The formula for many sports movies is classically simple but satisfying. Step one: introduce the underdog. The second step: training the montage. Step Three: Win the Cup. It’s a successful formula that’s been in use for decades. For The Phantom of the Open director, Craig Roberts, and screenwriter Simon Farnaby, they are not interested in following this pattern.
“As a sports movie, it doesn’t work,” Farnaby said. diverse. “Because you are usually underdogs and then they are good in the end. But the trophy that Maurice got is completely different. He didn’t win the British Open, but he won the hearts and minds of people all over the world.”
“The Phantom of the Open,” which premieres June 3 in the US, follows the true story of Maurice Flitcroft, an England shipyard worker turned popular golf champion. Flitcroft, who had never played a round of golf in his life, made history at the 1976 British Open for shooting the worst result ever recorded: 121, 49 rounds over par (that number might be too low – a question mark is placed on the scorecard next to the seventh hole). The film follows Flitcroft as he repeatedly cheats his way to the championship in order to pursue his new dream of becoming a professional golfer. Filmmakers don’t like the idea that this is a movie about golf.
“For me, it’s about changing the definition of success,” Roberts explained. “I think that, as a society, we think it’s about being number one. But [Maurice] It was very successful. He was very successful because he was doing what made him happy.”
diverse They spoke with Roberts and Farnaby about their experiences bringing the Flitcroft story to the big screen, how they think Flitcroft is basically Kanye West, their thoughts on a sports movie that is not at all about sports and why Roberts wanted to direct a golf movie despite his seriously terrible golf skills.
Why do you think this is a story worth telling?
Craig Roberts: We need to make money? Well, no, no, I’m kidding. I think that [Maurice’s] Looking at the world is a really cool thing. He has optimism, courage, and believes in himself a lot. People laugh at me every time I say this, but I mean it. It feels like Kanye West to me. Like, he’s walking around and telling people he can do something and everyone else says “no.” And in a world that always tells you no, it’s really hard to keep picking yourself up. We all dream, but there is a lot of courage in doing so.
Simon Farnaby: When I first read about it, I thought it was funny, and I’d love for someone to deal with it. We all live in fear of humiliation and stepping out of our comfort zone. And here someone so rudely and honestly went for something that he had no right to look for. From his class, from his background, from everything. Even his physicality, you know. He was a very young man. He did and failed. And I got up again. I just love it.
What first made you interested in the story?
Farnaby: Well, I grew up around golf. My father worked as a lawn bouncer at a golf club. Golf has a very strange hierarchical structure that they build golf clubs around. It is a kind of parliament. You have a boss, a captain and a cashier, and no one is allowed to park in each other’s parking lot. Now, I was really good at golf, but I was the son of a golfer. So I was looked down upon. I remember hearing about Morris. I mean, he was a folk hero among the little ones – we loved him because all the members hated him. Then I forgot about it a bit and gave up on my golf career because it wasn’t great at the time. It still is, frankly. Then in 2007, when I was doing well in my career, Morris reappeared because he died. It seemed like a great way to bring my old passion for golf and my career together, I think. And with a truly extraordinary story, this is no ordinary sports story. It’s about the guy who plays golf bad and stays bad.
Craig, do you have something to do with golf, too?
Roberts: Absolutely not, no. My dad was very good at it, and I feel embarrassed for him. Actually, Simon and I were playing yesterday and almost killed people with the ball. Like I’m not really good. The last thing I do is make a golf movie, if I’m completely honest with you.
Why would you want to get involved in something like this?
Roberts: Well, the script. Definitely the script. It was so funny I felt like I knew Morris strangely. Felt like an uncle. I loved how ambitious the script was. There were a lot of scenes. Lots of scenes. In fact, we probably shot most of the scenes in the time we spent shooting a British indie film. Because I think we did about 150 scenes. What I loved about it was that my first thing was like, “Okay, okay, this is going to be a quick movie.” I’m going to move the camera really fast and fly through all of this stuff and get that energy that makes it feel like it’s in motion. This is what I loved about it. And the American side as well. My feelings are very American. The films I love so much are American. And it felt like a nice way to go over it.
