All of this is told to a reporter in modern times, in keeping with the key frame that had Christian Slater listening to a sane Brad Pitt in the Jordan movie. In this case it is Eric Bogosian‘s sharp and seasoned reporter Daniel Molloy, who first interviewed Louis almost 50 years ago. Now Louis is keen to share more of the truth about his life as he reveals to Molloy his hard-earned life reflections as they sit across from each other in a Dubai skyscraper.
In a too-gradual build of tension, Molloy doesn’t hesitate to push back at things his murderous host says, or to ask for more, like torn pages from Claudia’s journals (a furious Louis says she doesn’t want her taken advantage of) . Since their conversation takes place in the Dubai skyscraper, it sometimes provides a voice-over for the flashback, which can be too close. In one particularly eye-rolling moment, Molloy’s off-screen voice chimes in with a truly record-breaking moment: “Take a black man in America, make him a vampire, f**k that vampire and see what comes out of the .”
Anderson can be a compelling screen presence, especially as he charts the psychological experience of his vampirism from decades and decades ago. He established a certain moral limit to killing – leading him to enjoy fish, rabbits and other animals instead of human food. It all comes with larger, fascinating ideas about identity, a framework for his understanding of himself as a gay man in such relatively conservative times. Throughout, Louis was someone who wanted to stay connected to his family, his community, “his people” as he repeats.
But vampire acting can be a tough game with brooding moods, which this series even notes when Lestat, Louis, and Claudia go to see “Nosferatu” and later laughs at a vampire’s stiff, jagged, grinning body and slow-moving claw. Of course, we get a more human-inspired version here than it tells, and yet the earnest self-seriousness here makes for progressively flat performances of its own. And while oneAll of the seething anger and fighting between our vampires has to go somewhere, it comes out from Louis and Lestat in sometimes overly melodramatic bursts of screaming dialogue. The strings swell behind them, sometimes the sets are destroyed, and both Anderson and Reid show all their teeth as actors. “Interview with the Vampire” jumps on this whenever it can, revealing how the series can only break its growing monotony with either flashy dramatic displays or (albeit dizzying) moments of gory violence, like a turbo-vampire punch that impales someone’s face.