‘November Man’ Director Roger Donaldson May Have Predicted Drones and Stealth Submarines

Roger DonaldsonWENN/Nikki Nelson

With such a hostile political climate existing beyond the scope of cinema, it takes a good deal of skill to keep the spy genre of today feeling exciting, original, and up-to-date. Director Roger Donaldson aims for this with The November Man
, a film that draws from the best traditions of the genre — packing twists an employing none other than James Bond, Pierce Brosnan, to play the lead role — and employs new devices as well (this might be the first film we ever saw to use drone technology to catch a criminal). We chatted with Donaldson about the state of the genre, what role it plays in contemporary pop culture, and how films like November Man reach beyond the screen to contribute to the political scope.

Roger Donaldson: I’ve done a few films in the genre. I did No Way Out many years ago, I did The Recruit with Al Pacino and Colin Farrell. I think what I love about making these sort of films, as well as seeing them, is the suspense. I’m intrigued by characters [pretending to be] somebody other than they really are … Espionage is very much a part of our world, the real world. 

Where does the real world meet the world of the spy genre?

RD: I think the two are sort of intertwined. I was definitely intrigued by the idea of shooting this film in Serbia. Serbia having been at the crossroads of history, monumental moments of history, for many years. You know, the Ottoman Empire up against the Austro-Hungarian Empire. Now the influences of Russia South, various parts of Europe moving towards the East. Turkish influences. Muslims moving up from Albania, Turkey. It’s still right at the crosshairs of international politics as part of the world.

And yet I was sort of appalled at how ignorant I was about Serbia and Belgrade, having not been there. I’ve been to Croatia before, but my knowledge sort of came out of reporting that happened around the war 10 or 15 years ago. The reality now is very different. They’ve moved on, Croatia is now in the EU. Serbia will soon be, probably. There are still those underlying currents that are still working their way — Hungary is up against Serbia, and Austria, and Slovenia… so it’s still a fascinating part of the world.

Do these kinds of movies work to teach us anything about our political climate?

RD: Well, I think political thrillers often have a sense of irony, and they’re a little cynical about the goings on of how countries and interact with another. When we made this film, it was a year ago. Just in that last year, the geopolitical events that have been happening… while this movie is not … 100 percent [reality, it] speaks to the monumental changes that are always ongoing in the world of politics.

November ManRelativity Media via Everett Collection

Speaking of real world advancements, this might be the first movie I have ever seen to use drones.

RD: I know. As a matter of fact, when we decided to put drones into the film, it was stuff that wasn’t quite like it is right now. I anticipated, I guess, that this sort of technology was going to become more and more important. Both in filmmaking and in [politics]. That’s one of the reasons I put it in the film; I thought it was technology that we’d see more and more of.

That’s the challenge of making films about what’s happening right now. The technology is such a part of a spy story, one has to try and embrace it. You know that the technology is probably ahead of where we are already. Now, when I did No Way Out, we talked about a stealth submarine. That was just pure fiction that came out of writing the script. Some time later I was talking to somebody who was in the know, and he was like, ‘How did you know about this stealth submarine?’ Well… we didn’t! We just assumed that there would be that sort of technology and development, and that you’d try and keep things a secret. One tries to guess, sometimes, what’s out there, and sometimes when you think of the need, what technology could provide, you put it into the story… and suddenly, it does exist, because there is that need for it … There was a period of time when military would talk to filmmakers and say, “Hey, what bright ideas have you got that could become of interest to us?”

You mentioned earlier your love of twists. Is it difficult to pull off movie twists when audiences are so savvy now, and are always expecting them?

RD: It is a challenge to surprise. When [people] sit down to watch a movie like this, they know there are twists in the story, and they know that twists can only come from characters that are in front of them. So they start to try and put together the scenarios of who’s going to do what to whom. So it’s a challenge as a filmmaker to keep the audience guessing, and part of the pleasure of watching a film like this is trying to be ahead of the story. “I know where it’s going to go,” and when it doesn’t go there that’s always a feeling of satisfaction from the audience, like, “I didn’t see that coming!” And yet, you also try to do it with logic, so that when it does happen, they don’t go, “Well, that was a load of bulls**t, wasn’t it?” It’s got to make sense as well as surprise them. How do you surprise the audience, how do you entertain them? And how do you, at the very end of a movie, keep it going right through?

Was there ever a twist that didn’t work out for you?

RD: There was a twist in [No Way Out], after I had made the film, a studio executive said, “If you didn’t have that twist on the end I think you would have done more business.” And I was like, “But I wouldn’t have made the film!” That twist was what I was attracted to about doing the film. Maybe he just felt like it just didn’t need that extra twist on the end. But for me, that was the pleasure of that whole film. It surprised right up to the end.

Did you ever worry that a Pierce Brosnan spy thriller would suffer from the shadow of Bond?

RD: I hope it doesn’t. To me, this film has nothing to do with Bond. Pierce has real star attraction. I think there’s a side to Pierce that hasn’t been exposed in his work, and I think this film shows what an interesting, complicated character he can pull off onscreen. That was the appeal to me about working with him on this movie. Of course, that’s why he’s a star. Bond’s one of those movies [that made him a star], and he was a spy in that movie. But the truth is, this is a very different sort of spy movie to a Bond movie.

He’s playing a character who’s got sort of a dark side to him, too. He’s been through hell and seen all sorts of things. That sort of cynicism comes to the forefront. In the scene where he’s confronting the [character] that he’s got hostage, that’s a very demanding scene to do as an actor. I think that scene really helps the movie [become such that] you don’t really know where the movie’s going to go.

The November Man is in theaters now.