A Talk with Dexter Fletcher :: He Directed 'Rocketman,' Saved 'Bohemian Rhapsody'

As actor/director Dexter Fletcher was in pre-production for "Rocketman," a movie musical about the life of Elton John, he was asked by the powers that be at Fox to complete "Bohemian Rhapsody." The irony did not escape Fletcher who had his own R-rated version of the Freddie Mercury story that was passed on by the studio. Now, Bryan Singer had gone AWOL and/or was fired (Google it for varying different versions of why) and Fletcher stepped in for three weeks to save the day. The film went on to make $900 million worldwide.

Born in England, Fletcher began his career playing the role of Babyface in Alan Parker's "Bugsy Malone" at the age of nine. He was a child actor appearing in prestige pictures like "The Elephant Man" and "The Long Good Friday," before graduating to grown up roles on TV ("Band of Brothers," "The Virgin Queen") and onscreen ("Lock Stock and Two Smoking Barrels," "Layer Cake," Ken Russell's "Gothic"). And along the journey starred as the young titular artist in Derek Jarman's "Caravaggio." To date he has amassed over 100 acting credits.

In 2012, Fletcher made his feature directorial debut with "Wild Bill" starring Andy Serkis. "Sunshine on Leith" (in 2013) and "Eddie the Eagle" (2016) followed, the latter starred Taron Egerton ("The Kingsman") as British skier Michael Edwards.

Shortly thereafter, he had high hopes of directing "Bohemian Rhapsody," a gritty version of Queen's lead singer's life, written by "The Road" screenwriter, Joe Penhall. It did not happen. But he did save the day.

And he also got to make his version of a musical biopic about one of the most celebrated queer artists of our time. Elton John.

Written by Lee Hall ("Billy Elliot"), the musical fantasia features an extraordinary turn by Taron Egerton as John, a performance that is less impersonation and more embodiment meets actor-creation.

"Rocketman" is the antithesis of "Bohemian Rhapsody." It doesn't sanitize the superstar's life nor does it present a clich�-ridden representation of his family life. And, most significantly, it allows the icon to actually have intimate moments with a member of the same sex, the character John Reid ("Game of Thrones'" Richard Madden) who became Elton's manager and lover.

But the real love story in the film is a platonic one between composer Elton John and lyricist Bernie Taupin (a fantastic Jamie Bell).

EDGE spoke with Fletcher a few days after "Rocketman's" opening.

Something Unique

EDGE: The best films, regardless of subject matter, feel personal and have a unique, distinct look and feel to them. That's what I felt watching "Rocketman."

Dexter Fletcher: That's great. Lovely, thank you.

EDGE: Can you tell me a bit about how you achieved that.

Dexter Fletcher: I try to choose projects I think I can relate to and connect to personally and I feel like there's a good message in there. And there's a great opportunity to do something different. I kind of rely on the fact that if you take it on and put your heart and soul into it, that kind of gives it it's own distinction in that way. I've not been involved in a big machine franchise, which I know could probably iron out some people's visions. But I absolutely want to choose projects and get involved with things that I'm really excited about and feel there's a voice I can bring to it. That certainly applied with "Rocket Man" more so than any film I made before apart from my first film ("Wild Bill"), which I wrote.

EDGE: And Taron, who you previously worked with...

Dexter Fletcher: Working with Taron again was really exciting for me. He's so committed and so involved. It's so fantastic what he's doing. And to be a part of that and be around that and have my hand on the tiller for this film was an extremely exciting experience every day.

Frank Sexuality

EDGE: I really appreciated your frank exploration of John's sexuality. Did you need to fight to include that?

Dexter Fletcher: I didn't have to fight because it was always very clear in the script and Matthew Vaughn, the producer, and I always spoke right from the outset – and David Furnish – with the studio that this was an R-rated film and there would be love scenes in it. They were in the script. So I don't think it was a shock or surprise to anyone when the dailies started coming in and people were watching the rushes or when I put the edit together...sure it's not a biopic per se, but this is about a man's life, and about his memories and his emotions and his feelings – trying to unpack who he is and why he's the person he is and the condition he's in. This was intrinsic in that, same as the relationship with his mother and father and his grandmother and his first love. These things are all super pertinent and important.

EDGE: Was there ever more you wanted to include but didn't?

Dexter Fletcher: There is a longer version of the love scene that was cut. The first cut was two hours and forty minutes long. Certain things have to be shortened. And some scenes go but that was a scene that was never ever going to go because it's so pivotal; it's such an important milestone in Elton's life. He's been looking for love and everyone around him is finding it. And it's his moment where he finds it. And it's beautiful and special. And there's the tragedy that it doesn't work out. So it could never not be there. The fact is, he was with John Reid and it was a same-sex relationship. That wasn't an issue for us... if people have issues with it, it has to be their issue, not ours. I tackled it the way I'd tackle any kind of love scene. I didn't want to overplay it. I didn't want to underplay it.

About 'Bohemian Rhapsody'

EDGE: I know you're probably tired of answering "Bohemian Rhapsody" questions...

Dexter Fletcher: Yeah!

EDGE: I just have one. I know you had your own version, written by Joe Penhall. How did it differ?

Dexter Fletcher: (long pause) No one's asked me that. It was a little darker. Darker, yeah... I would rather have made a more R-rated version, I suppose, something that dug even deeper on certain issues. But that's not what was required. The thing with "Bohemian Rhapsody" is that Freddie's not around to defend himself... so the film is made by people who knew him and loved him and protect his legacy in the way that they feel is right... Elton is around and he can defend any choices that are made in "Rocketman." If things feel like they go too far or are exploitative or they're unnecessary, Elton can answer to that if someone asks him. Whereas Freddie doesn't have that luxury because unfortunately he's no longer with us. But that's my desire as a filmmaker to present something darker – darker, I don't know if that's the right word, to be honest – to just get under the skin of it. These things happen with movies all the time.

His Three Hamlets

EDGE: Can you speak to casting Taron and Jamie and Richard and whether they were your first choices?

Dexter Fletcher: Taron was. The producer was directing Taron and Elton together and he said the idea is Taron playing Elton, and I said, okay, I'm in. That's great. Jamie was certainly on the short list of the people I wanted to talk to about Bernie. We had a very long Skype call after he read the script. That came together quickly. Finding John Reid was a bit more tricky until Richard came to see us... I got him together with Taron and myself and I just knew Richard was the guy. You could just tell. He just oozed this effortless sex appeal. And was very urbane and sort of still waters running deep.

I like to call them my three Hamlets. They can all do Hamlet but in very different ways. That's what I wanted, this explosive but grounded mix of three really fantastic personalities and actors.

EDGE: So how does a straight man capture the gay sensibility so well?

Dexter Fletcher: I... don't know... I have friends who are gay and I speak to them about their experience... I just want it to be honest and truthful. It's really not an issue... I was fortunate to work with Derek Jarman when I was 19 years old on "Caravaggio" and that was one of the most creative, fantastic, fun, enlightening experiences of my young life. I loved that whole environment. I loved him. I loved the people who were around him.