch from very fast paced comedic repartee into genuine pain in his eyes. And I really think that’s something you’re blessed with. It’s a hard thing to learn, that kind of rhythm, that kind of timing. So I don’t really know how to articulate beyond that as to how we got there, except that I think Nick is enormously gifted in the ability in his timing.

Well, and one thing that I picked up on, and I would love to hear if I’m right, I’ve seen some images of you from the film, and I got a complete Conrad Veidt Hand of Orlok pose, Max Shrek coming out of it. But also within your Dracula, it made me so happy to see Christopher Lee and Bela Lugosi and Lon Chaney in there. Can you talk about your process to build your Dracula and what you wanted to take from these previous versions?

The process is a matter of looking at what’s been done well in the past and seeing what works and then sort of cherry picking, as it were, what flavors I want to incorporate, and then go from there and extrude out from there and fit the tone of the picture at hand, which in this case, is a comedy. So it’s more of a jumping off point to look at. Well, what was it about Christopher Lee? I like the look of his Dracula. I like the slick back hair. Well, in his case, it was a British accident. In my case, I was using more of a mid-Atlantic accent because ultimately all those read to August Coppola, my father, because he was such a powerful, charismatic aura when he would walk into any room, because of his intelligence and because of how well spoken and eloquent and his decision to speak with distinction. Because he was a professor of literature, so he made a point of speaking in this mid Atlantic accent, which I found as a child. I was like, why do you talk like that? But nonetheless, he had his reasons. And I thought, well, he’s a great model for Dracula because he kind of looks like he could be Christopher Lee’s brother, if you look at the two of them side by side.

And then also his impact on me. It was easy for me to, more than anyone else, really channel August Coppola. But then I would take whatever inspiration or influence I had from earlier versions of not Dracula, but vampirism on camera and go all the way back to Schrek. Max Schrek as Orlock I was fascinated by his minimal German expressionistic hand gestures to convey that he was disappearing or transitioning into a puff of smoke. I thought it was really beautiful, and I don’t know why I thought it was beautiful. I would say to Chris, but what is that? Is that dance? People don’t act like that anymore in movies. And I think it’s always helpful to look at the past, look at our ancestors in cinema and see what’s been done and what’s worked and what hasn’t worked and just try and play with it and then add on to it or build out from it, or take those influences and develop your own style with an homage, if you will.

I got to see the jewelry and the medallion that you wear, and I love the fact that in the medallion, it’s you as Vlad the Impaler. And I thought that was a really nice touch, and it kind of harkens back to the Coppola Bram Stoker’s Dracula as well. 

I had nothing to do with any of that. I had a magnificent wardrobe team, and they were the ones not makeup, wardrobe, they were the ones that brought in the rings and the medallions and the lower jackets and velveteen clothing and all that was them. And I don’t know why they brought that in, but I loved it right away, and I sparked to it. And then Kingsley, the makeup artist was the one that designed the fangs that we were using Lee as a model, Christopher Lee as a model, and branching out from there all the way to Lon Cheney senior in London after Midnight for the fangs. So a lot of thought went into it, but I really can’t take credit for that element. That was mostly a design that came in from makeup and wardrobe, and I was the one that was trying to find whatever I could recruit internally to fill the physical image well.

I wanted to say, I got to see a fight scene with you and the vampire hunters, and I thought the physicality you brought really were to me what Dracula would be unleashed.  You were decked out in the velvet, but you were ferocious. And I thought that was great, because that was always the thing that Lee exuded, was that brutality just underneath this veneer of civility.

Well, it was a kind of yeah, the veneer of civility is exactly right. This Eloquent Baron, or Lord or Count, speaks very well and maintains a gentlemanly feel to his social interactions. But lurking there, ready to strike, is the cobra and the panther. And so all of that animality was thought through with Brewster, who was the stunt coordinator, who was working very closely with Chris McKay. The two Chris’s. And I wanted to augment the animality of Dracula’s counterpoint to his elegance as a so-called man. But when the demon comes out, it’s all animal on strike, and the animals are like top predators, like cats and snakes.

It was amazing. But again, sir, I just wanted to thank you for all of the amazing work you’ve done from Raising Arizona and Moonstruck, all of it. I can’t wait for this film. I have a figure of you from Mandy up on my shelf next to Lee and Lugosi.

I love that, Mandy is one of my favorites. I’m so happy to hear that. Well, thank you again. I enjoyed our conversation.

Renfield hits theaters on April 14th. Check out the new trailer tomorrow!

The Resident Evil franchise’s Sienna Guillory and more have joined Kit Connor in the cast of the mystery horror film One of Us

A couple weeks ago, it was announced that Kit Connor of the hit Netflix series Heartstopper had signed on to star in the mystery horror film One of Us. Now Deadline reports that Connor is being joined in the One of Us cast by Beccy Henderson (Derry Girls), Helena Breen (Hunger), David Horovitch (House Of The Dragon), Douglas Henshall (Shetland), and Sienna Guillory, who is best known for playing the character Jill Valentine in Resident Evil: Apocalypse, Resident Evil: Afterlife, and Resident Evil: Retribution.

Described as an “allegorical film”, One of Us is the feature debut of writer/director Stefan van de Graaff. Filming begins in Belfast, Northern Ireland his month. The movie will show viewers what happens when members of a family begin dying one by one at a funeral, while Youngest (Connor) searches for the stranger in their midst.

Callum Woodhouse (The Durrells), Charlotte Hope (The Spanish Princess), Siobhan Fallon-Hogan (Rushed), and Ian Beattie (Game of Thrones) are also in the cast. Details on the characters are being kept under wraps. The fact that Connor is playing the protagonist called Youngest is really all we know.

Coming our way from the Jung School and Northern Ireland Screen, One of Us is being produced by Raquel Baldwin, with Robert Machoian co-producing and van de Graff serving as executive producer. Bianca Cline, the Marcel the Shell With Shoes On cinematographer who was recently hired to fill in for the late Halyna Hutchins on the troubled (that’s an understatement) Western production Rust when it resumes filming, is the cinematographer on this project as well.

Deadline notes that the Jung School, based in Salt Lake City, Utah, is described to us as “a collective of artists who rely on symbology, allegory, myth, metaphor, and primordial images to make their art with the purpose of healing wounds in the collective unconscious”. One Of Us is their first film production. So that’s interesting. If the movie turns out the way they’re hoping, it’s going to heal some wounds for us.

How does One of Us sound to you? Are you interested in seeing Kit Connor, Sienna Guillory, and the rest of this cast in a wound-healing mystery horror film? Let us know by leaving a comment below.