00:01John, je sais que vous parlez très bien français.
00:03Je ne sais pas.
00:04Si, si, si.
00:05Alors, tout d'abord, je voudrais que vous me traduisiez le titre
00:07Wild Horses 9 et surtout que vous m'expliquiez ce que ça veut dire.
00:11Comment dire, 9...
00:14Saval sauvage ?
00:15Ouais.
00:17I think...
00:18I don't know why 9...
00:20I think it was meant to be a kind of like a birthmark
00:24on the horse's forehead.
00:27Which I don't know if that was wholly successful.
00:31I think maybe it was something Martin saw
00:34when he was in Easter Island
00:36which gave him the idea to write a film about Easter Island.
00:41But since I think Martin thinks of this
00:46as a kind of Western in a way,
00:50the horse, of course, symbolizes liberty and freedom
00:56and the open range.
00:57Sam, c'est votre troisième collaboration
00:59avec Martin McDonagh, votre première pour vous, John.
01:02Comment est-ce que vous définiriez son style ?
01:03He likes a Western, for sure.
01:06Yeah.
01:06I think there's a Western theme to pretty much all of his films, yeah.
01:11Yeah.
01:11Yeah.
01:12There's always like a...
01:13There's a pub with swinging doors and, you know,
01:16it's that kind of thing.
01:16Yes.
01:17I think it's a combination of humor and emotional complexity.
01:20Yes, yes, yes.
01:21Yeah, he's...
01:22Martin is a fantastic writer both for the theatre
01:26where he's written some wildly successful, excellent plays.
01:32Uh, all of which are somewhat brutal, very dark humor,
01:39very mordant, uh, and, and very funny and very sharp characters.
01:44Um, he, he has a way of saying politically correct, incorrect things,
01:52which one is no longer really allowed to say.
01:56So how's Eastern fucking Island, big shot?
01:59Great, Marge.
01:59They got all these big stone heads here.
02:01They remind me of you, actually, except they're quiet.
02:04C'est un homme condamné, il a plus rien à perdre,
02:06il a plus aucun filtre.
02:07Est-ce que c'est un plaisir particulier pour un acteur de jouer ce genre de personnage?
02:11I have a tendency to not waste my time
02:15speaking my mind to people who can't hear what I'm saying.
02:19Mm-hm.
02:19And I think, nowadays, people seem to have incredibly definitive notions about everything.
02:29And I'm not sure I do.
02:32Sam, you describe your character as an ordinary man, but with a twist.
02:35Mm-hm.
02:36How do we deal with this kind of character?
02:38By the ordinary way or the twist?
02:40Uh, a little bit of both, yeah, a little bit of both.
02:43Um, yeah, I mean, he's, he's a, he's a, he's a company man.
02:48And he's got sort of blinders on.
02:51And he's trying to keep the peace.
02:54And he has to contend with this, this clown.
02:57Yeah.
02:58And he, he loves him, but there, he's, he's very unpredictable.
03:04And he keeps, Chris keeps poking Lee to kind of wake up and, and see, see the truth, you know.
03:09And he finally does.
03:11L'amitié masculine, c'est un thème assez récurrent dans le cinéma de Martin McDonagh.
03:14Yeah.
03:14On en parle dans Benshees, on en parle dans Bruges, et dans ce nouveau film également.
03:19Euh, c'est quoi pour vous, un bon ami?
03:21To me, it's a person that you know you can turn to when you're in trouble, I think.
03:27That's what I would say.
03:28Mm-hm.
03:29And you can forgive them for being complete dicks.
03:33Yeah.
03:33I think.
03:34Thank you, Sam.
03:35Thank you, John.
03:36Good to see you.
