One criticism levelled at Only God Forgives, and also Drive, has been that the film suffers from a sense of style over substance, was this something you were aware of going into the film, and how challenging is it maintaining such a delicate balance especially when operating in such a heightened narrative?
Beth Mickle [Production Designer]: In this case, I actually feel like the bizarre heightened narrative called for heightened visuals. It was all in an effort to transport the audience, to put them into this otherworldly atmosphere. Nic and I spoke a lot about how Bangkok has this mystic, outlandish feel to it, and we wanted to embrace that and build that up even more. Some critics argue that the style is put before the story, but personally I don’t mind if the narrative is a bit impressionistic, especially if the experience of watching the film is a memorable one. We really wanted the audience to be immersed in a wildly original experience and I think we’ve achieved that with Only God Forgives.
Well, they put up a sign, that’s a start I guess
If only our club would do this