Latest / All The Right Movies / The Banshees Of Inisherin (2022) | Ep. 68 - Part 1

Transcript

The Banshees Of Inisherin (2022) | Ep. 68 - Part 1 · All The Right Movies

• 0:04
  All the right movies. Now, if I've done something to
• 0:08
  you, just tell me what I've done to you.
• 0:09
  And if I've said something to you, maybe I said something when
• 0:11
  I was drunk and I've forgotten it.
• 0:12
  But I don't think I said something when I was drunk and
• 0:14
  I've forgotten it. But if I did, then tell me what
• 0:16
  it was and I'd say sorry for that too.
• 0:18
  Column Tommy Heart. I'd say sorry, but you didn't
• 0:22
  say anything to me and you didn't do anything to me.
• 0:26
  Well, that's what I was thinking like.
• 0:29
  I just don't like you no more. Friends turn into fours on the
• 0:33
  island of Anna Sharon as musician Calm serve his ties
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  with his old friend Porrig in an attempt to leave a lasting
• 0:39
  legacy while keeping his despair at Bear.
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  Porrig is left bereft, bewildered and spiralled and out
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  of control as his feelings aren't the only thing that take
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  a battery. Martin Mcdonough's The Banshees
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  of Anna Sharon reunited the in bruised dream team of Colin
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  Farrell Brendan Gleeson with devastating results.
• 0:55
  Equal parts hilarious and heartbreaking, it became an
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  awards darling and an instant class music.
• 1:00
  My name is Luke and the two fellas with me who obviously
• 1:03
  don't know what ensconce means are Matt.
• 1:05
  I'm not putting me donkey outside when I'm sad, OK?
• 1:08
  And Westy. We can't stand the modelling
• 1:10
  ones. Play something dancey, call them
• 1:12
  to dance to. All the right movies are in and
• 1:14
  they're sharing, but we haven't come for licks.
• 1:16
  We've come for the opposite of licks.
• 1:36
  Hi everyone, and welcome to All the Right Movies.
• 1:38
  So podcast on classic and hit films.
• 1:40
  That isn't trying to be nice. We're trying to be accurate,
• 1:43
  Accurate. Yes, that's correct, Curate.
• 1:46
  I'm nice though. It's nice.
• 1:47
  Oh, well, yeah, I mean, that comes with the territory, though
• 1:49
  doesn't, of course. We're telling the story of
• 1:52
  Hollywood one film at a time, and this is a rare modern
• 1:54
  release for us. It's Martin Mcdonough's
• 1:56
  Magnificent The Banshees of Anna Sharon, a unanimous favorite of
• 2:00
  ours, and we're all very excited.
• 2:02
  Oh, definitely, yeah. But before we get at you with
• 2:04
  our small talk, it's that time where we talk about becoming an
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  ATRM patron. I'm sure you've heard us talking
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  about it before. Indeed.
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  What you're listening to is our flagship podcast, a brand new
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  episode of which comes out every two weeks.
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  Huge deep dives into the biggest films and the most recent 20
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  Yes. The rest, over 100 episodes, are
• 2:25
  in our podcast archive. Obviously there's bound to be
• 2:28
  loads of films in there that you like, including an episode of In
• 2:31
  Bruges. Yes.
• 2:32
  Yes, of course that is accurate. See.
• 2:36
  Well done. Fit the brief.
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  Of course, I didn't doubt it for a second.
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  No, and you can listen to everything in our archive by
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  signing up on Spotify, Apple Podcasts, YouTube, and Patreon.
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  Also on YouTube and Patreon you can listen to two brand new
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  releases, and Double Feature, where we talk about films that
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  we wouldn't necessarily get to on this show.
• 2:59
  Just yet that's. Exactly.
• 3:01
  Spot on. There are hundreds of episodes
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  and it's not just two hours of us talking about things we found
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  in our little donkey shite. No, on Patreon you can also vote
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  community. And that is patreon.com/all the
• 3:16
  right movies. Exactly.
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  Yeah, go and have a look around guys, see what you think.
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  There's lots and lots to get into there.
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  Loads to get into, Yeah. If you do like us and you can
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  support us, we're like yesterday, today and tomorrow,
• 3:27
  of course. Thank you everyone.
• 3:29
  So back to the film. And Matt, this was your choice.
• 3:32
  So how many fingers have you got to prove you're not feckin
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  mental? Five.
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  That's all I've got left. That's the epitome of mental.
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  That is the epitome. Epitome.
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  That's right. Started already.
• 3:48
  This is going to be amazing. How do you want to talk about
• 3:50
  fan cheese man? Well, some names of film comes
• 3:53
  along and it just end as the ATRM lexicon immediately.
• 3:56
  Like the amount of times we've referenced this film in other
• 4:00
  completely unrelated episodes and we just slip in lines of
• 4:03
  dialogue and moments from it and we end up riffing on this film
• 4:06
  despite all contemporary it is. I think that speaks to its
• 4:09
  impact. Now obviously we're all huge
• 4:10
  McDonough fans. As he said, we've covered in
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  Rouge. Then he did 3 Billboards after
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  that, but the same reunite with Fowling Gleason.
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  For this, the anticipation of this was ramped up even more.
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  But of course with anticipation comes the possibility of
• 4:22
  disappointment. But happily, this didn't
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  disappoint at all. It's as different from Imbruce
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  as he can get, while at the same time being the film that just
• 4:30
  couldn't have been made by anybody else.
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  That makes you of dark humor, unexpected emotion, complicated
• 4:36
  characters in the story where you really have to wrestle with
• 4:38
  it to get what it's in. And even then it's all looked
• 4:40
  interpretation as to what you get out of it.
• 4:43
  Absolutely. Yeah, it's one.
• 4:44
  I think we all saw this around the same time, and I'm pretty
• 4:46
  sure we all had the same thought of this is going on a classic
• 4:49
  sooner rather than later. Unanimous.
• 4:51
  Yeah. And Westie, was you ever wild?
• 4:54
  Oh, what do you mean? I'm fucking angry?
• 4:58
  Now you've got it is everything I love about cinema.
• 5:01
  I think the dialogue is just so quotable.
• 5:03
  I think it's just so original. I think it's just so fresh.
• 5:05
  It's just so exciting. The great thing about McDonough
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  is he never seems to double up on his ideas.
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  It always seems to be something fresh or you'll go back to 1923
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  or Real. Do you go to win Bruges or then
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  you'll go to, you know, Evan Missouri and do something.
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  But it always feels like him. It always feels like his kind of
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  interpretation of what's going on.
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  And it never really feels all hot or predictable.
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  And I always forget how heartfelt and how emotional it
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  is, how hard hitting it is, how much of A journey it is.
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  And for anyone to say that nothing happens in this film, I
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  think you're completely missing the point.
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  Everything about humanity happens in these two hours, and
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  there's a lot to learn from it, a lot of take from it, a lot of
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  underlying themes, incredible performances across the board,
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  incredible direction, incredible soundtrack, incredible
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  cinematography. Probably spoiling me final
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  rhythm here, to be honest. Great film, Loved it then, love
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  it now let's get into it. This one's going to be great.
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  Yeah, Yeah. Well, I mean, I can only echo
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  what you fellas have said, really.
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  It's unlike any film that I've seen, and I think it should be
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  treasured. Yeah, Martin McDonough, it's
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  such a such a talent. His storytelling is so far up my
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  alley, and it always draws incredible performances out of
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  his cast. And him teamed up with Gleason
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  and Farrell. It's alchemy.
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  It is. It really is.
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  Yeah. This is no pretension there
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  whatsoever. It's amazing.
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  But it's as much about them as it is about Barry Kogan and
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  Curry Condon. Yeah, they're incredible.
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  The cadence, specifically of their line delivery, those two
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  performers, it's something that I just, I can't get enough of
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  and I can't quite explain. It does things to me that I
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  can't quite explain. No, I know what you mean, Yeah.
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  It's incredible that a film about two feuding friends, about
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  loneliness and despair and mental illness and mutilation,
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  can be the funniest film I've seen in a decade.
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  Yeah, easy. Since In Bruges, probably, it's
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  just beautiful and it's an absolute pleasure coming back to
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  it. Always will be, yeah.
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  Written and directed by Martin McDonough, The Banshees of Anna
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  Sharon was produced by Graham Broadband, Peter Chernan and
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  McDonough for Film for Productions and distributed by
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  Searchlight Pictures. Shot exclusively just off the
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  mainland of Ireland, it stars Colin Farrell as Parrig
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  Sulliwan, Brendan Gleeson as Colin Docherty and they are
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  joined by sublime cast including Curry Condon as Siobhan.
