Normal features many of the same players from Bob Odenkirk’s Nobody films, but director Ben Wheatley never worried about any potential overlap from the similarly titled actioners. The British filmmaker knew his unique sensibilities would shake up Odenkirk’s Nobody brain trust that includes producing partner Marc Provissiero and screenwriter Derek Kolstad, as well as second unit director Greg Rementer and several stunt performers. The only concern on the Nobody front was making sure that they didn’t shoot at any of the same locations in Winnipeg, the capital city of Manitoba, Canada. The film is also reminiscent of Odenkirk’s tenure on Fargo season one.
A Sheriff’s Journey into the Unconventional
Normal chronicles Odenkirk’s character, Sheriff Ulysses, a man on the move who arrives in the seemingly placid town of Normal, Minnesota, intending to serve on an interim basis. His arrival is meant to bridge the gap until a new officer can be elected, but Ulysses soon finds himself grappling with more than just the administrative duties of a small-town sheriff. He begins to confront his own personal demons, a journey that becomes inextricably linked with the quiet unease simmering beneath the surface of the idyllic community.
The narrative takes a sharp turn when Ulysses witnesses a bungled bank robbery, an event that propels him into an unexpected confrontation. This incident forces him to square off against the entire town, revealing a deeper, more complex reality than initially perceived. His solitary ally in this unfolding drama is Alex, a young character portrayed by Jess McLeod. Alex is the child of the deceased sheriff whom Ulysses replaced, and it is through their interactions that the film subtly introduces a crucial element of its thematic core.
Embracing Authenticity: The Portrayal of Alex
Ulysses recognizes that Alex is ostracized by the townsfolk, and in a moment of compassion, extends a hand of solidarity. This act of kindness leads to a subtle revelation: Alex is trans/nonbinary. This detail, presented with remarkable naturalness, underscores the film’s commitment to portraying progressive themes without fanfare. Director Ben Wheatley and his team consciously aimed to normalize such identities, treating them as a human element rather than a plot device or a point of contention.
This approach stands in admirable contrast to the current climate in Hollywood, where studios are increasingly scrutinized for their decisions regarding LGBTQ+ representation, with some facing pressure to scale back or cancel projects that might be perceived as controversial. The Normal team’s decision to integrate Alex’s identity organically, without making it the central focus or a source of manufactured drama, is a testament to their artistic integrity. Wheatley himself emphasized this philosophy in an interview with The Hollywood Reporter, stating, "The policy of normalizing it – no pun intended – and treating it in a human way rather than making it an issue was really important. So it’s there, but it’s not a big deal." This subtle yet impactful storytelling choice resonated with financiers, who, according to Wheatley, did not express any pushback regarding this character detail.
The Creative Synergy of Normal
The collaboration between director Ben Wheatley and the creative forces behind the Nobody films, including Bob Odenkirk, producer Marc Provissierro, and screenwriter Derek Kolstad, was a significant aspect of Normal‘s development. While there was a natural overlap in personnel, particularly within the second unit and stunt departments, Wheatley was determined to forge a distinct identity for Normal. He stated that he never felt pressure to replicate the action playbook of the Nobody films.
Wheatley elaborated on this creative process, explaining that any directorial shifts are organic when a new filmmaker joins a project. He expressed his satisfaction in inheriting a team that had already established a working rapport from the Nobody films, noting the benefit of their existing "shorthand." Crucially, Wheatley maintained a creative distance from the subsequent Nobody installments, ensuring that his vision for Normal remained uninfluenced. He mentioned not seeing Nobody 2 until well after Normal had concluded, thus preventing any stylistic cross-contamination.
The only instances where the Nobody connection became a practical concern were during location scouting in Winnipeg. When a potential filming site was identified as having been used in the Nobody films, Wheatley insisted on finding alternative locations. This practical constraint, however, served to reinforce the film’s unique visual identity and underscore Wheatley’s commitment to originality.
Odenkirk’s Writing Process and Wheatley’s Adaptability
Bob Odenkirk, known for his multifaceted talent as an actor, writer, and producer, brought a dynamic approach to the script. Wheatley acknowledged Odenkirk’s inclination towards last-minute rewrites, a characteristic that is not uncommon in independent filmmaking. Wheatley, however, approached this with seasoned adaptability, having worked in various creative environments, from meticulously planned productions to more improvisational settings.
