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Splayed across the cushions to chat up the new film was writer-director and Tony and Olivier award winning-playwright extraordinaire, Martin McDonagh. Colin Farrell, who should challenge James McAvoy to a swearing match for charity. Bless those potty-mouthed Celts Dig it. Q: So how did you discover Bruges? But I was there for a couple of days and in the middle of the second day, after going to every church three times and every gallery six times, I was just bored out of my head.
And I just wanted to get drunk or get laid or anything, but sort of both sides of my brain were arguing; the culture-loving geek and the drunken slut. Then they started becoming characters. I thought why would two guys who had those feelings about the place be in that place, be stuck in that place? So it was very organic, it came from Bruges organically, pretty much. Did you find that their chemistry, which translates so well in this film, caused you to change or rewrite the characters to reflect that as you were filming?
But no, script wise we had three weeks of rehearsal at the start of the shoot, which is kind of unusual and we got to analyse the script, as well. I think what they brought to it, one of the many things they brought to it, was that kind of affection and that bond. There was probably more in some ways of the story between Colin and the girl, Chloe, more of a love story in that way. But then, once I saw quite how much it was a different kind of love story, we kind of focused on that.
MG: So everything we see was scripted? All that fantastic dialog was already in the script? I mean that was one of the good things for me, was just like, you can stick to the lines, but then go to still lots of different places with them. Q: Was having that extended rehearsal period helpful coming from your theatre background?