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  So the one Sheila Flinton as Mrs. McCormick, Barry Key Organ
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  as Dominic and Gary Leiden as his abusive policeman Father
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  Pader Kearney, a terrible person.
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  Disgusting. So fellas, Are you ready for
• 7:33
  some good normal chatting? Good normal chatting, Good
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  normal. Chatting, that's what.
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  We're head off to the Emerald Isle.
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  Are you just going down to the pub?
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  I'll meet you there. So the beginning.
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  The film opens on the greenery of an assure and looking down
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  from above before we track Porrig as he makes his way
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  through town. Matt, you're starting us off.
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  Yeah, I mean, this pushing through these clouds, big sweet
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  shot the island. Are we watching Banshees of an
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  issue knows his Father Ted that we've stumbled upon here.
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  It's like if you're of that age where Father Ted was a big
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  thing, you just cannot get away from the similarity to the
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  credit sequence. You just need the Divine Comedy
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  playing over the top of this, and you're there.
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  But then you see Poric, and what a great time he's having
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  already. Wagner, the pub for his daily
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  visit, 2:00, waving at everyone he knows.
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  But it's that failure to get Column out of the house to come
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  with him, even though it's 2:00 where everything starts to
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  unravel a little bit. Because when he goes to the pub
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  by himself and John Joe is serving him, is calling out with
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  you, comes out with you. Have you been Rowan?
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  He pauses. Doesn't like we've been Rowan.
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  Should I try him again? It's this realization that
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  everything is just so wrapped in a routine, yet no one goes well,
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  maybe he just doesn't fancy you today and leave him alone.
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  Maybe he'll come out tomorrow. Everyone has a routine that they
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  have to stick to. And if they don't stick to it,
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  everyone gets in everyone else's business here, which is part of
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  the problem. And that's what's crushing the
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  lifeout of column, as we'll discover.
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  And it's very subtly set up because you think Power Weeks
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  got such a subtle life. He can leave his pint on the
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  bar. No one full.
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  Well, it'll still be there from when it comes back.
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  Normal tamper with it normal, take it normal powder where?
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  And that's not necessarily a good sign when your life is that
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  predictable. Yeah, and it's just take one
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  element, just mess with one element of porridge life, Yeah,
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  and everything falls apart. And everyone picks up on it.
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  Yeah, yeah. You leave at that point on the
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  bar and then he goes to try them again and then, yeah, just has a
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  sip and leaves it. He's like, well, OK, just just
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  calm down. Just have have a drink.
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  So I'll go from after this one. How you doing?
• 9:35
  Nights? Everything right?
• 9:36
  We'll go in, we'll see Calm's house and there's all of these
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  weird kind of puppets hanging around as these masks,
• 9:41
  obviously. Has he been travelling or is he
• 9:43
  just wanting to travel from like all these different parts of the
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  world and it's just this kind of escapism inside of his house
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  where it's very claustrophobic. When he puts his head up and
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  looks at the where he sleeps, there's just nothing there, just
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  the bed and the dog. On it and the dog.
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  And it looks miserable. It's like, surely you're.
• 9:59
  Called, doesn't it? Yeah, it just.
• 10:00
  Looks like the bore in existence.
• 10:02
  There's something that he just has to get through and I think
• 10:04
  that really plugs into the character and I think it's
• 10:06
  brilliant seeing his home before you say him.
• 10:09
  I think it really sets up what you're going to get.
• 10:10
  From them, yeah, it's a good point.
• 10:12
  Because it does feel like he's, he's got interests and he's, you
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  know, he's a very interesting person with what he's got in his
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  house. It's not completely playing.
• 10:18
  And then he leaves. Obviously when he puts that mask
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  on, it's great. But he leaves And he just when
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  he looks through the window and he sees him and he gets that
• 10:25
  telescope and he's that amazing shot of him just like, and he's
• 10:27
  like, where are you after? And he said straight back after
• 10:30
  him goes back inside his paints there and he's like, sit
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  somewhere else. It's at this point I always wish
• 10:36
  I just could see them as friends, like the day before or
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  the week. Yes.
• 10:41
  I. Really wish I could see them
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  just like, oh, he's just talking about his donkey shite or
• 10:46
  something and just see how cool, how pissed off columns getting.
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  I mean, personally I would have just put flashbacks in there,
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  but that's an easy way to get around it.
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  But I think we've done as brilliant by not doing that.
• 10:54
  And you just have to leave it your own imagination, right?
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  I'll sit somewhere else, sits outside and it's just that
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  confusion from everybody. Have you been round?
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  Sounds like being round. I'm going to.
• 11:01
  Find Sounds like we've been round.
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  I love that Porrig. He doesn't know if they've been
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  round, but yeah, maybe we have because it does sound like.
• 11:08
  Pissed and you can't remember that just that's all they do.
• 11:12
  If you just go and you just drink like 8 pints every day,
• 11:14
  you're not going to remember much.
• 11:16
  So I think that's kind of the whole point.
• 11:18
  So he's like, look, if I said something when I was drunk, I'm
• 11:19
  sorry and I'll tell you about because that's just kind of the
• 11:22
  lifestyle that they've got. But still, when he's like got
• 11:24
  his paintings, I want to find out what all this is fucking
• 11:26
  about. And then we'll get one of the
• 11:30
  most heartbreaking. I mean, there's many
• 11:32
  heartbreaking moments in the film, but this is definitely the
• 11:34
  first one that back and forth between them.
• 11:37
  You could see the columns. Absolutely sick.
• 11:39
  Porrig's just so confused, doesn't have a clue what's going
• 11:42
  on. And it's just that delivery of I
• 11:44
  just don't like you no more. And I've counted it, and that's
• 11:46
  10 seconds. Now, 10 seconds on screen is a
• 11:49
  long time. And I think Colin Farrell goes
• 11:51
  through every single emotion he goes through like fear,
• 11:55
  heartbreak, confusion, but but but you're like yesterday, he's
• 11:58
  like, he's just trying to reason with it.
• 12:00
  And com comes back with did a did a though that I really, and
• 12:04
  he's trying to question it and it just doesn't quite know what
• 12:06
  is going on. We don't know what's going on.
• 12:08
  It's an incredible way to introduce this conflict,
• 12:10
  incredible way to introduce this story.
• 12:12
  And it breaks me hard every time.
• 12:13
  But that Farrell performance, you just you're looking at that
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  and you're going right. We are in for something special.
• 12:18
  If this is the start, where is this going?
• 12:20
  Yeah, exactly. It's really, really unusual.
• 12:23
  Yeah. And this is the first scene, or
• 12:25
  well, we start off in the pub, and the pub is a mainstay of
• 12:29
  this whole narrative planning this episode.
• 12:33
  Everything is they're in the pub.
• 12:34
  They talk in the pub. This happens in the pub.
• 12:36
  Yep. So as we're talking about the
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  pub that was purpose built for the film on the site of a beauty
• 12:40
  spot car park. But Donna didn't have a permit
• 12:43
  to dig into the ground so it had to be weighed down to keep it
• 12:45
  from blowing over. Locals often stopped by during
• 12:48
  the three-week shoot and was served drinks by crew members.
• 12:50
  Don't believe? Amazing, love that.
• 12:53
  Maybe that's why there's no no drafts or anything like that.
• 12:55
  It's all from bottle, isn't? It Yeah.
• 12:57
  And it had to be dismantled after production wrapped.
• 13:00
  But it was later bought by a man called Luke me who owned a Bond
• 13:03
  Kill Karen County Galway and unbeknownst to him, his
• 13:06
  brother-in-law had actually worked as security on the film
• 13:08
  and he was given the pub who then passed it to me for free.
• 13:11
  Oh, really? That's nice of him.
• 13:12
  Yeah, it is. So it's called the JJ Divine
• 13:15
  Public House. It is in the film.
• 13:16
  It opened in Kilcarran a few years back.
• 13:19
  The sign in the pub says that they have a ban on cutting
• 13:22
  fingers and throw on them. Fair enough.
• 13:24
  But anything else goes though that's anything else.
• 13:26
  Is that it? That's the barometer.
• 13:30
  And apparently you have a local donkey who stops by for a visit
• 13:33
  every now. And then I love that.
• 13:35
  And as we're in the pub, this leads us to our first question
• 13:39
  from an ATR M Patron. I mentioned at the top that if
• 13:42
  you want to be part of the show, you can sign up on Patreon, ask
• 13:45
  us questions for the films that we're covering.
