What Kenneth Branagh has done with Murder on the Orient Express is make the kind of movie we really don’t see anymore, which is a weird thing to say about a movie that’s also a remake. But there are no superheroes (not that Branagh is a stranger to that, after directing the first Thor) and very little traditional action. The film adapts Agatha Christie’s 1934 book and, filmed in 70 mm, makes it feel grand. By going back, it feels unique.
I met Branagh at an office building, in a very large conference room, in Midtown Manhattan. He’s had a busy year, not only directing and starring as Hercule Poirot in Murder on the Orient Express, but also starring in Christopher Nolan’s Dunkirk. (Who Branagh refers to as “the master” when it comes to filmmaking). And, yes, the two talked a lot about directing and the use of film over digital; Branagh shares some of their conversations ahead.
Branagh also shares some stories about directing the first Thor film. He’s incredibly excited to see the third chapter, but remembers a time when nerves were on edge, because if Thor hadn’t worked, it could have threatened the whole idea of the MCU.
So where should I sit?
You can be the chairman of the board.
No, I believe you’re the chairman…
We’re joint chairmen.
I cannot take any of your chairmanship.
Stop it. You’re on.
It’s weird to say because it’s a remake, but I haven’t watched a movie like this in a theater in some time. Does that make sense?