For Brendanâs character, the trip is a welcome vacation, as he loves walking up and down the well preserved city and taking in the sights. But for Colinâs character, the city is like spending time in a prison and all he wants is to do is leave.
Of course, nothing goes as planned, and between weird encounters with locals, tourists, violent medieval art, a dwarf American actor (Jordan Prentice) shooting a European art film, Dutch prostitutes, and a potential romance for Colin in the form of Chloë (Clémence Poésy), things get a bit weird. And thatâs âIn Bruges.â
Anyway, to help promote the movie I was able to conduct another interview with writer/director Martin McDonagh as well as Colin Farrell a few days ago here in L.A. This is on top of the video interviews with Martin McDonagh, Colin Farrell and Brendan Gleeson that I already ran from Sundance. You can click here if you missed them. And if you missed the movie clips that I previously posted, you can watch them here.
Again, âIn Brugesâ will be in select theaters this Friday.
Question: Can you talk about when you first came up with the idea? You were visiting
Martin McDonagh: Yeah, just whenever we came to travel, just to see a new place and didnât really know anything about it at all and was just struck by how stunningly cinematic and just picturesque and creepy and medieval, but cinematic â¦how cinematic the place was. I always wondered why it hadnât been used in film before because it is so distinctive and just stunning really. Then I just wandered around to all the churches and museums and got bored shitless and just wanted to get drunk and get out of there, but then those two halves of my brain started chatting with each other; the culture vulture and the drunk. They just kind of became characters. They became Ray and Ken and I thought, âWhy would they be in a place like that when they wouldnât want to be?â Thatâs when the whole idea of hit men escaping a horrific job popped up.
Q: Colin, you and Brendan had incredible rapport in the film. Was that there from the beginning and how much of that was ad-libbed?
Colin Farrell: No it was just fine acting. (Laughter)
Q: Really?
CF: No. None of it was ad-libbed. Brendan was so easy to get along with. He really was. Heâs just such a lovely man and such a wonderful artist. I mean; fiddle player, guitarist, writer, and a fine actor; he was just really generous from day one. There was absolutely no ego on this at all. Iâve been pretty lucky that most jobs Iâve worked on there hasnât been an ego, but weâre all there for the same reason. I loved the script. I read it the first time and it was just like nothing Iâd ever read and then when I got the chance to do it we packed up and off we went to
Q: What was it about the script that attracted you?
CF: There was kind of an otherworldliness to it or kind of a hyper-reality to the way the characters spoke. I mean, in one part I could understand what they were saying and I could get to the root of what they were saying and why they were saying it and even what something was maybe masking or how everything, at other times, may have seemed like it was undiluted and exactly what was being felt. At the same time I never heard characters talk like this. Iâd never heard characters talk like this at all. I never heard such a level of unbridled honesty and what I thought originally was a lack of subtext. I thought that it was all just so honest and in rehearsal I found out there was just a plethora of stuff that was happening underneath. It was just really, bottom line, it was a great tale. The characters were so beautifully drawn and the dialogue was so quick-smart and while even reading it, it seems incredibly funny there was a much greater heart that existed than any of the comic moments that are involved in the piece.
Q: Was it awesome to finally be able to use your own accent for once?
CF: Yeah. It was lovely. It was lovely because doing dialect work can be an avenue into a character. It really can help you to get in there and give you an understanding. On the other hand it, the bad side to that potentially is that it can also be a border between yourself and getting to the truth of the character. There have been times, in personal experience, where Iâve been self-conscious and not particularly comfortable maybe. Maybe I havenât worked hard enough or whatever, but it was nice to just be able to shed that cloak that sometimes is there and just put 100% energy into the text, you know? It was really lovely.
Q: Your character disliked the town
CF: Shit hole! (Laughter)
MM: Itâs not a shit hole.
CF: It is a shit hole.
Q: Did you do any sightseeing?
CF: Did we sight see? I mean, you pretty much see everything on your way to the hotel from the airport and then you pretty much see it again every day. It was great. To be honest with I had a great time. We go up there. It was the middle of winter. It was dark every day by four oâclock. There was nobody on the streets so there was this sort of eerie, desolate feel to the place. It was really what youâd imagine a border town to be in the middle of winter and that seemed to have a great simpatico with the energy that was coursing through his character Ray at the time, you know, through the three days that is the tale. Thereâs a certain kind of despondency that Ray is feeling and a shame and despair and guilt and you look around this beautiful, majestic city and all these incredible buildings and towers and it kind of felt inordinately lonely at the start. I mean the change- we were for the Spring as well. When the Spring kicked in and the tourists came it was lovely. You find what you want to find in a place. Do you know what I mean? You can go to the same place in the world at two different stages in your life and the place is completely different, but it hasnât changed. You have. You know? I sort of found what I needed to find as well to get me through the job. Brendan was the one with the camera and I was the one kind of going, âTchâ (rolls eyes, laughter)
Q: In the film he asks if you believe in guilt, sin, all of that. How about you?