• 13:48
  And our first question comes from Oliver Betts.
• 13:50
  Hi, Oliver. Hi, Oliver.
• 13:51
  Oliver. Oliver says.
• 13:53
  How do fellas? How do you?
• 13:54
  Does Banshees do for Guinness what Pulp Fiction did for
• 13:57
  Cheeseburgers? Which film gave you a craving
• 14:00
  for a particular food or beverage when watching?
• 14:02
  Hope you still like each other after the pod and remain the
• 14:04
  nicest of them. We love your work.
• 14:07
  Wonderful. Well, thank you.
• 14:09
  Yes, thanks. Man, an absolute pleasure,
• 14:10
  Oliver. Yeah, and you're right, Banshees
• 14:13
  does make you crave a pint of the black stuff for certain.
• 14:15
  Yeah, sure does. The films that came to mind
• 14:18
  immediately for me were Sideways, right?
• 14:22
  If you're not desperate for a glass of peanut noir after that,
• 14:24
  you have no salt. Definitely not a fucking not.
• 14:27
  A Malone Definitely not. Anyone who watches Out of the
• 14:31
  Past, The noir classic from 1947, will almost certainly be a
• 14:35
  smoker by the end of it, right? Yeah.
• 14:38
  Roger even called it the greatest smoking movie for good
• 14:41
  reason. If you haven't seen a big
• 14:42
  recommendation. But you will be addicted to
• 14:45
  nicotine when the credits roll, right?
• 14:46
  Yeah, it should come with a health warning.
• 14:48
  It's unbelievable And and Jon Favreau's chef from 2014.
• 14:54
  Yes. Wonderful food looks incredible.
• 14:56
  Cubano and grilled cheese sandwiches will never be the
• 14:59
  same again. Never the same, yeah.
• 15:01
  Incredible stuff. What about you, Westie?
• 15:03
  I mean, there's a few for me. Cypher steak in the Matrix.
• 15:07
  Oh, it's like the very nice. Ever seen?
• 15:11
  Yeah. It's just absolutely
• 15:12
  unbelievable. I'm torn between these two
• 15:15
  scenes. In Goodfellas.
• 15:16
  It's either the prison scene with this, with the tomato, with
• 15:18
  the onions and the only two, and just the garlic and slice and
• 15:22
  that. I'm like, I just really want
• 15:23
  that kind of sauce with meatballs.
• 15:25
  Or it's Tommy's mom's spaghetti. I wouldn't just put that much
• 15:29
  ketchup. It's delicious.
• 15:30
  It's delicious. I wouldn't be putting that much
• 15:31
  ketchup on it though. I mean.
• 15:32
  If one goes E, one goes West. So what?
• 15:37
  And I really fancy. So I just really fancy pasta
• 15:39
  after that. I know that's quite cliche, but
• 15:41
  I mean, it just looks so, so good.
• 15:42
  Yeah. And she knocks that up in record
• 15:44
  time as well. Yes. 3:00 AM Yeah.
• 15:48
  And the last one, literally anything in any Tarantino movie,
• 15:52
  if it's food or drink, of course, Inglourious Basterds is
• 15:55
  that wait for the cream. You know that that looks
• 15:57
  unbelievable, but it's true. It's the pint in Django
• 16:00
  Unchained. And he pulls that pint and then
• 16:03
  just knocks the froth off the top of it.
• 16:04
  Oh, it's just the way, Jim, when Jamie Foxx drinks, it's like
• 16:07
  that. It looks unbelievable.
• 16:09
  That's like the perfect pint of beer in any that that would do
• 16:12
  for me. Yeah.
• 16:12
  Them three. Very nice rounding us up, Matt,
• 16:15
  what have you got? Yeah, I mean, the first one that
• 16:17
  came into mind for me was those two pints and Django Unchained
• 16:20
  as well. Just yeah, they're in a proper
• 16:22
  stained glass. It's a probably good head on.
• 16:24
  It looks really, really like thirst quenching.
• 16:28
  Another Tarantino one for me though is Mini Stew in the head
• 16:31
  flares. Looks like a little.
• 16:33
  Nicest thing on a cold air. I just want a big bowl of that
• 16:36
  would just stick me head in this.
• 16:38
  Any Tarantino stuff or even that dog food looks good in
• 16:40
  Hollywood? And then the last one, basically
• 16:46
  anything that gets made in ratatouille.
• 16:48
  I mean, there's obviously the dish at the end, but there's the
• 16:51
  bit where the the rat squeezes like the loaf of bread and it's
• 16:54
  just got that crunch to it. But like proper baguette should
• 16:58
  have makes me really hungry. That film as well.
• 17:01
  Fantastic. I love.
• 17:02
  Like animation can make you hungry, man.
• 17:06
  That's effective, yeah. He loves animation.
• 17:10
  He loves it. Well, that's a great question.
• 17:14
  I'll have a great to get us started off.
• 17:16
  Thank you very much. And.
• 17:18
  After those two sequences that we're talking about, we're
• 17:21
  briefly introduced to Dominic and Mrs. McCormick before
• 17:24
  Porridge goes back to the pub on the night time and because of
• 17:27
  his estrangement from calm me, he's forced to spend time with
• 17:30
  Dominic and there are two elements to this segment that I
• 17:33
  want to talk about. The first ones in the pub
• 17:35
  column, Megan wonderful music. As Porridge enters, John Joe
• 17:38
  says that all the ladies love column.
• 17:40
  They always did. And parrots is yeah, that's not
• 17:43
  true. Like a child.
• 17:52
  And then Dominic comes in and we can see how much of a nightmare
• 17:55
  he is on account of him being barred from the pub till April.
• 17:59
  But it's April now, so he's in. He's got to leave the stick
• 18:01
  outside though. Then the two take a table in the
• 18:04
  corner. Dominic wants to get the women
• 18:06
  with his small talk. It's hilarious when Porridge
• 18:10
  says he's happy enough where he is and Dominic says are you
• 18:12
  happy enough? Yeah, but he's got Anthony's
• 18:16
  pants. He can't stay still wriggling
• 18:17
  about all over the place and he can't stand them all in once his
• 18:21
  his behaviour is unacceptable. In the middle of his song.
• 18:24
  Play something dancy column to dance to and not have that more
• 18:27
  whining Dick. How offensive.
• 18:32
  Really offensive. And I love it when Parrig tells
• 18:35
  him that Khan doesn't want to be his friend and Dominic just gets
• 18:38
  to the heart of the whole story and says something really
• 18:41
  sarcastic but really quite telling.
• 18:43
  What is he, 12? Brilliant.
• 18:47
  His delivery is amazing. All this silly schoolboy games,
• 18:51
  acting like a fool of a Moody school child.
• 18:54
  Grow up, stop being a baby, love it.
• 18:56
  Then there's that moment where they go to Dominic's house and
• 18:58
  steal the poaching from his dad, who's completely Billy Bollocks
• 19:02
  in the chair. Horrible.
• 19:03
  Horrible sight. Horrible, but we'll draw a veil
• 19:06
  over that. Yeah, discreet.
• 19:08
  And when they're sitting outside drinking, Dominic's against wars
• 19:11
  and soap, he says. Which is.
• 19:14
  And. He thinks that he and Parag are
• 19:18
  good at chat. We're good at chatting, but this
• 19:20
  is all an in to get talking about Siobhan Porrick's sister.
• 19:24
  It is, yeah. Does she like to chat some of
• 19:27
  the dialogues? Pride when Porrick says not as
• 19:29
  much as most women but she'll chat like as most women.
• 19:34
  Where did he get his research from?
• 19:39
  She's more more into reading and this blows Dominic away.
• 19:44
  Reading. Fucking hell, how am I going to
• 19:49
  have to contend with this that it all spirals out of control
• 19:54
  when he starts asking about seeing her with clothes on?
• 19:57
  I mean, she's talking about a brother and sister here.
• 20:00
  It's outrageous. It's funny, but they're really
• 20:02
  disturbing. Not even as a child.
• 20:04
  Oh, DMA, horrible. But in isolation, it's really
• 20:08
  weird and out there. But it's a peek into Dominic's
• 20:11
  world considering his dad's despicable behavior that we'll
• 20:14
  find out later. Something really tragic about
• 20:16
  that. Yeah.
• 20:18
  Yeah. It's like he's trying to erase
• 20:19
  his own childhood in his mind and trying to replace it with
• 20:21
  something else. Yeah.
