About The Production
BLOOD IN THE SNOW
Director Hans Petter Moland and Liam Neeson team up
for a dramatic thriller that mixes icy revenge and dark humor
"It's a whirlwind of vengeance, violence and dark humour."
- Liam Neeson
"A whole can of worms." That's how Liam Neeson describes what his character
discovers in Hans Petter
Moland's blisteringly violent - and bitingly hilarious - COLD PURSUIT.
"My character goes out on a path of vengeance, but doesn't realise what he's
getting himself into,"
says Neeson. "He thinks he's going after one guy who killed his son. Then it
escalates into a whirlwind
of vengeance and violence. And it all has this grain of dark humor running
This twisted revenge story swirls around Neeson's Nels Coxman, a snowplow
driver in the Colorado ski
resort of Kehoe. Just named Citizen of the Year for his services in keeping the
roads open to the remote
town, Coxman's life swiftly spirals into amateur retribution and an escalating
pile of corpses when his
son (played by Micheal Richardson) is mistakenly killed by local gangsters over
a stash of missing drugs.
All Nels knows about killing people is what he's read in crime novels, but to
find out what happened to
his son, Coxman sets off with a sawn off hunting rifle - and unwittingly sets
off a chain of events that
will include a snowbound turf war, kidnapping, two rival crime lords, and
violent run ins with an array
of colorful hoodlums.
Comparisons to classic Coen brothers movies - Fargo, in particular - greeted
Hans Petter Moland's
original Norwegian film, In Order Of Disappearance, starring Stellan Skarsgard,
when it opened to rave
reviews and massive global box office in 2014. Other fans drew parallels to the
depth and wit of dialogue
of early Quentin Tarantino films. But while Moland is "obviously delighted" to
have his work placed in
those two ballparks, for him, he has his own unique style with his inspiration
going back further to the
films of another filmmaker known for walking the edge of darkness. "I grew up
loving the films of Billy
Wilder," says Moland of the beloved and Oscar winning director of Double
Boulevard, Ace in the Hole, Some Like it Hot, and The Apartment. "I loved their
darkness and their
gallows humor, that great balance between the two. So when I was offered the
chance to remake In
Order Of Disappearance, this time in English, I took it."
The idea to have Moland remake his own film came from producer Michael
Shamberg, whose credits
include Pulp Fiction, Out Of Sight and Get Shorty, among many others, and knows
a fresh crime movie
when he sees one. "The best part of my career has been working with singularly
talented people," says
Shamberg. "When I saw In Order Of Disappearance, it had everything. And COLD
PURSUIT has the
same punch. Audiences will be emotionally invested in the characters, satisfied
with it as an action film,
and also be surprised by how funny it is. It's a film where that balance has to
be just right, and that's
why Hans Petter had to be the one to do it. And in the center of it all is the
wonderful Liam Neeson,
who brings his classic 'man-of-action' persona to the film - and then
delightfully goes in a new direction
It's also a story about multiple other twistedly complex characters,
including two other fathers that Nels
slams into. The first is Trevor Calcote, AKA "Viking," a psychotic local drug
lord played by Tom Bateman
(costar of Murder on the Orient Express and Snatched). The second is White Bull,
played by legendary
Canadian actor and folk singer Tom Jackson, who brings a soulful gravitas to the
role of a rival boss
who runs a cabal of tough Native American gangsters - guys as deadpan as they
are deadly - with a
dignity and coolness. "These are all bad guys. There are no good guys in this
movie. So you have to
start there, and then decipher, 'Well, how bad is that guy?'" says Jackson of a
conflict that ends with
lots of blood spilled across white snow and which he says recalls films like The
For COLD PURSUIT, Moland brought along much of his key crew from the
Norwegian original while
enlisting a new screenwriter, Frank Baldwin, and a supporting cast including
Laura Dern as Coxman's
wife, Grace; Emmy Rossum as smart small-town cop Kim; and Julia Jones as Aya,
the tough and
calculating wife of the unhinged cartel chief Viking. "The female characters are
the ones who are smart
enough to distance themselves from the actions and stupidity of the men," laughs
Moland. "The men
are domineering, self-important, and oblivious. They're either deadly serious ...
