Ballad of the small player of the director of Edward Berger at Colin Farrell Movie

Edward Berger He left the secrets of the Vatican hallway in “conclaves” for the glitter world of Macau in his last film “Ballad of a small player. “

In the film, Colin FarrellCharacter Lord Doyle plays a gambler who can’t really reside his dependence and stripe loss. How Lord Doyle is sitting on Tables Baccarat, to win to pay his debts, Tilda Swinton’s Sinthia Blithe is on the tail and by the way, the mysterious spooky benefit (Fala Chen) reduces her request on it.

Netflix He recorded a film for the main edition: he opens in American theaters 15. October, arrives in Cinemas in the UK and Ireland 17. October and debut on Streamerika 29. October. October.

Speak with Variety Before him, the film, Berger explained that he closely cooperated with his cinematographer, James friend, to ensure that the audience is setting firmly in the middle of the heart heart. Berger said, “This story is a promising story of the first face. We want to go to every step with Colin Farrell. We want to sweat, we want to make fun of them.”

To achieve this, Berger and friend spent time to talk about the camera. But before filming and during their scout, Berger noticed that “Macau was such a lintel place. It is so above the top; humidity, color, music and fountains, I wanted to create a pop opera full of humor, drama and contradictions.”

Here, two talk in the center of the camera at Colin’s performance and creating Macau as a character.

That barrier sequence inserts us in this Gaudoci Macau world, almost like Trippi Las Vegas. How did you prime like a character?

James Friend: I had no idea what to expect when the screenplay landed on my table, and I obviously started reading it because he came from Edward. I Read It, and I Thought, “How Far Down The Sort Of Colonel Kurtz River Can This Guy Go In This Place For Him To Become A Product Of His Environment? It Was Only When Edward and I Went There For The First Time, I Was Floored. The Scale Of The Four Buildings and the Streets is overwhelming. So, on Camera, you don’t want you need to get into the Grounded Nature of What Lord Doyle’s I’m going through. So we just reacted to our surroundings. The city is slightly schizophrenic. Everything comes back around gambling, But during the day it is calm. But when the sun sets in a billion kilowatt, it was more challenging, trying to catch something that almost felt like a documentary, something that shot in a large format and felt bombastically.

How did you want to present the Lord Doil in the way you present yourself and how to frame it? Early, it literally descends on the startup. What did you want to show?

Edward Berger: I love it so much. Turn on the side and it is kind of his lowering in this hell. All lights dance and it is James playing around with this wonderful, crazy mind that has full of visual ideas and is trying to find expressions for that origin. Much comes from long conversations, putting one shooting after another and really tries to understand the best way to represent what Lord Doyle passes.

Friend: I looked at this movie a little like Dantein Inferno. All these different levels of hell and how deep in that word do you really go? We would go to some of these pretty gambling huge. As Ed says, he descends into hell and he’s naturally trying to spot him. I thought, “What if I put the camera on my side at this point and turn it? Is it too disgusting?” But you also think about the nature of the scene and where Colin’s character is at that moment in the story, it seems to be some perfect move.

On the second scene, Lord Doyle caused him face with a lobster and chocolate cake in his room. Meanwhile, a spiritual aspect is passing through his mind. What did you want to convey to the audience?

Berger: It is very converted into what he predicted Da Ming, that vision of hell and hungry spirit. He eats and eats. We tried to find an expression of that. We very often start with a wide shot to get the impression of the place. But in this case, because Colin had to eat so much, we started with a big number. The scene consists of a lot of shots. I remember standing with (camera operator) Danny Bishop and we did not live it, because there was nothing we wanted to try. We just asked Colin, “What are you going to do?” Well, I’ll probably sit in my chair, and I’ll go on a cake and I’ll go to the cake and drink champagne and drink champagne. Is that okay? “Danny said,” Yes, let’s shoot, “and he just operated on, after Colin worked. One of the interesting things that really influenced the scene was music.

How did the music affect the scenes?

Berger: Bah Cantata came because I was sitting with James and I heard this music. I was like “,” who the hell is listening to music? “I realized that Colin, listening to this part of music. I went to him and asked.” And it just shows what the type of film is, and this music was delivered to the scene just listening to him to enter the mood.

James, talk about how you caught this scene, because mercilessly niggled, like an addict.

Friend: The man never complained once. He never said, “I’m full” or “it’s disgusting.” He was in it. So, we chose this hand approach and we shot at a whole thing on 12 mm lenses, fish lenses to distort the view of the audience into the world. And that really works nice in that instance, to the point where I had to use a completely natural light for the scene because we saw the entire room. We wanted to enter completely free and released to react to what Colin would do.

This interview is arranged and condensed.