• 20:23
  Which is really tragic. And I think the introduction of
• 20:25
  that character as well. There's that line of dialogue
• 20:27
  which everybody misses and it's so clever.
• 20:30
  And he's got that stick and that's the stick that basically
• 20:32
  fishes his body out of the water at the end that's so significant
• 20:35
  that he finds that and he said, well, what do you use it for?
• 20:38
  Who can something that's the length of a stick away?
• 20:43
  Which turns out to be him. Which turns out to be him.
• 20:45
  Yeah, but just that lines hook something that's a stick, like
• 20:48
  length of the stick away. It's like, what's the length of
• 20:50
  a stick? What are you talking about?
• 20:51
  It's amazing. It's so good.
• 20:54
  There's just no intellect whatsoever.
• 20:56
  He's just so keen. He's really keen.
• 20:59
  Yeah, but the part of Dominic was written for by Ricky Hogan.
• 21:03
  McDonough hadn't worked with him in the past, but loved his work
• 21:05
  in films like The Killing of the Sacred Deer and Black 47.
• 21:09
  He said that Kyogan brought integrity and depth to the part
• 21:11
  beyond simple Comic Relief or stereotype.
• 21:14
  Nice. When McDonough came knocking,
• 21:15
  Coogan said yes before he read the script, which anyone would.
• 21:19
  I think Now he said anything that Martin McDonough does, I'd
• 21:22
  sign up to it. Of course he's got that
• 21:24
  reputation. Yeah, definitely now, yeah.
• 21:26
  But only four days before filming, Kyogan was hospitalized
• 21:29
  with a flesh eaten disease. Wow, he was even close to
• 21:33
  amputation. McDonough visited him and later
• 21:35
  said he seemed to shrug it off. We were only about four days
• 21:38
  from shooting and his arm was all puffed up.
• 21:40
  But he was like, yeah, I'm going to be fine.
• 21:41
  I'll see you on Tuesday. Right.
• 21:44
  It's just like Dominic, really. That'll be fine.
• 21:47
  That'll be fine. It's flesh eating fat, kiddo.
• 21:56
  But he's got a scar that goes all the way up his arm as a
• 21:59
  result of the disease. A little serious stuff.
• 22:01
  Yeah, right. So an introduction to the weird
• 22:04
  and wonderful goings on in a Sharon and the unusual
• 22:06
  characters that live there. Yeah.
• 22:11
  The next day, Porg thinks he's got it cracked.
• 22:13
  It was able fool's day yesterday.
• 22:15
  More fool him. Oh yeah.
• 22:17
  That look on his face, he's like.
• 22:21
  He got me good. Parrig goes about his business
• 22:26
  as if nothing happens the next day and here he is pursuing calm
• 22:30
  again. He goes to his house, then
• 22:31
  follows the pub. But column is going to be an
• 22:33
  Egypt again today of. Course.
• 22:36
  Great. When Parrig says there are
• 22:38
  better things that he could do with his time than calling for
• 22:40
  him, Con says yeah, Like what, Parrig?
• 22:43
  In the least convincing tone you've ever heard in your life.
• 22:56
  Combs like reading. Yeah.
• 23:00
  Not convinced. Not convinced column showcases
• 23:04
  his new song and Parrig takes his pain outside because a shite
• 23:07
  tune anyways. I wouldn't bother with it.
• 23:10
  Yeah, really it. Yeah.
• 23:11
  But he would get more reasoning from Calm about his behavior.
• 23:14
  He's got an enormous sense of time slipping away and doesn't
• 23:17
  have any time for aimless or good normal chatting.
• 23:20
  And that can kind of understand where Calm is going here to be
• 23:23
  honest. Two hours about talking about
• 23:26
  things he find in his ponies. Shit.
• 23:29
  I mean Can you imagine the detail he went into?
• 23:32
  However, he says I timed it. Why would you timed it?
• 23:36
  He's got nothing else to do because he's not listening, is
• 23:39
  he? I think they should do it like a
• 23:41
  sequel where it's just that for two hours.
• 23:45
  Like my dinner with Andrea? Yeah.
• 23:47
  Exactly like my dinner with Andrea.
• 23:49
  The batches of inner shitting. And there's a beautiful shot
• 23:55
  when Column leaves him outside, he comes inside, goes back in
• 23:58
  the pub, he sits down at the table and porridge framed in the
• 24:00
  window, metaphorically and literally left out in the cold.
• 24:04
  Yes, it's done in one of a million different beautiful
• 24:07
  compositions in the film. That's so many, yeah.
• 24:09
  And then following this, everyone's going to church, and
• 24:13
  Horrick and Siobhan see Dominic outside the church, and
• 24:16
  obviously his father's found out about the stolen abuse, and he's
• 24:19
  given him quite a few licks. And obviously this is horrendous
• 24:23
  abuse and it's awful and it ends awfully.
• 24:25
  But this scene, it also highlights Mcdonough's skill in
• 24:28
  getting a laugh out of the bleakest situations.
• 24:31
  Because Porrick asked him, you know, what on earth was your
• 24:33
  father hitting you with? Well, kettle was the final
• 24:35
  thing. I wouldn't mind it, but for the
• 24:37
  spout, which, God, that's awful. Yet somehow McDonough spins out
• 24:42
  into something you do kind of laugh at.
• 24:44
  Yeah. And then you're into the church
• 24:46
  and we see calm. He's in the confession with the
• 24:49
  priest. I mean, first of all, I think
• 24:50
  it's quite distracting just how much this priest looks like grew
• 24:53
  from Despicable Me. That's right, you've.
• 24:55
  Got a really pointy doors ball really looks like grew he.
• 24:59
  Really does, yeah. It was really distracting at
• 25:02
  first, but it becomes this wonderful back and forth between
• 25:05
  them because the priest asks, you know, how's the despair,
• 25:08
  which is a bit more of an insight and what column has gone
• 25:10
  through from his perspective because he's obviously spoken
• 25:12
  about it before. It's obviously on his mind.
• 25:14
  You think, oh, this is going to be quite a heart, heart between
• 25:16
  these two. But then like the scene outside
• 25:18
  with Dominic McDonough flips this into comedy.
• 25:20
  And I think outside of the titles which we've talked about,
• 25:23
  this is the scene that's more like an episode of Father Ted
• 25:25
  because this becomes ludicrous, this confession between them.
• 25:29
  You know, pouring asked me to, you know, have a word.
• 25:32
  Is pouring the one you having the impure thoughts about?
• 25:34
  No. Do you have impure thoughts
• 25:36
  about man? Father, I do not have impure
• 25:39
  thoughts about men. How dare you say that about a
• 25:41
  man of the cloth? Well.
• 25:43
  You started it. So it's just another like senses
• 25:46
  argument coming out of nowhere and it escalates and it
• 25:49
  escalates until, you know, the priest says he's not going to
• 25:51
  forgive him until next time, which case comes as well.
• 25:54
  If I die before then, I'm going to be pure fucked, won't I?
• 25:56
  And the priest says you will be pure fucked.
• 25:59
  And then he storms. Out will be beautiful.
• 26:03
  Absolutely losing. And then it's where he just jabs
• 26:05
  his finger at the next person for confession.
• 26:07
  Like you in now, you, your turn. No, I'm not going in there.
• 26:11
  Something else going first. So Lords laughs in amongst all
• 26:14
  the blakeness which is just pure McDonough.
• 26:17
  Yeah, brilliant. So from there, and I think that
• 26:20
  confession is a little bit of a motivator for calm.
• 26:22
  They just say, well, as anybody listening and Poro's gone too
• 26:25
  far getting this priest involved now he's super involved now it's
• 26:29
  like really incrungent on his life and he just needs to take
• 26:31
  it seriously. So he gets to the pub and he
• 26:33
  tries to make things a little bit clearer.
• 26:38
  So I'm going to, I've got some cheers at home.
• 26:40
  Every time you bother me from now on, I'm going to cut off one
• 26:42
  of my fingers and give it to you.
• 26:43
  That point in the film, I just, I think that's an incredible
• 26:46
  twist. Yeah, that's that's insane.
• 26:49
  It's a big flex, isn't it? It's just like.
• 26:51
  Wolf. And it just spins you and you go
• 26:53
  actually, yeah, I totally believe this guy.
• 26:54
  I totally believe that he's going to do this and I'm going
• 26:57
  to actually see it. And I know I'm going to see it
• 26:59
  because Pollock's not going to stop and he just keeps going.
• 27:02
  He's. Does that make it clearer for
• 27:03
  you? Not really, no.
• 27:07
  Oh, really? No.
