What was your creative process?
JOEL: We planned these short stories to shoot in Scotland, but although we were going to work together, we’d never met each other. So, when I was in LA, I asked Harrison to have lunch with me to introduce myself.
We started talking, and the first thing you said was that you were worried that they wanted you to ride horses and fly planes. That was essentially the tenor of the first story that we’d written: “I don’t want to do all this tough guy sh*t – I just want to relax by the fire.”
HARRISON: It was a strong idea and we stuck to it. But we had lots of opportunity to noodle around with it. Nobody stopped us. Which I imagine is pretty rare in the world that we’re working in.
My father used to be in advertising, and I remember how bureaucratic it all is. I think it’s a tribute to Glenmorangie’s sensibilities that they let us be less than totally serious. Credit to them for letting us play. I think it’s fun to not be as structured and “strictured” as a commercial.
