'How do we do for 2019 America what Agatha Christie did for '30s England? The payoff had to be more than solving a puzzle.' A candid conversation with Rian Johnson about KnivesOut, the art of the whodunit and fandom
But what really struck the filmmaker were the whodunit movies he grew up seeing. He still has a special fondness for those. “The tone was very fun and slightly self-aware,” Johnson says, calling from a hotel room in Paris. “And they’d have the sort of cast where, when every person shows up onscreen, you’re happy to see them.
As for Craig’s Kentucky-fried accent? “I wrote the character as Southern, but I knew I wanted the lilt to be honeyed and pleasing, as opposed to twangy,” Johnson says. “I sent him recordings of Shelby Foote speaking in a Mississippi drawl. Then he just worked on it — and let ’er rip once he was on set. Plus I had a French tutor named Benoit, and I always liked that name … and Blanc just seemed to roll off the tongue.
“There’s a beautiful consistency in examples of gosh-this-isn’t-like-the-old-stuff-we-loved reaction to new art…you’re not allowed to veer from a strict set of rules, or it’sIn other words, those hoping for the equivalent of a genre museum piece — a sort of trapped-in-amber whodunit — may find their expectations thwarted a bit. Johnson wants folks who hold that golden age of detective novels in extremely high regard to appreciate what he’s trying to do with the form.
“There’s kind of a beautiful consistency in the multiple examples of gosh-this-isn’t-like-the-old-stuff-we-loved reaction to new art,” Johnson notes. “Let’s take Agatha Christie as an example.
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