"There's good and bad in everybody. I wasn't looking for the good, or looking for the bad. This is a man who signed his pact with the devil 20 years ago, and he's learned to live with it. He's tried to protect his family from it"
About this Quote
Mendes is refusing the comforting, prestige-drama lie that moral complexity automatically adds up to moral balance. The opening gesture - "There's good and bad in everybody" - sounds like the polite, humanist baseline we expect from a serious director. Then he yanks it away: he "wasn't looking" for either side. That’s the tell. He’s not interested in a psychological audit that lets the audience feel wise for spotting shades of gray; he’s interested in the machinery of a choice already made.
"Signed his pact with the devil 20 years ago" is deliberately mythic language for something grimly practical: a career-defining compromise, a violent act, a corruption you don’t outrun. It frames the character less as a man who keeps falling than as a man who built a life on the fall. Mendes’s subtext is about time as an accomplice. Two decades is long enough for the initial sin to harden into routine, for self-justifications to become daily weather, for guilt to be managed rather than faced.
The sharpest twist is the final line: "He's tried to protect his family from it". Protection becomes complicity’s favorite alibi. Mendes doesn’t absolve the character; he explains the seduction of the role. A person can be ruthless in public and tender in private and use that tenderness as proof he’s not a monster. The intent is to keep the audience in an uncomfortable place: not asking whether he’s good or bad, but watching how someone learns to live inside a moral decision and calls it duty.
"Signed his pact with the devil 20 years ago" is deliberately mythic language for something grimly practical: a career-defining compromise, a violent act, a corruption you don’t outrun. It frames the character less as a man who keeps falling than as a man who built a life on the fall. Mendes’s subtext is about time as an accomplice. Two decades is long enough for the initial sin to harden into routine, for self-justifications to become daily weather, for guilt to be managed rather than faced.
The sharpest twist is the final line: "He's tried to protect his family from it". Protection becomes complicity’s favorite alibi. Mendes doesn’t absolve the character; he explains the seduction of the role. A person can be ruthless in public and tender in private and use that tenderness as proof he’s not a monster. The intent is to keep the audience in an uncomfortable place: not asking whether he’s good or bad, but watching how someone learns to live inside a moral decision and calls it duty.
Quote Details
| Topic | Ethics & Morality |
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