But to get there you kind of have to stick to a budget that’s not like low-low, but also not so high that the future of the company is riding on it.ĭid it help, you think, that you had a cast of seasoned pros in Frances McDormand, Sam Rockwell, and Woody Harrelson? Presumably, they put the needs of the movie first. Yeah, which is how it should always be, I think. So the challenges were creative challenges rather than business challenges? I mean, not in terms of… It was comfortable in terms of pressure from the outside, because there was none. This is exactly the film I wanted to make and it was…Įasy, yeah. So In Bruges was a bore, even though it was exactly the film I wanted to make. You don’t have to go to war to make a film like that, you know? But on a personal level-and maybe it was because I was a first-time filmmaker-they could have had a bit more trust that the film they wanted to see was the film I was making, because that’s what it was the whole time. The film choices there were always great. How true that is, I would leave it for others to discuss. Yeah, he likes to present the image of himself as being very creative-friendly. He always struck me as very creative-friendly. That would have been when James Schamus was at the helm? It was easily financed, but things were a bit different in those pre-crash days. They weren’t going to give a note and they weren’t going to impose casting thoughts. But it was great this time because Fox Searchlight came in and was happy with those guidelines. It’s always about finding the balance of money on the other side of the Atlantic, and sometimes we try and set that up with smaller financiers. Film4 have always been happy with that because they are creative people first. That calls time on 90% of the studios from the start. I’m going to choose the actors and there isn’t going to be a single script note. Part of it is me and Graham Broadbent because we have strict guidelines when we start. But I think, with all the films I’ve made, if we hadn’t found that one company that said yes, there wouldn’t be a bunch of others. It’s just like, “What kind of computer effect is going to take us there this time?”ĭo you ever encounter problems getting things set up, though, in an industry predicated on precedent? That’s why you end up with Marvel and DC films every week, where you know exactly what’s going to happen. It might be fine if you… No, it’s not fine even if you’re starting out because it’s all about formula, and formulas are f–king boring. I suppose you don’t subscribe to the Robert McKee school of storytelling, then?īulls–t. I think there are still character arcs and changes that make it satisfying anyway, even though there isn’t a strict structure or an easy solution. Maybe it’s got a first act, but then you go and make stuff up. Or even theme, because I wanted to see where the characters took it.Įven now, you couldn’t really say what the structure of the film was. It’s such that you don’t want to impose something that’s too plot-heavy and strict about solutions. This probably has the least amount of that kind of structure, because of the peculiarity of the characters, but also the tragedy of the backstory. It was the same with the plays, but the plays probably had more plot than the movies. No, I tend to jump in and see where things go. Was it less plotted out than Seven Psychopaths or In Bruges? There isn’t too much imposed from without. Everything that happens after that fact is a reaction to that, and then she reacts to that reaction, and the film is kind of organic that way.
I just had that idea of this woman putting this thing up there to chastise the cops. A smart one, and someone who wasn’t going to take any shit.Īs a filmmaker, it was really kind of energizing to have that be the starting point of a script because I didn’t plot anything out before starting. I thought that’d be a good thing to do, but it was also kind of freeing to put those things together, to decide the person who put those things up was a mother. I had wanted to write a strong female part for a while, because my plays used to have that quite a lot, but my first two films didn’t have that at all. They were raging and painful and tragic, and calling out the cops. Martin McDonagh & Sam Rockwell On Building 'Three Billboards' - The Contenders VideoĢ0 years ago I was on a bus going through the southern states of America, and somewhere along the line, I saw a couple of billboards in a field that were very similar to the billboards that we see in the start of our story.
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