In Edward Norton’s “Motherless Brooklyn,” the ‘50s-set New York noir detective story he produced, directed, wrote and stars in, politics are never far from the surface. But they’re not the obvious …
,” the ‘50s-set New York noir detective story he produced, directed, wrote and stars in, politics are never far from the surface. But they’re not the obvious parallels to any racist autocrats from New York of modern times, but instead focus on more timeless politics – the way disabled people and minorities are marginalized by powerful, monied interests.
In the plot in the book, the crime had to do with the Yakuza and the sea urchin markets and these things. Jonathan said to me once, ‘I wrote a B-plus plot for an A-plus character.’ He’s the first to say it’s kind of like a Rube Goldberg machine, an excuse to see Lionel work his way through the world. It’s like the way “The Usual Suspects” isn’t “about anything.
And Lionel’s character with his ticks and outburst – did you think that might be a challenge for audiences to relate to? The scene in Penn Station, which you had to create digitally since it was torn down in 1963, has an almost religious quality. Why did you set the big reveal there? We can read about a thing but when you have the idea in people like Trump, this unapologetic quality, what the actual psychology is, “There’s not a person in the world who can tell me I can’t do what I want to do.” What makes a person think they’re going to get over on this? If you can see the person, the way Alec Baldwin’s Moses Randolph character says, “Do you want to know how it works? This is how it f–king works.
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