The director of In Bruges and Seven Psychopaths talks about his film and theatre work…
In Brugesis a film that unites a lot of people.
I knew it was a more sprawling, more insane structure than the simple.
But I never think even about writing in that three act thing, that Robert McKee bullshit.
It should feel more organic and natural than that.
This, I dont even know if it does have three acts, or how many acts.
It feels like it doesnt matter here.
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Yeah, yeah.
Still staying somehow within the conventions of a genre movie.
Were not going to do that any more, were going to talk about our feelings!
It almost turns at Woody Harrelson in a hospital room.
Hes great in this, too.
…but the control in his performance is magnetic.
Its like oh fuck, what kind of film are we in now sort of thing.
I like that your violence is real, too.
That if youre going to show a bullet on screen, show what a bullet actually does.
Thats for me, too.
Im never about gratuity or the fun of violence.
Real pain, as violence is.
Apart from the exploding heads, but you know thats not the rest of the films truth.
Its about showing how nasty and horrible violence is.
It sounds pretentious, but where does it come from?
Your brothers film,The Guard,is also really well written.
Whats the source of it all?
For me, Im not sure.
One of them that springs to mind is storytelling.
The idea to start telling you something, and you be intrigued by where its going to go next.
To maybe develop the skill to take that to an interesting place thats going to surprise both of us.
A love of cinema is whats prompted these two films, and my brothers one for sure.
We both loved the same films growing up.
I guess evenIn Bruges,its two hitman, so you think its going to be that.
In Brugesis quite melancholy at the start.
You must get a lot of people complimenting you onIn Bruges!
It was written just after the script forIn Brugeswas written, but before I had madeIn Bruges.
What changed in the gestation of it?
How did the screenplay evolve?
Im guessing it wasnt a case of just picking up the script from a few years ago?
No, it was.
I dont know Los Angeles, so I had to find the spots, in a very easygoing way.
But it wasnt about restructuring or tailoring for actors at all.
It was all just about tightening.
Its still a travesty that he didnt get an Oscar nomination forMoon.
His body of work is probably better than any actor of his generation.
Moonhinged on Rockwell holding the screen.
Had Tom Hanks delivered that performance in that role, he would have won an Oscar.
But then well always remember.
Sams films are going to stay with us for a long time.
[Laughs] Its one of my favourites.
The sheer glee, and subtle tonal shifts of his performance.
You say you didnt change the script or adapt it to actors.
So how did you as a director come to a performance like that?
I went round to his girlfriends house in Los Angeles.
He was there on his own, but we rehearsed it in the kitchen.
I was pissing myself laughing.
The shoot out is funny and silly, but its irrelevant.
Sams performance is the most important thing.
I always have a couple of weeks rehearsal at least before shooting.
Its more about discussing with the actor who the character is, where he is.
During that time we know where to pitch it.
On the day, its not about reining something in.
Especially a scene like that.
Its written to be like that.
And the joy of it for Sam as well is theres no such thing as over the top there.
Just watching it on the monitor while he was doing it, Christopher and Colin were behind laughing.
Hopefully itll make it to the gag reel.
He can see how ridiculous the whole thing is.
The joy of it is Colins character especially is supposed to be ridiculous and insane.
The truth of Sams playing is hes not playing it ridiculous, but its a ridiculous ending.
It was important always, the whole meta thing is something you have to be careful about.
Not being so tongue in cheek.
We havent tried to be tongue in cheek.
Avoiding youre smug, or feeling that youre smarter than your audience.
Theres a line between feeling that youre smarter, and treating your audience as intelligent.
There are certain lines where we went does this go too far?
Christophers line about your women characters are awful is almost breaking the fourth wall.
Thats the one criticism of movies you make inSeven Psychopathsthat probably stings your own film a bit, though.
He could be describing your movie.
Even that, as meta and outside of the film, it does work truthfully.
Thats what Christophers character would say in reading that script in the film.
So that was probably the one place where its trickiest.
That were all in on the joke.
Why did you press ahead with this?
My agents, I wont hear about any offers or options.
I just wont hear it.
I wont work on anyones elses script.
I wont write for anyone else.
I write my own stuff and make that when the time is right.
I didnt hear if there was a single offer after In Bruges.
You did say around the time you had several other scripts ready to go, though.
So why pick this one?
I always liked this.
Three characters, one set basically.
Keeping the performances true.
This was big, and I really liked it.
Youve talked about how you make a film, it takes two years, then you step away.
Does the fun stop once youve locked your final cut?
As your films arent big blockbusters, they need taking around festivals, you do the interview circuit.
Is that frustrating, and do you feel it stops you doing other stuff?
For me, I like travelling.
So I actually dont mind this, because I only do this every four years or so.
I dont really see it as selling and promoting.
Its interesting hearing your opinions as a fellow human being.
You do it for some kind of connection to people.
I enjoy the filmmaking process, too.
I enjoy it all.
But I dont think you could grow as a writer if youre knocking them out back to back.
Any idea what the next piece will be?
Ive got this one with a very strong female lead, which is the reverse of this.
Its calledThree Billboards Outside Of Ebbing, Missouri.
[grins] I like putting commas in titles!
One last question, then.
The almost-snobbery of London and New York theatre in particular…
More London.
Its easier to get plays going, presumably, but its film that resonates more.
I dont think thats changed really.
Even if theatre ticket prices were lower.
Theres always been a snobbery that you have to dress up for theatre.
I seldom feel comfortable in a theatre.
I always feel like I own a cinema.
I feel equally happy in an empty one as a full one.
Probably happier in an empty one!
Theres something more relaxed about the experience of film.
Youre never going to be able to accidentally stumble onThe King Of Comedyor something.
My plays are always pushing towards cinema anyway.
Theyre down and dirty, real and more fun.
So Ill keep going back to it.
Martin McDonagh, thank you very much.
Seven Psychopathsis out in UK cinemas now.
