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Tom Hardy was going to play the part, until too much time passed, Hardy got too old, and the pesky detail that Hardy could not, in fact, sing became too glaring to ignore. The Kingsman movies and Robin Hood star was just 18 when John first started developing a film about his life. Taron Egerton shouldn’t have been this good in the movie. I’ve had that.’”īeing feted by major awards organizations for Rocketman should liven up the mourning. “When you get to the end of your teens, you’re not like, ‘That’s the end of my teens!’ You’re like, ‘Yeah! Here come my twenties!’ But at the end of your twenties, you sort of go, ‘Oh fuck. “It’s the first milestone where you feel like you’ve lost something,” he says. There’s a bit of a wince when he jokes about “the big, scary birthday” and turning 30. It’s feeling a little sugar-coated-although it was already pretty sugar-coated at the time.” “It’s been six months but I’m already a little nostalgic. “Memories mature like wine, don’t they?” he says.
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He has more insight into the scrutiny and, ultimately, celebration the film received from the gay community, the impact it had on addicts and those in recovery, and how the experience of making the movie and channeling Elton has shaped him. He enjoys talking about the experience now, with enough remove from the cannon-blast of press when the film premiered. “Fucking hell, if we were doing the same thing, that would have been a miserable film to come after, because it was such a behemoth.” Egerton is thankful that his film’s approach to Elton John’s life stood in such stark relief to last year’s Oscar winner’s approach to Queen frontman Freddie Mercury. Then there’s the specter of Bohemian Rhapsodyto talk through. When factoring in rehearsals, filming, recording the soundtrack at Abbey Road, and spending time living with and getting to know the icon and his husband, David Furnish, the last three years of Egerton’s life have been spent in the headspace of Elton John. Rocketman, the “musical fantasy,” as it was billed, about Elton John’s early career and struggles with addiction and sexuality, premiered at the Cannes Film Festival in May-which might as well have been last century in award voters’ recency-biased minds.