奥斯汀·巴特勒（Austin Butler）可以感觉到他的职业生涯朝着一个新的，令人兴奋的方向发展。

曾经是迪士尼频道的常客，尼克（Nickelodeon）和CW曾经是一名常规赛，他有望成为成熟的电影明星。他的描绘是史诗般的Elvis Presley— even doing some of his own singing and guitar playing — in Baz Luhrmann’s big, sprawling biopic“猫王，”他已经排队了下一个项目，加入了“沙丘：第二部分”的星光熠熠的演员。

After the movie’s world premiere at the Cannes Film Festival in France, “Elvis” drew a 12-minute standing ovation, among the longest on record in the 75-year history of the event. In a video chat with The Chronicle, Butler said “Cannes was one of the most magical nights of my life. Suddenly, you have those moments where this is all about cinema.”

这部电影还主演奥利维亚·迪恩格（Olivia Dejonge）(“The Staircase”)as Priscilla Presley and Bay Area native Tom Hanks(“Finch”)作为Presley的Mercurial经理，汤姆·帕克上校。

Butler spoke from Memphis, Elvis’ adopted hometown, where several events related to the film were scheduled near Presley’s estate, Graceland. In reference to being in the city, the actor said, “I can feel the spirit of the man.”

这次对话已被编辑，以进行长度和清晰度。

评论：奥斯汀·巴特勒（Austin Butler）会让您相信他在巴兹·卢曼（Baz Luhrmann）令人振奋的新电影中的“猫王”

Q:我敢肯定，您看了无数小时的镜头来为这个角色做准备，但是您在孟菲斯花了很多时间吗？

A:巴兹邀请我和他一起旅行大约一个月后，我们在这里进行了公路旅行。我们从纳什维尔（Nashville）开车 - 我们在RCA录制的那儿，猫王录制了很多歌曲 - 然后我们开车去了图佩洛（Miss。然后，我们开车去了孟菲斯，然后我第一次见到Priscilla，然后才走进Graceland。

Q: No pressure there, right? You had to have been somewhat nervous.

A:It was one of those moments where things shift, because it really humanizes the whole man.I was very nervous and very excited to meet her. She has the most mesmerizing eyes. And you look in her eyes and you realize — it struck me immediately — how all those years ago, Elvis looked into these same eyes and fell in love. She loves him to this day. She’s the mother of his only child. It was just so profound.

Q:我们的流行文化中的猫王已经变成了漫画。每个人都有不好的猫王印象，戴上了猫王太阳镜以及他后来几年穿着的令人发指的服装。您要在漫画下挖掘并找到真实的人有多大的挑战？

A:It was all about stripping away the caricature and the icon. People have all these misconceptions about him, and they think he sounds a certain way or think he does a certain thing with his face. It’s not real. I was just so fascinated by this man — who was just a boy who was dirt-poor and loved his mother so much — and has this drive to take care of his mom and dad, and there’s a void from losing his twin brother — his other half — when he was born. He’s a miracle in his mom’s eyes because he was born after the deepest grief she’d ever felt.

He shoots to stardom in a way that nobody ever had before. What does it feel like for that very sensitive human to experience that and then be in an empty room at the end of the day? What are those private moments? That’s what I was endlessly fascinated by. Trying to see things through his eyes.

Q: Was there a moment that unlocked Elvis for you?

A:因此，这全都是为我个性化。他的人性有关键。他23岁那年就失去了妈妈。当我听到那时，我感到寒意，因为那是我妈妈去世时我的年龄。突然，那一刻，他不是猫王的图标。他是猫王，这个年轻人比世界上任何东西都更爱他的母亲，失去了她。

我确切地知道这种感觉。

Q:You have been directed by Quentin Tarantino (as Manson family member Tex in“Once Upon a Time in Hollywood”）现在有两位非常独特的视觉造型师巴兹·卢曼（Baz Luhrmann），有些人会说这是一个非常重要的。您可以对比并比较两者吗？

A:The similarity between the two of them is the amount of preparation and research and knowledge that they have around whatever they’re exploring. They’re different in the fact that Quentin, by the time that he’s got his script and you’re on set, he’s seen the whole film in his mind. He’s crafted the dialogue in such a way that if you change one word it may throw the whole rhythm of the scene off. So he’s very specific about rhythm. It reminds me a lot of Eugene O’Neill or Shakespeare, where you can sort of ride the rhythm of his text.

The thing with Baz is he’s the closest thing to a jazz musician that I’ve ever seen in a director. In order to play jazz, you have to know music theory inside and out. You have to know your scales like no other musician. Then when you’re there making the music onstage, you’re responding to a stimulus that’s right in front of you. And things may change, and it’s very improvisational. That’s how he is: You do tons of homework, and then when you’re on set, everything may change.

You may have prepared something for a year and a half, and suddenly he says, “I rewrote the whole scene this morning.” Or: “I want you to sing a song you’ve never prepared for.” At first, that’s really scary, but then it became incredibly liberating. I could trust in his process, because he creates this environment of where you feel very free to push yourself right to the edge of what you feel is possible.

I owe him so much for that.

“Elvis”(PG-13) opens in theaters Friday, June 24.