“This is not your everyday fantasy or vampire story,” declares past Oscar nominee Demian Bichir (“A Better Life”) about Showtime’s horror drama “Let the Right One In,” which concludes its ambitious limited run on December 11. For our recent webchat he adds, “we’re always hoping to find something that is three-dimensional and something that can help us expand our own limits and our own range and hopefully something that represents a risk or something that goes beyond the genre. That’s what I found here,” he says. “It’s one of the most complex and difficult characters that I have ever played.” Watch our exclusive video interview above.
“Let the Right One In” was adapted by Andrew Hinderaker from the 2004 novel by Swedish writer John Ajvide Lindqvist, which director Tomas Alfredson subsequently adapted into the acclaimed Swedish thriller of the same name (2009), followed by director Matt Reeves‘ American remake “Let Me In” in 2010. Bichir stars as tortured father Mark Kane alongside 11 year old newcomer Madison Taylor Baez as his afflicted daughter Eleanor, Tony winner Anika Noni Rose (“Caroline, or Change”) as neighbor and NYPD detective Naomi Cole and 12 year-old Ian Foreman as her troubled son Isaiah, with the cast also featuring Grace Gummer, Nick Stahl, Jacob Buster , Kevin Carroll and Emmy winner Željko Ivanek (“Damages”). The eight-episode horror drama follows Mark and his daughter Eleanor, whose lives were upended 10 years ago when Eleanor was attacked and turned into a vampire. Eleanor is tragically frozen in time, living her life in the darkness while her father does his best to provide her with the human blood she needs to stay alive. Having returned home to New York City, Mark is desperate to find a cure so that his daughter can live a normal life.
Mark struggles through each day with the weight of the world on his shoulders, always watching his back while grappling with his daughter’s life-and-death circumstances. Bichir wears so much of Mark’s weariness and despair on his face and in his posture and voice, which is contrasted against occasional moments of fleeting joy, or in flashbacks to his happy life before Eleanor’s vicious attack. “It’s part of creating a role. How is he going to talk, walk, feel, move, suffer? How is he going to do that? How will this particular human being do that? I wanted that precise thing, you know. I wanted that to be clear. I wanted to make it clear that life was divided into before and after. My daughter was infected by this virus. Life was beautiful and incredible, and we were in love, and I was about to become a rock star in the kitchen, and then everything changed. It’s this very subtle analogy that connects us with what is it like when you have an addiction at home or when you have a terminal illness at home. Everything changes and it takes everyone around you.”
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