When you were doing this, did you have an awareness of other really beloved golf comedies? Do you think of something like “Caddyshack” or “Happy Gilmore” in the back of your mind?
Roberts: I didn’t, actually. I kind of avoid them.
Farnaby: Yes, I mean, I love Kadychak. But that’s definitely not what we wanted to do with this. Because this is a true story and it should be less comedic. Now, “Happy Gilmore,” I hate. He loves her.
Roberts: I love him. I love him. I mean, it’s really a hockey movie. Which is a bloody good idea!
Farnaby: Anyway, I mean, it’s usually pretty bad. Like, “tin cup” is fine. But I think golf somehow struggles on screen. That’s why I say it’s kind of easier, because Morris is pretty bad. It’s easily accessible because you’re, along the line, explaining to people about golf because Morris doesn’t know. We have a lot of people worried in the UK, especially about, ‘Will women like this movie? Will people who don’t like golf like it?’ But I think it helps if you don’t like golf! Because it kind of shows it to be what it is. It’s a great game, but it has silly elements. And all in the movie.
I know we’ve been talking about golf a lot. But do you think this movie is about golf?
Farnaby: No, no, it’s not about golf at all. I mean, look, you can take from him what you really want, but it’s about going after your dreams. Because what is there to do? None of us get out of here alive. Nobody gets to the end of life and says, “I’m glad I didn’t try to do anything.” It is about what determines success. I mean, as a sports movie, it just doesn’t work. Because you are usually vulnerable and then they are good in the end. But the trophy that Maurice received is completely different. He did not win the British Open, but he did win the hearts and minds of people all over the world. It’s kind of life, you know, because we all kind of losers in the end.
What are some of the influences you brought from other movies or TV shows?
Roberts: “Superman.” As you know, one of my favorite movies is “Punch Drunk Love”. And in the movie, he has anxiety and stuff, but the PTA frames it in a way that he’s actually Clark Kent. So I was like, ‘Okay, I’ll do the British version of that.’ So I ran with that. It really set the whole icons down on everything, really. Every production and everything design is all Superman’s color. His license plate is Krypton, and he has the same dog as Superman. And then also the costume designer, Sian, made his own diamond Superman golf jacket with all the colors of Superman. I mean, nobody cares about this, but I loved that it was all there.
I’m curious to know what you think of the idea for Heartwarming. Critics sometimes find the warm tale too shallow or unrealistic. What do you guys think of that?
Farnaby: You know, we didn’t get off and go, “Let’s make a heart-warming movie.” It’s a true story, and it’s bound to be warm elements of a true story. Also, for me as a screenwriter, you’re writing about someone else’s life. Giving that sad ending or ending that didn’t happen or that they don’t deserve it just for the sake of our movie is not what I wanted to do. He exists because this is his life. This is what that means to him.
Roberts: It’s also nice to have both, you know. I like both, whether the movie is going to give you a hug or a headache. It’s Spielberg vs Stanley Kubrick debate. You can go to a Stanley Kubrick movie and come out wondering everything about you and the world. And then you get out of the Spielberg movie and you can really feel good. I think both can exist.
What does this movie and this story mean to you? What do you hope the audience will remember most about him?
Roberts: For me, it’s about changing the definition of success. likely. I think we, as a society, believe it’s about being number one. But [Maurice] It was very successful. He was very successful because he did what makes him happy. I think if people go out and be kinder to people and support people and encourage people to pursue their dreams, no matter who they are, then I think mission accomplished.
Farnaby: And for me, the movie was a long journey. I think it’s been about 15 years since I came across the story. This is his Morris Flitcroft. It wasn’t likely, it was a dream. And I think no one will care about this highly specialized story of this man that no one has ever heard of. It had its own Flitcroftian trip. Let’s hope it has a happy, spicy ending.
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