Baldwin's screenplay has particular fun with its richly drawn, bickering bad
guys. "The stakes are high,"
says the screenwriter, "but the men act massively self-important, and that's
where the humor comes
from." Moland notes that his original inspiration was a serious one. "The
original idea came from me
thinking, 'If my son died in this way, would I just sit back and accept that
happened? Or would I do
something about it? And would it just lead to an endless escalation of
violence?'" says Moland. "It's
kind of a heavy theme, well-suited for a dark comedy. There was a desire to not
be restrained by genre,
to allow different genres to happily live next to each other, to be genuinely
horrifying and tragic, but
also worth laughing at - just like life is."
The result is something genuinely unique, a movie with incredible action shot
through with an
undercurrent of knowing humor and played out by a brilliant supporting cast.
"That's why this remake had to have Hans Petter directing it," says Shamberg.
"That tone is such a fine
balance that I think only he could do it. This isn't your typical revenge movie.
It's a movie about the
futility of vengeance. It's a violent film that's anti-violence. Which is a bit
of an oxymoron, but you get
to have your cake, and eat it too!"
HIGH STANDARDS, LOW DEEDS - AND AN UNDYING LEGACY
In a story filled with complexity, the inclusion of Native American
even as COLD PURSUIT puts absolutely everybody in the crosshairs
"I liked the idea that those who some view as 'strangers' are, in fact, on
their own land."
- Hans Petter Moland
Vengence knows no boundaries: In COLD PURSUIT, that notion extends from the
quiet man, Nels
Coxman, who thought he had escaped his family's blood legacy to the descendants
of indigenous people
butchered and betrayed.
Yet even among this tapestry, the character of White Bull - played with
steely soulfulness by Tom
Jackson, the esteemed Canadian actor, artist, and educator whose mother was Cree
and who grew up
on the One Arrow Reserve in Saskatchewan - stands apart. White Bull's protection
of his family and
his territory is in direct relation to his values and his history. He is a man
who was offered a chance
when he was younger to stand close to the same playing field as those who long
looked down on tribal
people. Now, at age 70, White Bull is a criminal force to be reckoned with -
though in keeping with
the business he runs, he has attained his stature by unethical, and illegal,
"Film history is full of Westerns where Native Americans are merely used for
plot purposes, or used as
adversaries based on preconceived notions - they've been seen either as savages,
victims, or just something else that serves the white point of view," says
director Hans Petter Moland.
"In my original film, the Serbians - or 'Albanians,' as they are often mis-called
in that film by other
criminals - were the classic strangers in a strange land, who then discover
hidden aspects of Norway
as the film progresses. For COLD PURSUIT, I wanted to explore the idea that
those who some view as
'strangers' are, in fact, on their own land."
Says screenwriter Frank Baldwin, "When we did the table read in Vancouver
before principal shooting
began, I spoke with Tom Jackson and a number of the other First Nation actors
that Hans Petter had
cast in the film, and they said it was so much fun to have actual dialogue in a
movie. Because they
were used to having one line and then their character would get shot."
Moland says a number of factors went into his desire to have one corner of
the criminal triangle in
COLD PURSUIT be a Native American syndicate.
"I had a great interest prior to this in American history in general and the
plight of American indigenous
people, and how they were pushed off of their own land and had to suffer as a
nation," Moland says.
"I'm not going to pretend that I'm an expert in the issues and history of
indigenous people. That would
be wrong, and Frank did research prior to the writing stage. But what I did do
was during rehearsals,
I learned a lot from the actors. They carry with them a lot of their history, or
knowledge about their
own history, and that was invaluable because it informed me and the film about
what possibly their
characters might spring out of."
Unlike in the original Norwegian film, having this crime gang be Native
Americans on land their
ancestors lived on creates another kind of tension with Viking, who audiences
see develop another level
of awfulness and villainy as he denigrates White Bull's people's history on the
"Viking thinks this piece of Colorado around Denver and Kehoe is all his
territory because his father,
Bullet, was here before him," explains Baldwin. "It's another level of his
myopia of course, since Viking
has no understanding of anything larger than that. Yet Viking's ex-wife, Aya, is
Native American too,
so there's that complication. Plus, from a screenwriting standpoint, it also
felt like this was the type of
gang that hasn't been very often in movies, if at all. As compared to the
original, in which Albanians,
or Serbians, had been done a lot. They show up as villainous gangs in a lot of
movies. And for this film,
it was interesting and fun to show White Bull's team of gangsters having quirky
expand their personalities and show they had their own peccadilloes, just as
Viking's men have, if not
There is also, of course, more than a grain of truth in terms of the issues
facing the Native American
population that - while fictionalized and sensationalized for the purpose of a
thriller - have echoes in
But of course, another major factor in COLD PURSUIT is its irreverence, and
the way it props all of its
characters, no matter who they are, up for a bit of puncturing and humor. And
though White Bull is
always a man of dignity, there are moments when Viking or other characters show
their ignorance by
using stereotypes - or even when some of White Bull's own gang get the upper
hand in a situation or
two by exploiting the sensitivity around them.