CF: Do I believe in guilt⦠sin? I sure believe in guilt. I sure believe in sin. Do I believe in afterlife? I am still on the fence with that one. Whatâs the other one?
Q: and all that stuff.
CF: Oh. âAll that stuffâ is a larger conversation! (Laughter)
Q: Was it hard to shoot there or was it easy because itâs such a small town and they just accepted you or-
MM: I loved the fact that I could get up in the morning if we were shooting at 9:00 I could up at 8:30 and walk across the square from my place on the canal and just turn up and we could go to work.
CF: Yeah. It was cool actually.
MM: The entire town, when we were shooting in the center of town, was no more than two miles across Iâd say.
CF: Yeah. Absolutely the tiniest.
MM: You feel part of the community didnât you? âCause youâd see the same-
CF: Theyâd visit the set⦠locals.
MM: Thereâd be extras from town and then youâd see them walking around that evening or in a bar-
CF: Yeah, it was nice.
MM: Thatâs why I loved it and I was kind of worried they would think we were taking the piss out of it when they saw the film. We actually showed it (there) about three weeks ago and they didnât, they liked it. Because itâs my first feature filmmaking experience and itâs inexplicably linked to this town, everything about it is, so I had a lovely time. Colin and Brendan just made the while trip easier for me. The three weeks of rehearsal helped, but they are just so gentle and nurturing that it was a joy.
CF: We just didnât want him to cut our scenes. (Laughter)
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Q: Can you talk about the Irish Film Festival?
MM:
Q: Whatâs the feeling on that for you guys? Thatâs gotta be cool.
MM: Iâm really looking forward to it.
CF: Yeah.
MM: âCause whenever thereâs even just an Irish actor in a
CF: Thereâs an amazing sense of pride at home.
MM: Yeah, I think itâs so unusual in whatâs technically, I guess, a
CF: Yeah, yeah.
MM: and then me, you know, Iâm Irish background and all that; so Irish director, Irish writer, two Irish leads. I hope they are gonna love it, plus thereâs an archaic spirit to the film which I think is going to speak to them.
CF: speak to the more rebel nature of the Irish military, absolutely.
MM: I am really looking forward to that night.
CF: Itâll be cool.
Q: Did these religious themes sort of pop in right away or as you wrote the story?
MM: Probably pretty early on. As soon as I came up with why they were there, yeah, it was an easy one to explore. âHow would I feel if I had done something so heinous?â So yes, as I was able to explore-certainly explore, not come to any solutions about, but explore what I believe in having been brought up Catholic and having rejected that, but still having those kind of tendrils of faith or what you were taught as a child still in your head. âWhere am I now? How do I think about those things?â I still donât have any solutions or final thoughts, but it was fun to explore. I think we all kind of found that even in the rehearsal process.
CF: Yeah. âTendrils of faithâ is a good one man.
MM: Is that okay?
CF: Yeah, âcause faith in absolution is not really faith at all. Itâs kind of- I donât want to say itâs idiocy because Iâll insult a lot of the population around the world including some of my family members, but surely faith should be based on a certain amount of skepticism almost in questioning.
Q: Is there something in the character that you identified with yourself?
CF: Is there something that I identify with myself? Grey hair! (Laughter)
Q: What did you think the differences are and not put in the character?
CF: I donât think heâs as vain as I am (laughter) or self-conscious or whatever you want to call it. I donât know. He just didnât seem like the kind of cat to have earrings.
Q: What about a sense of humor? I mean he didnât have a real great sense of humor.
CF: Ray? Yeah, great sense of humor. I mean I have to point the finger at him (points to Martin McDonagh) for that you know. He kind of created him and wrote him and I sang it. Yeah, just wicked, but a sense of humor thatâs, like if Iâm having a laugh with mates I kind of know Iâm having a laugh like most of us seem to, but we also love those characters we meet in life every now and then that have no idea how funny they are and you arenât ever laughing at them. You are totally laughing with them and they might be bewildered as to why you find them so funny and they genuinely donât understand it, but they just have a kind of a more unusual outlook on life or perspective. Ray was definitely one of those. He has no idea how funny how funny his outlook is, but itâs such a skewed look on his environment and the world around him and so lovely. Thereâs such purity to him, you know? Heâs very childlike as well, perfectly honest. Thereâs no self-censorship or any of that good stuff.
Q: And heâs fascinated by midgets (laughter)
CF: How are you gonna argue that? If whatâs called âNormal-sizedâ people are fascinating, I mean God, little people are just genius!
Q: Iâm really interested if you put in that line about âHe swears a lotâ?
CF: Aaargh. No. No in joking or nothing cute about it, no. It was just the way it happened. The irony wasnât lost on you was it? (Laughter)
Q: No. (laughter) Youâre being good today.
CF: Am I?
MM: Yeah you are. Now heâs going to be like the sex pistols. (Laughter)
Q: You keep talking about the Irish. What is this Irish-ness you describe because I am not sure.
CF: Iâm still searching darling. Iâm not sure either.
MM: If we could put our finger on it weâd make a fortune.
CF: A fortune!