Taron Egerton shines as Rocketman

Taron Egerton, who stars in the Elton John biopic Rocketman, says there are elements of fantasy in this film that set it apart from other biopics. He says, "The mandate was always that this wouldn't be a straight out-and-out biopic; that it would lead into elements of fantasy. The movie begins with Elton entering rehab. For me personally, that was what I found exciting, because I think that someone who's so universally-known, to see them in such an intimate, vulnerable situation is quite unusual. What happens [in the movie] is that Elton recounts his life through rehab, and we learn his story from being a young child and going to the Royal Academy of Music all the way up to the point where he has to go to rehab. And [the fact we show that] says something about Elton and how candid and resilient he is."
Egerton chats further about the film and his relationship with Elton John:
All of us have an image of Elton John in our head, and the lyrics of Bernie Taupin. How do you tackle portraying that kind of musical legacy?
I mean, yeah, it's terrifying. And because this is a musical and because it's a fantasy, it was always a prerequisite that the actors sing. We were lucky in the sense that Elton and David [Furnish] are very close to the project. And Elton has been fantastic, frankly, in letting me be a part of his life for the past couple of years and befriending me, which has made the whole thing feel very personal and very real.
How would you describe Elton and Bernie's relationship?
One of the unique things about Elton is that he doesn't write lyrics - he confesses that it's not his strong suit. And Elton is quite an unusual animal because he's changed so much over his life. He started out as someone quite shy and naive and innocent. He's told me some stories about him as a young man that kind of defied belief knowing him because he's no shrinking violet now. And one of the big catalysts for change in Elton's life was his relationship with Bernie.
The first time I asked him about his relationship with Bernie, Elton said: 'Aside from what happened creatively, he's the brother I never had.' I think they kind of fell in love a little bit, as creative partners. He completed him.
And then they changed music, and that's sort of wonderful because they're two working class lads from different backgrounds who came together and there was just this synergy.
Taron, what can you tell us about becoming Elton?
Weirdly, although I know I'm perhaps blessed with a fairly youthful face - that has got me turned away from pubs at 29 - I found the stuff where I played him older, easier. And I think that's because all the time I've spent with Elton has been with older Elton. I haven't spent any time with 21-year-old Elton. There is footage [of him at that age], but it's interesting because people portray such a [different] version of themselves on camera. For me, it all came from the first time I sat down with him and we had curry together. I went over and had a takeaway curry at his house and we just talked for about two-and-a-half hours.
It's such a hard thing to describe. When you're given the honour of playing one of the most adored and famous people in the world, there's such a weight of responsibility that comes with it. And then when you meet them and connect with them genuinely, it just feels like one of the most important things I've ever done.
How about your physical transformation? How did you achieve that?
There's an element of getting to look as much like him as you can, which is very helpful. And I found it easier the older I got. There are four rough stages of Elton [in the movie]. The first one being his kind of teenage bowl cut, chunky Buddy Holly glasses. Then into the long hair, early twenties stuff where we're in LA. And then the hair starts to go. So, for the third look I shaved my hairline up higher than it already is, by a couple of inches. And then, for the fourth and final look, I have a bald cap where I've essentially just got a few wisps [of hair] left.
And there's something about completely changing the way you look that really conditions how you feel and move. At some point in his mid-to-late twenties, things started to get a little bit out of control and unravelled a little bit for him. And [it helped] putting a slight gap in my teeth and changing my hair because it didn't help me feel very much like me. So, I created this sort of hybrid of me and him.
Getting to know him, there are some parallels between me and Elton. I mean, I'm not a genius, but in the sense of some of the neuroses and insecurities. I recognised some of my emotional volatility. I'm someone who has very extreme and acute reactions to things. And that is certainly who Elton was. It's just about dialling up those things in yourself and dialling other things down.
You have Elton and Bernie's blessing on the film. But does that bring more pressure, in a way?
Elton has been phenomenally encouraging. Throughout the process, alongside filming we were in studio a lot in Abbey Road, recording tracks. I would get the rough mixes and send them to him. On the music, I really needed to hear from him that he was okay with what was happening. And he was and that was amazing. He's heard a lot of the music and he's really pleased.
I always felt, very keenly, that it's no secret that Elton has his ups and downs. And for me, what was most important was that we were true to that because that's who he is - and, frankly, that's why we love him. So, I felt very much when we were on set that I wanted to push it, because I knew the one person who wouldn't mind me doing that was Elton, because he's not precious. He knows where his strengths and weaknesses lie and he's very at peace with who he is. And he's been through a hell of a lot. He's been through recovery. He is settled and solid and knows who he is and he's frank and candid about it. So, I always wanted it to be that duality between this sweet, incredibly caring and generous person who just has this intense artistic sensibility and volatility. I believe that that is hand in hand with his creative genius. To not honour it felt incorrect.
So, it's fair to say that this movie isn't shying away from anything?
Well, part of the journey you're going through in rehabilitation is that you have to confront all the mistakes and wrong turns you've made and be at peace with who you are and learn to love yourself again. And you can't do that unless you love all aspects of who you are. And it's that process that is the prism through which we see his life [in Rocketman].
This is not a movie that glamorises drug use. Elton's relationship with certain substances was extremely corrosive and bad for his health and nearly cost him everything. And that was an important part of the story for me; the balance is in also making it something that is joyous and celebratory.
Elton John has always been larger than life. Did your performance have to be larger than life too?
If you've got it, flaunt it. Particularly when it came to the stage performances in the film, it felt like it needed that kind of swagger, that kind of explosive quality Elton has. And we worked with this incredible costume designer, Julian Day. The costumes are unbelievable.
Also, what I found enjoyable were the scenes where I'm not wearing very much at all, like hot pants. It was very liberating. I spend a lot of my life not in the world's best shape. And, you know, Elton has had his ups and downs, too. But there's something very, very freeing about just going, 'F**k it. I'm gonna just love it and have fun and embrace it.' There's was nothing Julian could put in front of me that I felt squeamish or sheepish about. Elton is someone who has pushed the envelope in so many ways, to the edge. Elton has pushed aspects of his life to the point of oblivion. And that's what this film needed to be.
 
Interview courtesy Rosa Gamazo and FOUR STAR FILMS