Overall, there is a universal sort of eyebrow-raising at the ridiculousness
and folly that is a human
existence, whether it's lived as a criminal or as a "citizen of the year."
Says Moland, "This is a film that takes an irreverent jab at everyone. That's
the satirical element of it."
Adds Baldwin, "Part of that is Viking - he is who he is, and he disparages
everybody and uses
derogratory labelling, which is very telling in regards to figuring him out. He
gets his licks in no matter
who he's dealing with, or who his adversary is at the moment."
The notion of Viking taking aim at a group that is so "other" is
illuminating, the director says.
"It's this idea that it's convenient to have an enemy - somebody Viking can
degrade by putting a label
on them and perhaps call by a derogatory name. That mechanism is certainly part
of the less-favorable
aspects of being human. Here, Viking feels entitled and superior to everyone,
whether they're black or
gay or Native American or whatever, and being able to belittle somebody by
putting a derogatory name
onto them is part of that mechanism for him."
What none of that does is take away the enjoyment White Bull and his gang
have in their day-to-day
life, the warmth they feel or the quirkiness with which they view their jobs.
"White Bull is the leader of a criminal gang and is ruthless and has the
potential for violence, but there
seems to be a lot more fun to White Bull's gang, which says something about his
leadership. He's not threatened by people being individuals. His guys are not
afraid of enjoying their
lives - even when they're on a boring stakeout, their individuality shows. You
know, they're smoking
pot, poking fun at each other by throwing snowballs."
And, in a pair of memorable scenes that involve hang-gliding, there are
subtle meanings - and a
memorable send-off for one character in the film.
"To me, that hang-gliding scene is the Native American gang simply enjoying
the greatness of the
landscape they are in," says Moland. "White Bull is enjoying the playful grace
of the young skiers, and
for his men I think it's simply the joy of seeing one of their own soar like an
eagle. There's something
elementary about wanting to fly. Seeing it done so successfully by someone they
know, who's clearly
not a pro, but who just reaches for the experience out of childish desire,
brings joy to their hearts....And
yet even the one man that momentarily defied gravity eventually comes crashing
"Although tongue-in cheek, this film can also be viewed as a cautionary tale
about revenge. Pursuing
it catches up with you eventually, no matter how nice you are."
WELCOME TO KEHOE
The modern American West provides a chillingly perfect setting:
a snowed-in ski resort town with a dwindling population
"Because this location is so remote, the story seems to take place out of time,
in a way."
- Frank Baldwin
"Mother Nature never ceases to amaze, does it?" marvels Liam Neeson of the
show-stopping location of
COLD PURSUIT. "There were a few times when we were filming up in the mountains
that I thought,
'The audience aren't even going to be looking at me on screen, they're going to
be looking at these
mountains behind me!'"
He exaggerates, of course, but it's easy to understand what Neeson means. The
production spent the
first four weeks of shooting up in the The Fortress mountains in Alberta,
Canada, battling extremely
hazardous conditions at 9,000 feet above sea level to deliver something truly
spectacular on screen.
"There were some days," laughs Moland, "where you would ask yourself, 'What
am I doing dragging
everyone all the way up here?' But then you'd watch the dailies back and realize
that it was 100 percent
Onscreen, the result is a startling juxtaposition. On the surface, Kehoe is a
tranquil destination, designed
for fun and sporty relaxation. But, under its smooth, white powdery surface runs
a blood-red river of
murder and mayhem.
On the set and at that altitude, shoot days would start off relatively calm,
"then suddenly you'd get
these blizzards and heavy snowfalls," says Neeson. "It was very dramatic and
beautiful, and cold, which
was necessary for our film."
For Moland, aside from the extreme weather fluctuations, the constant
changing of the light made
continuity a struggle, and for the rest of the cast, multiple layers of clothing
were a daily necessity. But
for Neeson, who used to drive forklifts and trucks for Guinness back in the day,
the snowbound locale
also brought with it some nice added bonuses.
