Edward Berger's Compelling Leap: Why He Took on ‘Ballad of a Small Player’ Following His Success with ‘Conclave’
Edward Berger is on an inspiring trajectory in his filmmaking career, and he's fully aware of it.
This talented Swiss-Austrian director, who won an Oscar for his gripping World War I film, All Quiet on the Western Front, has recently attracted significant attention from Hollywood's elite following his critical acclaim and awards recognition.
Many will recognize him as the mastermind behind the much-talked-about Vatican-themed drama Conclave, featuring Ralph Fiennes. This film not only grossed an impressive $128 million worldwide but also received eight Academy Award nominations, including a nod for Best Picture, and won Best Screenplay for Peter Straughan earlier this year. His next project, titled The Riders, is set to commence filming in February with none other than Brad Pitt starring in the lead role. Berger reflects on his recent successes, saying, "I hesitate to analyze my journey, but looking back at All Quiet and Conclave, they opened up an array of opportunities and fortunate chances. Lord Doyle, in my new film, shares a similarly abundant experience."
With these words, Berger alludes to Colin Farrell's character in his latest cinematic venture, Ballad of a Small Player, which is based on Lawrence Osborne's novel from 2014. The film made its grand debut at the Telluride Film Festival, was showcased in Toronto, and is now set to enchant audiences at San Sebastian, marking its European premiere.
"Doyle exists in a world of plenty — it might be steak, lobster, cake, or champagne, but ultimately, he faces the challenge of seeking a shred of tranquility amidst it all," Berger elaborates, drawing parallels between his protagonist’s journey and his own recent experiences in the film industry. "This is reminiscent of the choices I was fortunate enough to explore post-Conclave, reinforcing the importance of maintaining focus on projects that resonate with you."
It’s evident that Ballad struck a personal chord with Berger. The film explores Farrell's portrayal of Lord Doyle, a British nobleman with an insatiable gambling habit. As Doyle grapples with the repercussions of his past actions and mounting debts, he encounters a kindred spirit who may hold the key to his redemption. Fala Chen stars as Dao Ming, another troubled soul, while Tilda Swinton plays the role of the PI, Cynthia Blithe.
Berger describes the film's essence: "For me, it's a pop opera. Macau is portrayed in an extravagant manner: it’s loud, vibrant, brimming with color — think bigger fountains, catchier tunes. This exuberance needed to be woven into the film’s narrative fabric."
In our conversation, Berger shares insights about how he initially engaged with Colin Farrell — their first meeting was in a sauna in London. He also reflects on his personal ties to the San Sebastian Film Festival, along with why he believes directors have a duty to present their films at these festivals: “Movies are crafted for the audience, not just for us as filmmakers; and the festival is like the first set of eyes we encounter.”
When I recently spoke with Mike Goodridge from Good Chaos, he recalled approaching Berger quite some time ago about Ballad of a Small Player. He expressed concerns that after All Quiet and Conclave, Berger might be distracted and abandon this particular project. Yet, the director remained steadfastly devoted. Why did he find Ballad so compelling?
"When you're involved in developing a film, you pour a great deal of passion and effort into it," Berger shares. "This particular script moved me deeply; it transcends traditional storytelling like plot or action and instead embarks on a soulful exploration of its main character. Some forces, which are often beyond our control, sometimes allow a project to surface in your life just when you need it. Following All Quiet, I transitioned into Conclave, and now with Ballad, I’m moving into something that contrasts sharply with the architectural precision of my previous films. Instead, I’m venturing into a realm that feels more operatic — thus my description of it as a pop opera."
"I find it fascinating to juxtapose the delicate nature of Colin Farrell’s character against the backdrop of Macau’s vibrant chaos. This dichotomy intrigued me. While I wouldn’t typically delve too deeply into personal reflections, both All Quiet and Conclave opened doors to a lifestyle filled with choices and fortunes, leaving one vulnerable to losing oneself amidst the abundance. Lord Doyle, too, navigates such a world of excess — and yet he yearns for something deeper, ultimately seeking a small sanctuary of peace against the overwhelming backdrop of culinary delights and luxury. Surprisingly, this mirrors the choices and opportunities I faced post-Conclave as well. I felt the need to ground myself and remain true to the stories that resonate with me."
