Best Motion Picture – Drama
BEST MOTION PICTURE, DRAMA
“Three Billboards Outside Ebbing, Missouri” ‑ Graham Broadbent
GRAHAM BROADBENT: Thank you, thank you. You can tell we had a wonderful time making this film. It was a truly extraordinary experience, like we all have. It had a beautiful heart. It had beautiful people. Thank yous are due to Fox Searchlight, to Film4, who financed the movie for us and left us to make a wonderful film. Thank you to our crew who just made every day going to work a pleasure. Everything worked great. Everyone upped their game, and it was fantastic. Thanks to our cast ‑‑ to Sam, to Fran, to Woody, and the others who are all terrific. Thank you finally to Martin McDonagh. We’ve made three films together. He is a true creative genius and extraordinary talent and a lovely friend, and we wouldn’t be here but for him. Thank you.
SAM ROCKWELL: Just want to thank my agent Rhonda Price and thank you
Q Frances, obviously, you were coming from such a position of rage, and yet it was also catalyzed by love obviously from your daughter. So can you talk just a little bit about how you plumbed those two things, how you balanced them?
FRANCES McDORMAND: Yeah. You know, always remember the power of a good script because an actor really knows it, and I think that you do too. I think discerning audiences know that, and that’s what Martin gave us. He’s been in the room with actors. He’s done theater. He understands there’s a process of emotional truth, that you don’t just work it up in the corner and bring it in. And it’s there. It’s full. And with anything, Martin and I made a lot of choices to try to tamp down the emotions that might be expected, the more expected emotions of a mother in that situation, but rage seemed to be — not rage, fury, which is a little more Greek and, I think, more apt. I have a son. He’s the dearest thing to me in the entire world. You’re never supposed to lose them.
Q This is the 75th Golden Globes. Over the years, there’s been so many different highlight moments. Obviously, this is a huge highlight for each of you. Are there any moments that stand out to you from this picture that you look forward to?
MARTIN McDONAGH: Well, selfishly, I was in “In Bruges” about eight or nine years ago, and Colin Farrell was run for “Best Actor in a Comedy,” and that was, like, a thrilling night to be part of that. So I’ve been happy with just Sam and Fran winning tonight. Seriously, that would have been a dream come true, but it was even nicer this way.
FRANCES McDORMAND: Do you have a second? I have something that I didn’t remember until tonight, but I turned to my husband, Joel Coen, one of the butlers, and I said, “Do you have one of these? I don’t remember, do you have one of these?” And he went, “Yes.” And it was the best way to get it because it was the year it was canceled. So I just sent them to everybody’s homes so he didn’t have to get into his suit. He was very happy.
Q You talked about tonight in your acceptance speech being proud to be a part and being here tonight, about this tectonic shift in the industry. Do you foresee it continuing to progress forward? There are some concerns that may just slip backwards. What are your concerns to create sustained change?
FRANCES McDORMAND: What do you think? No, there’s no going back.
Q There’s no going back?
FRANCES McDORMAND: No. We just go forward in the best possible way.
Q The Fox Searchlight executives, when this came out in the box office, were talking about how the film was doing well in blue and red states, that people on both sides find something in the film that they sympathize with, and I’m just curious. Were you working with that when you were cracking this? Was that on your mind? I mean, it takes place in Missouri, borderline the South. It’s coming out after Ferguson. I’m just curious if these things were on your mind when you cracked this.
MARTIN McDONAGH: Not necessarily appealed to red and blue states or people. But just in the treatment of the characters in the film, I didn’t want anyone to be completely the hero or anyone to be completely the villain. Obviously, there are people in it who are highly questionable and immoral, but I didn’t want to completely make them the villains in the piece, I guess. And even the, sort of, supposed heroine, I didn’t want to make her flawless, or we didn’t. Together, we wanted to make her as strong and as uncompromising as possible. So it was more about looking at character attributes than trying to appeal to any type of demographics, I think. But we were really trying not to judge any of the characters, to just show a snapshot of a town and tell a story about one woman, really, but not to be judgmental in a sort of Hollywood way.
Q How much revolves around the murder and rape? And as for the direction, I’m wondering if you thought about what men in Hollywood can do to combat sexual harassment and violence.
MARTIN McDONAGH: I mean, the only thing I’ve got control over is telling a story like this and, you know, doing everything one can do to make joy on your set the way it needs to work, the way normal people would always do. But I think one of the things that has come out about Weinstein and all the other things is that people knew for years. I hope, from now on, people will speak up a little more quickly. I know, if I hear something, I would. But I’m hoping that there’s a sea change happening from the last few months and that people won’t be able to get away with that kind of stuff ever again, I hope.