"For this movie, I had to drive three different snowplows," Neeson says with
a smile. "We had a
wonderful guy who showed us how to drive them. They're extraordinary machines!
When you're in
them, you're just aware of this metallic power you have underneath you. These
things can gobble up
snow and shoot it 50 metres away! And I had the privilege of driving them for
short periods of time. It
gave me a newfound respect for these guys that clear these roads. Those
locations may look pretty,
but there's a real harshness at play here too."
"One of the strongest impressions I had from watching Hans Petter's original
is that, because this
location is so remote, this story seems to take place out of time, in a way,"
says Baldwin. "I wanted to
preserve that sense that this place isn't really governed by all the normal
rules because it's so far out.
It makes it easier to go with what's happening in the sense that these people
are getting away with
this stuff because it's so remote and so snowy and there's so many long
stretches with no people
around. The remoteness is really important to this story, both in the feel it
gives you and in the sense
of, 'You've got to make your own rules out here.' And that's kind of a classic
American theme of the
Liam Neeson is no stranger to reinvention. But even by
his standards, COLD PURSUIT is a shift into wicked new territory
There aren't many actors whose resume includes everything from a turn in one
of cinema's most
important achievements (Schindler's List) to playing a Jedi Master, a Batman
villain, a pioneering sex
researcher, a shady cop made out of LEGO bricks, and a wise martyred lion. But
then, Liam Neeson
isn't like many other actors.
With an astonishing 126 credits to his name, the actor from Ballymena,
Northern Ireland, was
memorably reinvented as an action star in 2008 with his starring role as Bryan
Mills in the global smash
Taken. But while that movie's plot - a father out for revenge against the men
who have put his child
in danger - may sound like it shares some DNA with that of COLD PURSUIT, this
new film sees him
deliver a performance unlike any in his already storied career.
"On the one level, COLD PURSUIT is a great, classic revenge thriller," says
Neeson. "But what was
really appealing to me was the dark undercurrent of humor that runs through it."
Or, as director Hans
Petter Moland puts it: "Basically, this is Liam Neeson like you've never seen
him before. It's a very
special, unique performance."
Between its mash-up of genre, and the fact that it's an English-language
remake from the original
Norwegian director, COLD PURSUIT is unique. How did you first come into its
"I was sent a script, and... No, I tell a lie. I say that all the time! It was
Michael Shamberg. I'd worked
with him before, and he's a wonderful producer. He asked me to see a screening
of a Norwegian film
called In Order Of Disappearance. And I thought it was very good. And he said
they were going to
adapt it for the American market, set it in Colorado, and would I be interested?
I said yes. It's a
character-driven revenge thriller with very interesting bad guys and a dark
undercurrent, with an
element of humor that runs through it that's really appealing."
Tell us about Nels Coxman, your character.
"He's just a regular guy, happily married to Grace, with one child - a son,
Kyle, who's 21. He lives on
the side of a mountain outside a little ski resort town called Kehoe. And his
job during the winter months
is to keep a section of the road open, because they get incredible amounts of
snow. He has his own
little industry, a workshop where he keeps a snow-blower, snowplow, various
machines to keep the
roads open. As he says in the script, he keeps a strip of civilization open
through the wilderness for
people. That's his life, that's what he enjoys. And as a consequence of that, he
gets voted Kehoe's
Citizen of the Year. It's an annual award, and this year he's the proud
Nels has chosen a very different path from his family, hasn't he?
"Yes. His father was heavily involved in underground crime in his younger
days. And Nels' elder brother,
beautifully played by Bill Forsythe, is also ... in his father's trade, let's put
it that way! But Nels has
chosen to keep to the straight and narrow and not being involved in crime, until
that sends everything spiraling. Before that, Nels is happily married to Grace,
played by the magnificent
Laura Dern, who I'm so thrilled that we got for this film. To all intents and
purposes, they're very
happily, contentedly married."
Did you know Laura before filming this movie?
"I didn't. I had dinner with her and an ex-boyfriend of hers years and years
ago. Her, her boyfriend,
me and my wife, Natasha [Richardson]. Laura and Natasha had been in a film
together, Fat Man and
Little Boy, a Roland Joffe film that Paul Newman starred in, back in 1986 or
'87, I think. So they were
friends, but I didn't know Laura well. But I've been a huge fan of hers for many
The tipping point for Nels in this movie is the death of his son. What was
their relationship like?
