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Before its premiere on the Croisette, Indiewire sat down with Kurzel to find out why “Macbeth” appealed to him and what it was like to direct his incredible cast.
There’s this classic car crash thing about “Macbeth.” You can just see this car driving at 100 mph towards this brick wall, and you can’t do anything about it, and the characters are desperately trying to stop it and can’t. I was watching a lot of “Breaking Bad” and, it was really interesting, it had a similar character who had a similar feel about him. You knew it was going to end poorly, but you just couldn’t take your eyes off it. So I think the idea of characters dismantling themselves in that way has always intrigued me. In a sense, “Snowtown” was a little like that too. I think it was giving in to a kind of evil, being liberated by violence in some kind of sense that intrigued me.
I was very excited by Scotland; I was very excited by that landscape; I was very excited by bringing a cinema to that piece, and how, at times, that verse, the prose, feels almost conversational, really intimate. Sometimes it felt like scenes out of “Goodfellas.” It does have this incredible intimacy about it and then this kind of broadness, and I think that dance between — how do you find an intimacy with this verse? How do you bring a camera that close and allow the verse to feel more confessional and more of a whisper, feel like it’s almost being said for the first time? That drove a real way of approaching them.
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