Travis Fimmel Never Thought He Was Playing the Bad Guy

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As an actor who has spent years delving into the complexities of various characters, I must say that playing Desmond in this adaptation of Dune has been nothing short of exhilarating. The character’s journey from a lowly soldier to a puppet master pulling the strings of the entire empire is reminiscent of the meteoric rise some of us actors experience when we land that one big role.

In the complex world of “Dune: Prophecy”, there’s no clear distinction between good and evil characters. Instead, it presents an intricate web where even seemingly virtuous individuals can commit heinous acts. For instance, Desmond Hart, a soldier newly back from Arrakis with peculiar abilities, by the end of the first episode, uses these powers to burn both a Bene Gesserit truthsayer and a child betrothed to Emperor Javicco Corrino’s daughter Ynez. However, as the season concludes, we discover Desmond is the originator of a virus powered by thinking machines that’s spreading among the Bene Gesserit. To add to this complexity, it’s revealed he’s the secret son of Olivia Williams’s Tula, with whom he has a heartfelt reunion before her arrest. This rapid succession of revelations might be disorienting, but Travis Fimmel‘s compelling portrayal of Desmond as a champion for the oppressed masses infuses him with both menace and empathy, making his character more nuanced.

Intriguingly, Desmond was a somewhat enigmatic figure whose mysteries might have been partially unraveled by the end of the series, but not entirely. Before taking on this role, how much about the character were you aware? Did you know where the storyline was heading?

To generate an unsettling presence without uttering a word, one approach could be to minimize dialogue. [Laughs.] I believe that talking more reveals more of yourself, making it easier for others to form judgments. Secondly, I relish portraying characters who leave people guessing about their thoughts or lead them astray – making them question if they’re on the right path while giving the impression that I’m thinking one thing when I might not be. The silent figure in any given setting – whether it’s a group of tough guys or a big business meeting – is the most intimidating. It’s as if to say, “What on earth is he?” The least talkative individuals are often the ones to cause concern.

In the initial episode, Desmond appears to commit a grave act by killing a child, an action that may seem irredeemable for any character. However, by the season finale, after we’ve delved into his backstory and understood his motivations, Desmond emerges as one of the most compassionate characters on the show. Given your past experience in a similar situation, I imagine you had reservations about potentially alienating the audience with such a controversial action. Yet, in this case, the stakes are incredibly high, and Desmond’s intentions are so extreme that they involve sacrificing one individual to save many others. Moreover, his pain mirrors the pain he inflicts, making it a deeply personal struggle for him.

As Desmond navigates his journey, we witness his transformation from a humble soldier to a figure with significant influence over the empire’s affairs. It seems he is both seizing opportunities as they arise and executing a well-thought-out strategy. This character embodies the working class and challenges the materialistic world that he infiltrates, often overshadowed by the elite who forget about the common people and the rural population, those who truly keep the universe or country running. The narrative aims to portray the disenchanted voices who question the direction of the world and its leadership, shedding light on the motivations behind political choices.

When portraying Desmond’s violence, which can be triggered indirectly or through his psychic abilities to harm others, does the creative process differ compared to using physical weapons like guns or swords? To put it another way, is the method of depicting such psychological violence similar to a swift, immediate act with a weapon, or does it require a more drawn-out, intense approach?

In the second-to-last episode, when Desmond finally gets the chance to break into Mikaela’s bar, he appears quite excited, as if he had been anticipating this moment. From his perspective, Desmond feels less like a lone soldier and more like someone who has earned respect. He felt validated, like he was appreciated for who he is, not just as a tool to be used. This newfound confidence sometimes allowed him to playfully challenge Mikaela’s authority in that scene, as she was clearly a strong woman. In his actions, Desmond was trying to inject some fun and mischief into the situation, coming from a playful, childlike place.

Desmond often appears as if he’s still in a state of innocence reminiscent of childhood.

How would Desmond likely feel when he recognizes Olivia Williams in the finale’s final scene, and must make a decision regarding her? It seems like an overwhelming moment for him. Though he might have imagined himself being filled with rage upon encountering his mother, the truth is, he’s still a child at heart. All he desires is affection. I can hardly wait to perform scenes with her and delve deeper into their complex relationship.

Are there any specific aspects of his past that you’re eagerly anticipating for future explorations in the series? For myself, I’m really interested in delving deeper into the everyday lives of people in the Dune universe, as much of it has been portrayed as the realm of the higher classes. I’d find it fascinating to see a township, city, or common folk’s community.

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2024-12-23 19:54