"I guess it's like a classic father and son dynamic. They were close, and
there's a bond between them
that's unspoken. Kyle's job is to handle baggage at the little Kehoe airport.
And everything is normal,
until Kyle meets a horrible death at the hands of local drug dealers, and it
completely makes Nels'
relationship with Grace disintegrate. She can't handle it, and eventually
leaves. So Nels suffers a kind
of a double-death - the death of his son, and the death of his relationship with
his son. And it prompts
him to contemplate his own life, and also contemplate a path of vengeance and
Yours and Kyle's father/son dynamic isn't the only one in the movie.
"That's right, there are three sons, and three fathers. There's Nels and
Kyle. There's [cartel chief] White
Bull and his son, who works for his father so is a criminal as well. And then
there's Viking and his young
son, who's this very sweet, intellectual kid of about 12 years of age who's
really not a chip off his
father's block. He's very bright, very astute. Likes listening to classical
music, and likes playing FIFA.
And so Nels kind of befriends him, and sort of takes him captive. The film does
touch on the
relationships between fathers and sons, and how complicated they can be."
You've starred in revenge thrillers before, but is it fair to describe this
as unlike any of them?
"Definitely, yes. Nels isn't prepared for any of this; it doesn't come naturally
to him at all. When Nels
goes on his path of vengeance, he doesn't realize that he's opening a whole can
of worms. He thinks
he's going after one guy that killed his son, and in actual fact this guy works
for these other guys, who
then work for this other incredibly vicious criminal called Viking. He runs one
drug cartel and White Bull
runs another drug cartel, and Nels gets caught in between it all. So this whole
vengeance thing escalates
into a kind of a whirlwind of vengeance and violence. It's a classic revenge
movie, but with a deep
thread of dark humor running through it, with some very interesting, well-drawn,
bad guys giving the film its ballast."
How did you find working with Hans Petter Moland, remaking his own original
"He's terrific. He's got a European sensibility, of course. And there's
something very laid-back, very
calm about him. He is also very prepared. He's an ex-actor himself, and he's
directed in the theatre, so
he just knows the actor's process, as well as how to tell a story on film. He
mines the script for the little
subtleties that we as actors can bring out to enhance the story, to enhance the
humor and pathos. He
makes extremely interesting choices. I'd work with him again in a second."
DOUBLING-DOWN ON ACTION AND ATTITUDE
Why Hans Petter Moland, AKA "the Ridley Scott of Norway," remade his own
With COLD PURSUIT, Hans Petter Moland joins a short but superb list of
directors: A group who have
deliberately flown in the face of accepted movie wisdom. "They always say you
should never remake
your own film," Moland notes wryly. "But when I thought about it, I thought,
Like Michael Haneke with Funny Games, Takashi Shimizu with The Grudge and
George Sluizer with The
Vanishing before him, Moland's COLD PURSUIT - his brilliantly bloody and darkly
rampage of revenge - sees him remake his acclaimed Norwegian original, 2014's In
Disappearance, and this time in English. "It's not that I wasn't happy with the
original," says Moland.
"But I looked at it as the chance to make a new production for a new audience
and with a cast of
amazing new actors. It was such an opportunity, I couldn't say no."
Here, the director British film historian Peter Cowie once described as "the
Ridley Scott of Norway" -
partly for his array of award-winning commercials and impeccable eye - talks
about escaping the past
and the nuances of Norwegian versus American humor.
You once described the process of making movies as "one long journey through
a valley of
compromises." Given that, why go back and remake a film that you've already
"Yes, I guess I did say that! [Laughs] That being said, I also think that
allowing yourself to be challenged
by things you previously haven't mastered is another part of that equation. When
Shamberg got the rights to this remake, he said he wanted me to do it. And that
forced me to reexamine
the accepted wisdom that you should always get someone else to remake your film.
I tried to
look at it the same way as if you had made a successful theatre production - in
Oslo, say. And then
somebody asked if you wanted to make a new production of the same play on
Broadway, for a new
audience. And that's an interesting proposition: to speak to a different
audience, to make it with
different actors, amazing actors. When I thought about it like that, I couldn't
not do it."
The list of people who have remade their own "foreign-language" movies in
English is very short. Did
you look at any of those movies, to see what those directors did?