Reflecting on the choices that come after such an accomplishment as Conclave, Berger elaborates on the diversity of new projects appealing to him:
"I like to think of a film as an ongoing conversation with myself and others that stretches on for years. There comes a point in these conversations where you feel you’ve explored every angle. This prompts a desire to turn the conversation on its head, to venture into uncharted territories; I find myself captivated by films that delve into what I don’t yet understand — be it style, emotion, or genre. It’s this desire to learn and explore that lures me in."
Despite the apparent differences on the surface, Berger believes there's a common thread linking Conclave, All Quiet, and Ballad. "All these narratives unfold from a tight, first-person perspective. I dive deep into the psyche of each character, aiming to evoke their emotions in the audience, to draw them in so closely that they feel the character’s journey viscerally. Even with challenging characters like Colin's, who admits to being a fraud, I want the audience to root for him. Thankfully, Colin's charm goes a long way in bridging that connection. My films consistently explore the quest for liberation or tranquility. Felix from All Quiet finds his peace in death, Ralph’s character grapples with a crisis of faith in Conclave, and Colin's role seeks a small pocket of peace within a chaotic and vibrant existence that feels overwhelmingly noisy."
Turning to the casting process, Berger emphasizes its importance:
"Casting is vital — I would say it constitutes about 90% of a film's success. If you don’t get that right, you’re in trouble. I have been fortunate to attract talented actors who resonate with the scripts I admire. Ralph and Colin were among the first English-language stars I collaborated with, and they taught me so much through their craft. Witnessing their generosity and emotional vulnerability on set is truly a gift."
Berger believes only Colin could portray Lord Doyle authentically. He explains, "Had Colin declined, I might have had to shelve the film entirely. It’s crucial that the financiers, in this case, Netflix, feel secure with their investment, so I certainly have a decisive role in casting. Moviemaking is filled with uncertainties, and securing reliable 'pillars' is essential for a film's realization. Among those who fit such a profile, Colin stood out as the sole choice for this character. Just look at his performances in other roles — he embodies vulnerability so compellingly, even under layers of makeup, as witnessed in The Penguin. His capacity to open his heart and draw audiences into his character's journey is remarkable."
The role of Dao Ming in Ballad is equally significant. "She carries a profound sense of compassion for Doyle and sees something of herself in him, recognizing his vulnerability. She relates to his struggles, as they are both at pivotal low points in their lives. Her instinct to help him is driven by a desire to see someone else pull through, even while she feels lost herself."
As San Sebastian's Film Festival unfolds, Berger fondly recalls his own connections to this festival. "San Sebastian is paramount — it showcases films globally, curated by a director with exceptional taste. It's an opportunity to view outstanding works from around the world. The scenery is breathtaking, the people are warm, and the culinary offerings are superb. Additionally, I hold a special family connection to the sculptor Eduardo Chillida, whose works are significant in the area. I treasure each visit to see his sculptures by the sea and at his studio."
Beyond personal ties, Berger believes in the festival’s broader implications: “When audiences stay to appreciate the film, they provide an energetic boost, and this engagement is crucial for launching a movie. This is the very environment where word of mouth takes off. A journalist watches the film, writes about it, inspiring further interest from others. Each film screening is unique, influenced by cultural perceptions. My films, particularly Conclave, yielded varying reactions based on the screens and audiences. Spain was incredibly welcoming to it. It’s fascinating to observe the audience’s differing responses to Ballad at festivals like Telluride and Toronto, where each screening can feel like a fresh experience.”
Looking ahead, Berger mentions his upcoming project: The Riders. "This film weaves the tale of a man renovating a house for his family in 1980s Ireland, only to discover that only his daughter arrives, with his wife mysteriously absent. The narrative unfolds as he embarks on a journey through Europe searching for her. I’ll be collaborating with Brad Pitt, who has impressed me with his open-mindedness and eagerness regarding the script. In fact, he read the screenplay within two days; it was a done deal."
Berger continues to reach the heights of A-list filmmaking with high-profile collaborations, raising the question: What unique trait or skill does he possess that draws such esteemed actors to his projects?
Ultimately, while he celebrates the recognition and successes, he knows the film industry is about more than just star power — it all circles back to compelling narratives and strong scripts.