• 27:08
  Why your fingers? The first protocol, absolutely
• 27:11
  great back and forth between them.
• 27:13
  He's really kind of reinforcing the narrative now about where
• 27:16
  this is going to go in the seriousness of it.
• 27:19
  And I love the way he just holds up the four fingers and then
• 27:21
  finger on lips. He's just like.
• 27:23
  Love it. From now, OK and poor it goes to
• 27:26
  start again and everyone else gets involved.
• 27:28
  Sure, she's like poor. I think seriously, everyone else
• 27:32
  gets it apart from him. And he's saying I can't compute
• 27:35
  this whatsoever. This is just absolutely insane
• 27:37
  because he knows if he loses column from his life, he loses a
• 27:41
  lot because he depended on him. And that friendship was
• 27:44
  something that was really, really important to him and
• 27:47
  something that was seems to be very one sided.
• 27:49
  Column wasn't getting a lot from it, but poor it was.
• 27:52
  And again, this is lovely. Underlife throughout the whole
• 27:55
  film is calm, doing this on purpose to make power of more
• 27:58
  focused and more motivated to go and do something else to say,
• 28:02
  look, you haven't got any friends here, Go, go with your
• 28:05
  own. Go somewhere else, make
• 28:06
  something of your life because I've wasted mine.
• 28:08
  Is this the only way he can get to him?
• 28:10
  And I think this scene kind of reinforces that of what he's
• 28:13
  prepared to do. He's prepared to sacrifice his
• 28:15
  dream of writing this song and playing that fiddle to motivate
• 28:19
  Porrig. Is that the case?
• 28:21
  Is that what it's about? It's one of the underlying
• 28:22
  themes, and I think it's fantastic to explore.
• 28:25
  But then you get this line, the talk about how dull he is.
• 28:28
  Who's talking about that? And he's like, well, hey, what I
• 28:29
  heard of, what do you want to expect us to do?
• 28:31
  And it's all just this back and forth.
• 28:33
  But he says, you're one of the nice guys, You're one of the
• 28:35
  good guys. I used to think that would be a
• 28:36
  nice thing to be 1 of life's good guys.
• 28:39
  And now it sounds like the worst thing I've ever heard.
• 28:42
  Yeah. That is astonishing because
• 28:44
  you're just trying to be something and someone turns
• 28:47
  around your absolute belief system and says, yeah, you're a
• 28:49
  good guy, but that's that's that's all you've got going for
• 28:52
  you. And that's all he wants to be.
• 28:53
  And he thought that was enough, and now it's not Heartbreaking
• 28:56
  stuff. It is.
• 28:57
  But incredible writing, incredible acting, incredible
• 29:00
  team. Yeah, that dynamic between John,
• 29:03
  Joe and Jerry behind the bar and finishing each other's sentences
• 29:07
  and just repeating the same thing over and over again.
• 29:10
  If I cut something off my body, for every dull person that came
• 29:13
  in here, I'd only have my head left.
• 29:17
  Which means you'd have to cut your head off.
• 29:19
  So at what point does that make any sense?
• 29:21
  It's amazing. I don't want to have me.
• 29:26
  So not just the visuals, as Matt mentioned earlier on about the
• 29:29
  opening credits, but Banshees has got a link to popular 90s
• 29:32
  Irish comedy Father Ted. Pat Short and John Kenny play a
• 29:37
  pub landlord Giorgio Devine and pub regular Jerry respectively,
• 29:40
  who've just been talking about. They're both absolutely
• 29:42
  fantastic entire the scenes together.
• 29:45
  So these two actors also appeared in Father Ted.
• 29:47
  Amazing. They started out as a comedy duo
• 29:50
  and you can kind of see that. Right.
• 29:53
  Yeah, yeah, the jewel's name was the Unbelievables.
• 29:59
  Love it. So Cole has drawn a line in the
• 30:05
  sand. One more word and it's snip
• 30:07
  snip. Indeed, the director.
• 30:15
  We're returning back to Martin McDonough as director after we
• 30:18
  discussed his work on our In Bruges podcast.
• 30:20
  He takes his sweet, sweet time when making a film.
• 30:23
  But it was all worth it, right Westie?
• 30:25
  Absolutely worth it. Yeah.
• 30:26
  He's just a fantastic director. There's just no pretension with
• 30:29
  him. He does kind of what he wants to
• 30:30
  do, but at the same time he doesn't belittle an audience.
• 30:34
  He entertains. He kind of keeps things fresh.
• 30:37
  He keeps things exciting. He works with actors who we
• 30:39
  think we've seen it all from them, and we'll see more.
• 30:42
  Barry Kogan, you to score? Yeah, he's fantastic in Killing
• 30:46
  of a Sacred Deer, but where else do you go?
• 30:48
  And never saw this coming from a mile off.
• 30:50
  Just incredible work. And he's just got patience.
• 30:53
  I think that's what I get from his work.
• 30:55
  It is very theatrical. I think he shot choices are
• 30:57
  incredible. I think especially this, to have
• 31:00
  these, like, sweeping vistas. And a lot of it is postcard
• 31:03
  esque. A lot of the lens choices are
• 31:05
  quite wide. Everything's a landscape.
• 31:07
  But I just think he's just got such patience and such humor.
• 31:11
  And that is really, really refreshing.
• 31:13
  And yeah, it can be dour and it can be and it is.
• 31:16
  I mean, if you think about this story on the page is incredibly,
• 31:19
  incredibly depressing. It's like Constantine script if
• 31:23
  you just kind of look at it that way.
• 31:25
  It's just honestly one thing after the other.
• 31:27
  But you still feel uplifted by the end of this.
• 31:29
  And I think that's that's down to McDonough and I think that's
• 31:32
  down to his outlook. And it's very refreshing and
• 31:34
  very honest. And I think that's why because
• 31:37
  he makes it very human and he is a very honest filmmaker.
• 31:39
  And I don't think there's many of them left.
• 31:41
  And sometimes he goes a little bit too far with his dialogue.
• 31:43
  And sometimes you go that was just kind of on the line.
• 31:46
  But it's his characters that he writes that dialogue for.
• 31:49
  It's not for him. It's to betray the character
• 31:52
  really. Well, yes.
• 31:54
  And I think that's what he does. He stays true to his characters.
• 31:57
  If they're going to say something, then he sticks with
• 31:58
  it. If they're going to see
• 31:59
  something then sort of way. And at the same time, he doesn't
• 32:02
  make it shocking. He doesn't do on purpose, so I'm
• 32:05
  really excited to see what he's going to do next because what
• 32:09
  he's done with this is astonishing.
• 32:10
  This film should either be incredibly miserable or
• 32:13
  incredibly boring, and it's neither of those things.
• 32:16
  It really is, yeah. I mean, he doesn't shy away from
• 32:18
  the darkness of humanity, does he?
• 32:21
  No, as we said, you know, he's the writer on this film, so
• 32:24
  he'll have had it in his mind for years how these lines were
• 32:26
  going to be delivered. But for me, it's often what's
• 32:29
  not said during dialogue scenes that hit the hardest.
• 32:32
  Like you said at the top, Westie, he's got the courage to
• 32:35
  hold the static, locked off shots on a tripod of of Column
• 32:39
  Farrell's faces. He processes that information
• 32:41
  that column has just told him about not liking him anymore.
• 32:44
  And it's the flickering in his eyes, the furrow one of his brow
• 32:47
  in the silence for a roundabout like you said was a 10 seconds.
• 32:50
  Exactly 10 seconds, yeah. And it's absolutely gripping.
• 32:54
  Yeah, this isn't the only time he does that, either.
• 32:57
  He does the same thing with Chiffon when she gets
• 32:58
  increasingly more exasperated at Barrick's choices and comments.
• 33:02
  Do you think, Do I think? And it's Dominic's reaction when
• 33:09
  Siobhan lets him down gently by the side of the lake.
• 33:12
  Silence, which just speaks 1000 words.
• 33:15
  It's devastating. It's.
• 33:17
  Unbelievable. And I think he just breathes air
• 33:19
  into these moments by giving them their space that they
• 33:22
  really, really need. Yeah.
• 33:24
  And secondly, it's his use of the landscape.
• 33:26
  It opens up, and it's beautiful from up above.
• 33:29
  Who wouldn't want to live there? But as the film progresses,
• 33:32
  there's a wonderful juxtaposition between how it
• 33:34
  looks from afar and the reality of carrying out your entire
• 33:38
  existence on this remote place. Yeah, yeah, it's beautiful, but
• 33:42
  it's bleak. Rule, rule and remote.