"Not particularly," Wheatley responded when asked if he was forewarned about Odenkirk’s writing habits. "But I’ve worked in all sorts of different modes. I’ve worked with scripts where not a single comma was changed, and I’ve worked with improvisation and very loose scenes that are fleshed out on the day. So once I got the tempo of what we were doing, it was fine. Every film is different in that respect."
This collaborative spirit extended to the entire core team, who consistently interrogated the script to enhance its impact. Wheatley described this process as challenging at times but ultimately rewarding, leading to a more refined and impactful final product. The editing phase further honed the narrative, with significant attention paid to ADR (Automated Dialogue Replacement) and structural adjustments, ensuring the film’s pacing and clarity remained paramount. "It doesn’t really stop until you’ve finished the sound up," Wheatley noted.
Thematic Depth and Cinematic Evolution
Beyond the immediate narrative, Normal delves into the concept of "normalcy" itself, using the small town setting as a crucible for examining societal norms and individual identity. The film cleverly subverts expectations, suggesting that true normalcy lies not in conformity but in acceptance and understanding. The thematic resonance of the film is particularly potent given the current socio-political landscape in the United States, where discussions around identity and representation are often fraught with tension.
Wheatley reflected on his directorial journey, noting that with each film, he continues to learn and evolve. He dismissed the notion of having "cracked the code" of filmmaking, instead emphasizing the ongoing nature of artistic growth. "You crawl over one mountain to reveal an even larger mountain range in front of you. The challenge is part of the joy of it. Every film is a different challenge, and there’s so much craft to learn," he stated. This humility and dedication to the craft are evident in the nuanced storytelling and deliberate filmmaking choices present in Normal.
He also touched upon the evolution of his cinematic style, particularly concerning camera work. Wheatley observed that budget constraints often dictate the visual approach, with lower budgets often necessitating handheld camerawork, while increased budgets allow for greater control and more elaborate setups. This pragmatic perspective highlights his ability to adapt his vision to the practical realities of production, a hallmark of a seasoned independent filmmaker.
A Potential Franchise on the Horizon?
The narrative arc of Sheriff Ulysses, a character prone to moving between disparate small towns, naturally lends itself to further exploration. Both Wheatley and the Normal team have expressed a keen interest in developing a franchise, should audience demand warrant it.
"We’ve been talking about it," Wheatley confirmed. "I can see that there’s a continuing story for him, but you don’t want to jinx it too much by going on about it. It’s just about making sure that another story doesn’t feel like it’s exactly the same circumstances." The key to a successful continuation, he stressed, would be to ensure each subsequent installment offered a fresh narrative and thematic context, avoiding repetition. The audience’s positive reception to Odenkirk’s portrayal of Ulysses further fuels this optimism, with Wheatley believing the character "could see it having legs."
The prospect of future adventures for Sheriff Ulysses suggests a world where these compelling characters can continue to navigate complex situations and evolve as individuals. If a sequel does materialize, it’s likely that the creative team will aim for locations that offer different environmental challenges, perhaps even a warmer climate, as Wheatley humorously alluded, "That’s exactly what’ll happen, yes. (Laughs.) But look, it’s location, not vacation. You can be just as miserable in the warm as you are in the cold.” This pragmatic outlook ensures that any future installments would likely maintain the grounded, character-driven focus that defines Normal.
Wheatley’s Personal Pursuits: Music and Filmmaking
Beyond his directorial endeavors, Wheatley revealed a lesser-known passion: music composition. He has secretly created music under the pseudonym Dave Welder, a pursuit he undertook to better understand the craft. "I’ve always loved music, but it was an art form that I just didn’t understand at all," he explained. His self-taught journey into sequencing synthesizers and creating music serves not only as a personal creative outlet but also as a tool that informs his collaborative process with film composers. He approaches these collaborations with a deep appreciation for the composers’ specific skills, preferring to provide a conceptual framework rather than dictating minute details. "Film composers are like casting actors. You’re hiring them for their specific skills," he noted.
The interview concluded with Wheatley reflecting on his extensive filmography, comprising over a dozen films. He remains committed to the ever-present challenge and joy of filmmaking, viewing each project as an opportunity to learn and grow. This continuous pursuit of artistic mastery, coupled with his adaptable and humanistic approach to storytelling, solidifies his position as a distinctive voice in contemporary cinema.
Normal is set to open in theaters on April 17.
