Interview. Luc Besson talks to us about his "Dracula": "An incredible and human love story"

Why adapt Bram Stoker's Dracula ?

“The idea came about on the set of Dogman . Caleb Landry Jones and I were making a list of great characters he could play: Jesus, Napoleon, Gandhi, Frankenstein… When we mentioned Dracula, we both stopped dead in our tracks. We knew it would be him. Rereading the novel, I was struck by the absolute romanticism of this man who waits 400 years to find the love of his life. In our cynical times, this love, perhaps outdated, is incredibly powerful.”

This romanticism is accompanied by a dark and tragic, almost obsessive dimension...

“The novel is rich, exploring themes such as religion, belief, friendship, redemption, good, evil, betrayal. At the time it was written, cinema did not exist, and the first adaptations mainly exploited its fantastical side: Dracula who climbs walls, transforms into a bat, a wolf or a monster. Cinema has often distorted the love story at the heart of the story. It is this dimension that I wanted to highlight.”

Why is Caleb Landry Jones ideal for playing Dracula?

“Caleb is an exceptional actor, the best of his generation. He can't settle for small roles. A country doctor or a notary wouldn't suit him. With Dracula, with all his different faces and 400 years of history, he can fully express himself, explore, and have fun. Caleb is a complete actor. When he takes on a role, he gives it his all, for fear of doing it wrong. For five months, he was Dracula, day and night, even on Sundays. He spoke with the Romanian accent, which he had spent three months perfecting, even when ordering at a restaurant. On Dogman , he would come back to the hotel in a wheelchair, and the staff would think he was disabled. He lives his characters in total immersion.”

Do you think this total commitment is rare?

"It's rare, but not unique. I saw this with Gary Oldman on Léon in 1994. Like Caleb, he doesn't "cut off" the character at the end of the day. In the middle of a conversation, Caleb can suddenly talk about a scene that will be shot in three weeks. He remains on standby, immersed in the script, like me when I work, like a sailor in a transatlantic race, always on the alert, even in a storm."

How did you approach building the character of Dracula, particularly his accent and appearance?

“Building Dracula is like fine-tuning. For the accent, we collaborated with a Romanian theater actor, who coached Caleb. Then, we had to find his gait, his head carriage. Dracula is immortal, he has time, so he moves slowly, whether to drink, eat, or move around. For the costumes, we went with a dandy style: he likes beautiful fabrics, jewelry, classical music, like an aesthete. Patrice Garcia, with whom I worked on The Fifth Element , defined a dominant color, purple, to avoid the cliché of blood red. The film is anchored in a certain reality, without falling into excess, to avoid the gothic or the fantastical. The costumes, the castle, the character must seem credible, even if they are fictional.”

Guillaume de Tonquédec and Christoph Waltz bring a touch of humor and fantasy. How did you develop their characters?

"Guillaume de Tonquédec is an immense actor. He shares with Christoph Waltz, who speaks three languages and directs operas in Vienna, the precision and commitment to his work. Their characters, the doctor and the priest, form a counterpoint to the emotional intensity of the story. The doctor is completely off the mark, understanding nothing, while the priest knows things he shouldn't. They complement each other, providing a necessary contrast."

The horror sequences take on an almost grotesque tone. Why this choice?

"These aren't horror scenes, because it's not a horror film, but an incredible and human love story. The vampire film gimmicks—fangs, transformations—are there by obligation, but I have fun with them. The Grand Guignol aspect allows us not to take vampirism too seriously."

Why move the story from London to Paris, unlike the novel?

“England posed a logistical problem with the Channel crossing to Romania. Staying on the continent simplified travel. Above all, setting the story in Paris in 1889, during the centenary celebrations of the French Revolution, allowed for a festive setting. This creates a contrast: a drama at the heart of joy, with a vampire in a cheerful crowd. Dracula, who hasn't left his castle for 200 years, discovers modernity, which makes him almost joyful. The funfair, with its monsters and haunted house, also allows for a play on irony.”

The ball scenes, with their choreographed sequence, are striking. What role did they play in the staging?

“These scenes reflect the way Dracula tells his story to Jonathan, a little naive, who asks him to confide in him. Flattered, Dracula embellishes his past, evoking his stays in Grasse, Florence, and Versailles. These are not flashbacks, but his story, staged through dances in the courts of Europe—Spain, Russia, Austria. The choreography mixes classical movements with modern touches. We filmed at the Hôtel de la Marine, which was more practical than Versailles for the set and the extras.”

There have been many adaptations of Dracula . Which films have had an impact on you, and how do you feel about them?

“Coppola’s Dracula , starring Gary Oldman, had an impact on me 30 years ago. But I don’t work with influences in mind. What inspires me are my own experiences, my emotions. Dracula’s nostalgia and sadness, his sentimental side, resonate with what I feel. Some friends even say they recognize me in him. But also in the cold humor of the priest character.”

Luc Besson's Dracula , in theaters this Wednesday, July 30. Running time: 2 hours 9 minutes.