"I WANTED TO WRITE A THRILLER ABOUT HOW APPARENTLY UNRELATED INCIDENTS WERE INTERCONNECTED"
The Italian website Inside The Show posted an article today about Domino, which includes an interview with screenwriter Petter Skavlan, as well as the image included here above: a still photograph taken on set by Rolf Konow. A crop of this photo was used on the poster for Domino. Here's a Google-assisted translation of the interview with Skavlan:
How did the idea of "Domino" come about?
I wanted to write a thriller about how apparently unrelated incidents were interconnected, through a sort of domino effect. For example, a murder in Copenhagen may be linked to a terrorist attack in a small Spanish town. I also wanted to examine the primordial concepts of revenge and guilt. Before Brian got on board, the script was a darker and more intricate story. Some of my dominoes have been removed, creating a simpler and more linear plot that best suited his vision of the film.
What research did you do for this story?
In today's society, just follow the news on the news to find a story like this. Terrorist attacks are not only documented by news agencies, but also by terrorists themselves, so news and propaganda often intersect. Dozens of books on European terrorism have been written - and I've read several. I also spoke to specialists in international terrorism, such as Thomas Hegghammer, who gave me invaluable advice.
Are there details in the script that reflect your Scandinavian background?
As a Norwegian, it was natural for me to use Scandinavia as setting for some parts of the film. Copenhagen is the most international and photogenic city among Scandinavian cities - and since Nikolaj lives in the city, it was a breeze to set the story there. Working with Danish producer Michael Schønnemann was another reason for Copenhagen to play an important role in the story.
What are the dangers of writing about terrorism?
Writing about terrorism, partly from the point of view of terrorists, is a potential minefield. Terrorists, as instigators of violence, are the antagonists by nature. But in Domino the protagonists are imperfect and therefore the boundaries between good and evil, right and wrong, are not outlined.
What was it like working with Brian De Palma?
Working with a legendary director like Brian De Palma was an incredibly interesting privilege. Although I felt the need to adapt my existing script to his vision of the film, he always made sure that the heart and soul of the story remained intact. He is very sharp and analytical, and a true gentleman in the creative process.