"I deliberately didn't look at them, because I think most directors who
remake their own movies aren't
necessarily happy with the outcome, or the process. I focused more on two
things: finding a process
that could work for me and, retaining that tone from the original. And that
meant being allowed to
make the film in the way I know how. If you're hamstrung by the process, you're
not at your best
game. And with this, I was very much encouraged and allowed to make the film the
best way I knew
how to. And because I lived in the United States for many years, I feel
comfortable and at home in
American culture. So it was a landscape that I wasn't foreign to."
Having lived in the United States for 11 years and being from Norway, what
would you say are the
differences are between American and Norwegian humor?
"There are cultural differences, obviously, and yet there are great
similarities, too. But when people
talk about my films being typically 'Scandinavian' in humor, I don't neccesarily
agree. More than
anything, my humor is also influenced a great deal by American filmmakers -
Billy Wilder, for instance.
And living in New York in the 1970s and '80s, that deadpan, grotesque, dark
humor was always very
prevalent for me. So whatever is typically 'Scandinavian' about me is also very
heavily influenced by
that. I'm a huge fan of Wilder's, and his ability to blend darkness and light.
It's no great mystery that
none of us live in a vacuum, that we absorb things and we respond to them in our
lives and work. My
upbringing certainly had a lot of gallows humor to it, so I really connected
with Wilder's movies when
I was in the States."
The irreverence towards everyone, every character, in COLD PURSUIT was
crucial, wasn't it?
"Yes. Without the humor, this would just be bloody mess. So that was always a
part of this story. I
think it's through the humor or that we can watch something like this without
being turned off."
The casting of Liam Neeson is a masterstroke, because on paper you might
think that you've seen him
do revenge movies before, but this is very, very different, isn't it?
"I relished the enormous expectation that Liam carries with him - because
he's such a fabulous actor.
The humor in COLD PURSUIT was something he really responded to and said he would
like to do. I'm
delighted I got to work with him. Basically, this is Liam Neeson unlike you've
ever seen him before. It's
a really special, unique performance. Not only has he always broken the norm
with the films he's made
before, but he's a remarkably curious and hard-working actor. There's nothing
jaded about his approach
to acting, even after having done more than 100 films. "
It's also a movie about fathers and sons, isn't it, and the futility of
"Yes, it is. All three fathers lose their son, one way or another. Revenge is
not a very viable strategy
for a fruitful life, for the men and for their families. It's just not a very
good idea, even though it's fun
to see people do it."
You've talked about having your cake and eating it, about making a violent
film that is ultimately antiviolence.
Were you conscious of that dichotomy?
"I was very conscious of that dichotomy, because if you're doing anything
satirical then the dichotomy
is a very big portion of the satire -that incongruity of motive and action is
crucial. This is a movie
inhabited by a lot of people who are short on insight. One way to look at it is
that all the people in this
film are either dead serious, or dead. They are oblivious to the humor that
surrounds them and the
result of their actions."
The exception to that being the female characters, of course.
"Yes, those three characters [played by Laura Dern, Emmy Rossum, and Julia
Jones] are the only ones
who are really smart. It was deliberate that it's the women who aren't
domineering in the film but they
dominate in the way that they distance themselves from the actions of the male
characters. They are
too smart to hand around, so they just want to get the hell out of Dodge.
A lot of the actors have said that when they first read the script there came
a point where they started
to ask themselves, 'Am I supposed to be laughing here?' Do you enjoy that,
playing with the
preconceived notions of the audience?
"Obviously, losing a child is a very serious and tragic event, but this is
also a humorous film. The film
has a very serious departure point and then it unfolds and expands into these
new arenas. The absurdity
has to spring out of that source instead of splatting it all up on the wall,
saying, 'It's a comedy!' You
have to allow people to discover it for themselves and laugh when they want.."
In the movie, Nels has long ago chosen a different path from his father and
brother. He's a good man
who nonetheless gets sucked into a trail of violence. What are you saying with
that? That you can't
escape your past?
"No, I don't think the film is trying to say that. That detail is there to at
least give Nels the possibility
to access some tools that a complete outsider wouldn't have access to. And also
it offers an insight into
his character and into his choices in life. Unlike his father and brother he's
chosen an honest life, as
snowplow driver. The real irony is that he's named Citizen of the Year, and then
the first thing he does
is go out and kill people! I think Nels considers himself a more upstanding or
more civilized man than
he really is, which I think actually goes for most of us. It's easy to have high
thoughts of yourself until
you're really put to the test."
Next Production Note Section
Home | Theaters | Video | TV
Your Comments and Suggestions are Always Welcome.
© 2019 29®, All Rights Reserved.