• 33:44
  There's an irony in the column is desperate to leave a lasting
• 33:48
  impression on the world, but he still chooses a place that
• 33:50
  limits his reach and inspiration.
• 33:53
  That's where he's chosen to live.
• 33:54
  It doesn't necessarily encourage creativity, by the looks of
• 33:57
  things, something that he's desperately striving for.
• 34:00
  And to reinforce that, Siobhan chooses to move to a place where
• 34:03
  war is raging rather than stay where she's been all her life.
• 34:07
  Yeah, yeah, yeah. And I think that's just classic
• 34:09
  McDonough beauty and bleakness. Living seamlessly side by side,
• 34:13
  he sees the strangeness and soulfulness of his subjects and
• 34:16
  creates this incredible world for them to live in.
• 34:18
  He's fast becoming my favorite one of my favorite film makers.
• 34:21
  Oh yeah, yeah, yeah. I mean, same.
• 34:23
  I cannot wait to see what's next.
• 34:25
  Yeah. No, I'm very excited, Yeah.
• 34:27
  And in the Sharon isn't actually a real place.
• 34:30
  It's a fictional island, which McDonough created and he
• 34:32
  explained. I didn't want it to be
• 34:34
  specifically one place, I wanted it to be more mythical.
• 34:37
  So they ended up scalping the Aaron Islands.
• 34:39
  And he said that Inishma ticks most of the boxes.
• 34:42
  Yeah, it's the biggest of the Iron Islands, and it's flat
• 34:44
  terrain was perfect for key scenes in the film.
• 34:47
  Like Oregon Chauvelins Cottage. Yeah.
• 34:49
  Yeah, the house was built from scratch and employed local stone
• 34:53
  Masons to build it. Incredible.
• 34:55
  At around 100 miles north is Akl Island, which is more rugged and
• 34:59
  an old whaling cottage was converted for Combs House.
• 35:03
  Of that, a shell was built around the entire building so
• 35:05
  they could burn it down for the scene at the end, but still
• 35:08
  protect the original structure. Incredible.
• 35:10
  Yeah, Apparently the owner of the house was nervous.
• 35:12
  I wouldn't. Be worried about that.
• 35:14
  Yeah, just just about to say no. We'll just build something
• 35:16
  around it. Really.
• 35:18
  Right. No, that's not.
• 35:19
  That's not how fire works. But your thoughts on McDonough
• 35:26
  as director? I mean, first and foremost, he
• 35:28
  always feels like a writer first I think.
• 35:30
  But the reason he obviously direct his own material is
• 35:33
  obviously you understand it more than anyone else will in terms.
• 35:36
  Of nobody can. Nobody can because there's such
• 35:39
  a tonal balance. He's got 1/2 here, and that's
• 35:41
  one of his trademarks, very specific brand of humor, the
• 35:45
  story where you can peel back layer after layer, but at the
• 35:47
  same night, if you don't appeal those layers back, you can still
• 35:50
  enjoy it just as much. Just as a comedy with elements
• 35:53
  of tragedy. So it needs that delicacy of
• 35:55
  church that he has. And at the same time, with this
• 35:58
  one, he knows what he's doing by casting Firewall and Gleason.
• 36:01
  Again, he knows there'll be an expectation on that custom
• 36:04
  because of what they were like and In Rouge together.
• 36:07
  But he plays on that by giving them a completely different
• 36:09
  relationship. And that works just fine if this
• 36:12
  is your first McDonough film. But if you bring the baggage of
• 36:14
  In Bruce with you, it adds another element to it.
• 36:17
  And he knows that. You know, it could be so tender
• 36:20
  for a lesser film maker to just score.
• 36:22
  Well, I'll do In Rouge, too. You know, a lot of them, you
• 36:25
  know, hit men again. But he doesn't.
• 36:27
  And with his theatrical background, this could so easily
• 36:30
  translate to the stage and it would be amazing.
• 36:32
  But at the same time, it doesn't feel stagy.
• 36:34
  It still feels cinematic. I mean, obviously, the seven
• 36:37
  helps. We'll talk about what Ben Davis
• 36:39
  brings as DP. But they all serve in his
• 36:42
  vision. And he definitely has a
• 36:43
  distinctive vision for this material.
• 36:45
  So even if it's not necessarily, like, hitting you over the head
• 36:48
  on a visual or technical level, he knows exactly what he wants.
• 36:51
  He knows how to put it on screen, he knows how to blend
• 36:54
  taunts. He really knows how to direct
• 36:56
  actors. I imagine if you're an actor,
• 36:59
  he's at the top of your list of people you want to work with,
• 37:01
  without doubt, because he just gets magic on screen.
• 37:05
  And what you end up with, it's just undiluted Martin McDonough.
• 37:08
  And that's a wonderful thing indeed.
• 37:10
  It certainly is. Certainly is.
• 37:12
  He made his name as a theatre director, as you said, Matt,
• 37:15
  making his move to features with Imprusion 2008, also starring
• 37:19
  Gleason and Farrell. I'm sure you all are aware of
• 37:21
  that. They were always his first
• 37:23
  choice for Banshees and with them in place, he got financial
• 37:26
  back and quite quickly from Film Four and Searchlight Pictures.
• 37:28
  Yeah, he said in a matter of weeks we had it all set up to go
• 37:31
  once that screenplay was finalized.
• 37:34
  Amazing. And production for the film was
• 37:35
  due to start in early 2020, but was delayed for over a year
• 37:39
  after COVID hit and everything came to a halt.
• 37:41
  But he did use this time productively by working with DP
• 37:44
  Ben Davis and his production designer Mark Tildesley.
• 37:47
  They worked together for a year to create detailed storyboards
• 37:50
  and extensively scattered locations, McDonough said.
• 37:53
  It's almost like the ideal way to make a film.
• 37:55
  Planned it out all year and then delayed for a year.
• 37:58
  Yeah, yeah. Effect.
• 37:59
  Yeah. And despite it being a unique
• 38:01
  vision, McDonough went back to the classics for inspiration for
• 38:03
  this film. Films like The Searches, Night
• 38:06
  of the Hunter, Terrence Molix, Days of Heaven, and More Modern
• 38:10
  and one of my very, very favorites, The Assassination of
• 38:12
  Jesse James by the Coward Robert Ford were all drawn upon.
• 38:15
  Yes, indeed, Yeah. You can see that even just kind
• 38:18
  of like thematically and feel those kind of films in the in
• 38:21
  the DNA of this. It's got a very it's very much
• 38:24
  that tone to it. Yeah, and that iconic shot of
• 38:27
  John Wayne framed in the doorway at the end of the searches, with
• 38:29
  the Monument Valley backdrop behind him that inspired Mark
• 38:33
  Tilesley to build Paul Wiggins house at a certain angle in this
• 38:36
  was to maximize the splendor of the landscape of the island.
• 38:40
  That shots in the end as well, much of only as well.
• 38:42
  It's not the end, but the end of the their relationship.
• 38:44
  I guess in teams framed and the end of a lot of things, yeah.
• 38:48
  Is there any silhouetted shot in a doorway that is not the
• 38:51
  searchers? No, don't think so.
• 38:54
  Completely owned by John Ford, that shot.
• 38:55
  Isn't it incredible? It was imperative for
• 38:58
  consistency that all shooting locations were on these two
• 39:00
  islands in Ishmore and Echo, as interior and exterior should to
• 39:04
  use extensively from scene to scene.
• 39:06
  Interiors couldn't be shot on a set in London or somewhere like
• 39:09
  that. Yeah.
• 39:10
  So for example, the pub has to be a real location for them to
• 39:13
  have those exterior shots of the characters talking outside the
• 39:16
  pub and coming into the pub and vice versa.
• 39:18
  Or when Com throws his fingers that it always actually thrown
• 39:21
  them at a real location. And I think that just gives a
• 39:23
  heightened sense of place, doesn't it?
• 39:25
  It does, yeah. An identity and authenticity.
• 39:28
  I think them two things are very important.
• 39:30
  Very much so a one off film from a one off director.
• 39:33
  Beautifully understated stuff from McDonough, which may well
• 39:36
  turn out to be his masterpiece. It's definitely.
• 39:39
  Going to be up there the. Cast.
• 39:47
  As explained, the Pharaoh Gleason dream team was always
• 39:49
  what McDonough had in mind for Banshees.
• 39:51
  Haven't worked with him on In Bruges.
• 39:53
  The two actors are firm friends, and before shooting began, they
• 39:56
  each asked the other one if they should keep some distance to
• 39:59
  maintain the friction between porridge and column.
• 40:02
  The response from both was an overwhelming.
• 40:04
  No, we don't need to do that. That's what they said.
• 40:06
  We don't need to do that. No, no, wonderful.
• 40:08
  We're talking about the two of those guys and the incredible
• 40:11
  Curry Condon in the cast, starting off with Matt's cousin
• 40:14
  twice removed. Is that right, Matt?
• 40:15
  Pretty much, yeah. That's how it is.
• 40:17
  OK, Wesley. Colin Barrow.
• 40:19
  Yeah, you just made me sound like Matt's cousin twice
• 40:21
  removed, but that's fine. Are you not?
• 40:24
  Matt's cousin twice removed. Wesley, do you want to talk
• 40:26
  about Colin Barrow? I'd love to, yeah.
• 40:31
  He's just the heart and soul of this film, I think.
• 40:33
  Or it doesn't work. The film doesn't work.
• 40:35
  I think you need a starting point.
• 40:37
  You've you've got incredible performances and you've got
• 40:39
  incredible characters, but you need one character that kind of
• 40:42
  lead the audience through it. And that is Colin Farrell's
• 40:44
  performance in this, and he knows it.
• 40:46
  But at the same time, it's so refreshing because I feel like
• 40:49
  he's playing catch up with everybody else.
• 40:51
  I don't feel like he's the lead in this and I don't feel like he
• 40:54
  wants to be. There's so much room that he's
• 40:57
  given everybody else to work with that it just feels so
• 41:00
  selfless. It just feels like an ensemble
• 41:02
  piece where he is the main character, but he is so selfless
• 41:05
  in his performance and he's so childlike and so innocent and so
• 41:10
  lovely and so nice. But there's that arc where he
• 41:14
  starts off with a rainbow behind him but ends with a
• 41:17
  thunderstorm. You know what I mean?
• 41:19
  That's that's, that's his arc. And he's horrible at the end.
• 41:23
  It's really horrible. Completely.
• 41:25
  I'm really sorry about your donkey.
• 41:26
  I don't give a fuck. Yeah, love that.
• 41:29
  McDonough, as well, knows how to use Colin Farrell better than
• 41:32
  any other director I've seen. Yeah, and he really, really
• 41:35
  does. He can pull outline deliveries
• 41:38
  in this and In Bruges. I can't see him doing that in
• 41:41
  any other film. There's so much importance.
• 41:44
  I think that everybody is putting on this material and it
• 41:47
  has to start somewhere and it starts with Colin Farrell.
• 41:51
  It's really is devastating to see him go through that arc of
• 41:55
  stripping away all of the good guy, one of life's good guys,
• 41:59
  and that's all taken away by the end.
• 42:02
  An astonishing performance. I'd watch him in anything
• 42:04
  because of this, yeah. Absolutely.
• 42:06
  Yeah. During filming, Barry Gorgon and
• 42:08
  Colin Farrell room together at a cottage on Anish More.
• 42:11
  Farrell did the rounds talking about this when he found the
• 42:14
  film was released on different talk shows and still.
• 42:16
  Yeah, he. Said you'd come home in the
• 42:17
  morning, then it was like a raccoon, he said.
• 42:22
  It was like a piss take with empty milk cartoons turned
• 42:25
  upside down, dripping off the kitchen bench.
• 42:29
  Amazing. I can fully understand that with
• 42:32
  Kyogan you can believe that. Obviously not house trained.
• 42:36
  No, not at all. What's the matter?
• 42:38
  Call it happy? Are you?
• 42:41
  You're. Mop whining.
• 42:45
  You're a miserable host, people. There's a miserable house.
• 42:53
  Men, we've mentioned Jenny and you have an Wilson fowl of
• 42:55
  working with them, but the feeling wasn't necessarily
• 42:58
  reciprocated. He said that all had to go at me
• 43:00
  at some point. He needed a tetanus shot after
• 43:02
  most the dog bit him. His car nearly got reversed off
• 43:05
  a Cliff into the Atlantic by many the horse and Jenny, his
• 43:08
  beloved donkey kicked him in the knee when he stroked a nose.
• 43:15
  Front kick as well from a donkey when it's.
• 43:19
  Get off. Bruce Lee.
• 43:22
  Farrell said it was her first film, which she acted like it
• 43:24
  was her 100th. But that was my fault.
• 43:26
  I got too close to her. Pretentious donkey.
• 43:33
  Jenny used cast after McDonough picked her out from a parade of
• 43:36
  miniature donkeys. He said that she stood out
• 43:38
  because her eyes were perfectly awful.
• 43:40
  Like she's got eyeliner on. Nice.
• 43:43
  Amazing. Coincidentally, she's called
• 43:45
  Jenny in the original script. The donkey's name was actually
• 43:48
  Jenny, and Jenny is the official name given to a female donkey.
• 43:52
  Oh, right. OK.
• 43:53
  Which speaks volumes about Porrig's imagination that he's
• 43:57
  just chosen the word Jenny for a She's a Jenny.
• 44:01
  Let's just call her Jenny. There.
• 44:02
  Yeah, that's fine. Let's do that.
• 44:04
  Like called his gord Billy. Well, it's Billy Gordon, so.
• 44:06
  Yeah, yeah. She wasn't trained and didn't
• 44:09
  respond to direction of but to Donkey, but just go up that
• 44:14
  mountain, come down, that's about it.
• 44:16
  So scenes were shot as dictated by Jenny.
• 44:19
  She would get up mid scene and just wander around, meaning that
• 44:22
  Condom and Farrell had to respond to this for the scene
• 44:25
  and change the performances accordingly.
• 44:27
  That's great because it is just trotting around sniffing the
• 44:31
  table and stuff like that and Condom just kind of acts around
• 44:34
  it, yeah. But you can see some of that's
• 44:35
  actually in the film, yeah. You can to help Jenny.
• 44:38
  She was accompanied by an emotional support donkey called
• 44:41
  Rosie. Rosie was always on set, just
• 44:44
  our camera for Jenny's scenes. The attention paid to Jenny even
• 44:47
  continued in a post production when a lot of care and time was
• 44:50
  put into choosing the sound of the bell around her neck to
• 44:53
  signify her presence as she moves.
• 44:55
  Looked on and said that they went through a lot of shit bells
• 44:57
  before making the final choice. It's a shit bell.
• 45:05
  Jeddy's movie career was a one and done.
• 45:06
  McDonough appeared to send her to a donkey pasture in Ireland,
• 45:10
  he said. We all fell in love with her and
• 45:11
  it was the least we could do. We just didn't wanted to do any
• 45:14
  more shit films. Amazing, lovely ending.
• 45:17
  One and done. And if the other animals Minnie
• 45:20
  the horse was cast after a local gave Mark Tilsey A lifting his
• 45:23
  cart, which was pulled by Minnie until he sent a picture to
• 45:26
  McDonough, who cast the horse immediately as a Porrick's
• 45:29
  trusty steed. And most the dog was a border
• 45:31
  collie owned by Rita Maloney. The donkey handler is actually
• 45:34
  her dog. And most the dog is one of the
• 45:36
  most beautiful dogs I've ever seen.
• 45:38
  Lovely. And Gleason said that dog was
• 45:41
  very well trained, while Farrell Farrell said that the donkey had
• 45:44
  never had a day's training in its life.
• 45:48
  Spent all of our time on the dog.
• 45:51
  That's great and an incredible performance by Colin Farrell, a
• 45:55
  career high here for certain. I think so.
• 45:57
  He's amazing. The Ying to Podrig's Yang.
• 46:03
  Well, at least he was yesterday. It is Brendan Gleeson as Colin
• 46:06
  Doherty now. Such a conundrum, The character
• 46:09
  of calm. We know nothing of his past, so
• 46:13
  all we've got to go on is his present and his future.
• 46:16
  And they both look pretty bleak. Yeah.
• 46:18
  Yeah. He's considering his mortality.
• 46:20
  He's wrestling with severe depression and despair.
• 46:23
  Maybe he's made-up this whole tortured artist thing in an
• 46:26
  effort to stave off the depression.
• 46:27
  He says as much later on in the film as well, doesn't he?
• 46:31
  He maybe doesn't want to come to terms with the fact that he
• 46:33
  isn't all that he thinks that he is.
• 46:35
  I mean, he's effectively putting himself in the same bracket as
• 46:38
  Mozart, for goodness sake. I don't think he'd be on this
• 46:42
  island if he was as good as he makes out to be, no.
• 46:45
  No. You know, maybe that's the
• 46:46
  reason why he's resorted to mutilating himself as an excuse
• 46:49
  for him not fulfilling his perceived potential as a
• 46:52
  musician. And I think that's just
• 46:55
  beautiful writing by McDonough because it can be interpreted a
• 46:57
  number of different ways. That's the way I see it.
• 47:00
  People listening may have different opinions.
• 47:01
  You may have different opinions. But that's what's great about
• 47:04
  his writing and his character, and that wrestling with
• 47:07
  conscience and will weary despair is perfectly judged by
• 47:10
  Gleason. A lot of his performances, in
• 47:12
  his reactions and in his eyes, which feel like they're an
• 47:15
  endless well of sadness, Yeah, I think he's judged this character
• 47:19
  just right. And I do think it's such a shame
• 47:21
  that Colin can't see the wood for the trees here, because
• 47:23
  Pollock is a good man and he would back come to the hilt to
• 47:26
  his dying day. But he can't see it because he's
• 47:29
  got such highfalutin aspirations for himself.
• 47:32
  But there are flickers when he sees the reason why he was
• 47:35
  friends with Porrig in the first place.
• 47:37
  But you can see is that is happiest when he's playing music
• 47:39
  and when he's in the pub and when he's talking to other
• 47:41
  people. He looks genuinely happy.
• 47:43
  Even though the the feller is an absolute prick.
• 47:46
  He's genuinely happy speaking to the policeman because he's got a
• 47:49
  world view, he's got experiences seeing things or it doesn't have
• 47:53
  any of that. Yeah, again, it's a film full of
• 47:56
  contradictions. Most things have Shades of Grey
• 47:59
  and Gleason displays those shades in columns so beautifully
• 48:02
  here. I think Farrell gets all the
• 48:04
  plaudits and rightly saw, but Gleason is understanding,
• 48:07
  understated and fantastic here. Yeah.
• 48:08
  Oh. Totally understated, Yeah.
• 48:10
  Perfect. Yeah.
• 48:11
  On the self mutilation motif, MacDonald told Gleason that it's
• 48:14
  quite common for writers to have nightmares about their hands
• 48:17
  being incapable of writing. It's a fear of losing something
• 48:21
  that allows us to express ourselves the most, Gleason
• 48:23
  said. So I think my rationale was that
• 48:25
  Calm had made a commitment to risk everything in order to
• 48:28
  facilitate this space that he felt he needed to create
• 48:31
  properly. Right.
• 48:33
  And Gleason defended Columns actions in the film, he said.
• 48:35
  I really do feel he was in the pits of despair.
• 48:38
  I don't think he's an unkind person of nature.
• 48:41
  I think he's drowning. Yeah, maybe the mutilation is a
• 48:43
  substitute for suicide, or a precursor to it.
• 48:47
  Very possibly. Yep, and Gleason not only plays
• 48:50
  the fiddle first character, he plays it for real too.
• 48:52
  He insisted on playing all of Columns music himself and took
• 48:55
  an active part in composing the tunes his character plays.
• 48:57
  The shite new song that column plays, The Poric, was also
• 49:01
  composed by Gleason. He suggested to compose a cart
• 49:04
  of Burwell, that they both come up with a song and the best one
• 49:06
  would win. But Burwell didn't end up
• 49:08
  submitting a song. He wanted Gleason to have
• 49:10
  creative control over his character.
• 49:12
  Yeah, and Gleason had to compose and perform the song playing
• 49:15
  with only three fingers after calm self mutilation.
• 49:18
  Gleason wore green finger prosthetics during filming so
• 49:21
  VFX could be completed and post and remove it.
• 49:24
  You wouldn't think a film like this needs visual effect, no?
• 49:26
  No. You think you just cut your
• 49:27
  finger off? Yeah.
• 49:30
  Really committed to it, yeah. Yeah.
• 49:32
  Really. Method The actors went through a
• 49:35
  two week rehearsal period before filming started.
• 49:38
  Gleeson and Farrell developed detailed back stories about
• 49:40
  their characters, friendship, formation and Curry.
• 49:42
  Condon work with them on a back story about their parents
• 49:45
  drowning in a lake, one of suicide and one drowned in
• 49:49
  trying to save the other one. Right.
• 49:52
  That same was film, but ultimately cut, though the
• 49:55
  psychological depth that provided remains in the actors
• 49:58
  work for certain. Yeah, yeah, yeah.
• 50:01
  So another high watermark and an A standing career from Ben
• 50:04
  Gleason who completes one of Modern Cinemas great double acts
• 50:07
  with Corin Farrow. Yes, indeed.
• 50:12
  Finally, another spellbinding performance from an actress who
• 50:15
  we haven't talked about on the podcast so far.
• 50:17
  Hope get to again in the future very soon.
• 50:21
  Over to you, Matt. Carrie Condon, Siobhan Sullivan.
• 50:24
  Carrie Condon, man, we had a little bacon recording W, he
• 50:27
  said. Like my life would be complete
• 50:28
  if she turned up at my door. And it's the truest thing W he's
• 50:31
  ever said in his life. I said I was Every time I watch
• 50:34
  outside that that is Matt's perfect woman.
• 50:36
  Yeah. Harry Condon in this life, she
• 50:39
  knocked on your door. You just wouldn't even speak to
• 50:41
  us anymore. No, you never even meet again.
• 50:43
  Hang up the podcast boots. Matt's gone.
• 50:46
  He's absolute perfect woman. In this film though, I mean,
• 50:51
  she's incredible. I think Siobhan, she might be
• 50:54
  the most tragic character in the film because she is so much
• 50:57
  better than anyone else on this island and there's so much more
• 51:00
  to offer than anything that Ireland can offer her in return.
• 51:03
  Like that scene where Parag is going out of the pub and she's
• 51:06
  reading and he asks her how the book is and she just goes sad
• 51:10
  sad in his replies. Well maybe not read the sad one.
• 51:12
  OK so you'll get sad and you just think you're completely
• 51:15
  missing the point. Like she's got an emotional
• 51:18
  depth and an artistic understanding which is
• 51:21
  completely lost some power because he only thinks in
• 51:23
  binary. Happy is better than sad, so
• 51:25
  don't be sad. Well, happy might be better than
• 51:28
  sad, but Chiffon still understands sadness has a place,
• 51:32
  and you're not a complete person if you can't feel both emotions.
• 51:35
  That's why she says, do you never get lonely?
• 51:37
  Paul Rig. And he doesn't because all he
• 51:39
  needs is his little routine of going to the pub at 2:00 every
• 51:42
  day with column. But she needs so much more than
• 51:45
  that. And it's really starting to
• 51:46
  like, manifest itself, like the expression on the face from
• 51:49
  Paul. Rick says, oh, you should come
• 51:51
  to the pub for Sherry because back then she'd have to be
• 51:53
  invited. And she's delighted this little
• 51:56
  small. She's overjoyed, overjoyed by
• 51:59
  this little small offer to get out of the house.
• 52:01
  And that just tells you how little her life has been
• 52:03
  fulfilled here. And one of the great ironies of
• 52:05
  the film is she understands art probably more than column does,
• 52:09
  but she doesn't complain about it.
• 52:10
  She actually does something about it.
• 52:12
  She gets out of in the sharing and makes something of a life.
• 52:15
  And it's the one great victory the film has, the one happy
• 52:18
  ending. She gets off the island and
• 52:19
  makes something of a life. And you feel really sad for Paul
• 52:22
  Rick. That's just gone.
• 52:23
  Be delighted her at the same time.
• 52:25
  Yeah. Yeah.
• 52:25
  And we're not even touching on how funny she is in this as well
• 52:29
  though, like when Paula tries to catch her out by asking to see
• 52:32
  the dimmest man on the island after Dominic and then he claims
• 52:36
  he's as clever sense she just mudders and rebirth.
• 52:38
  Yeah, don't be fucking stupid. Hilarious.
• 52:42
  Most of the scenes with Dominic. I mean, I'll talk about a couple
• 52:45
  of them. Absolutely hilarious as well.
• 52:46
  The back and forth they've got going.
• 52:48
  So the summer step to this character and I think Condon
• 52:51
  brings every little bit in nuance out of it.
• 52:53
  A complete scene stealer of a performance.
• 52:56
  The one bit of light on the island for anyone.
• 52:59
  And in terms of female performances, this would easily
• 53:01
  be my top five if like the last 10 years.
• 53:05
  Yeah, it's definitely up there. Like her.
• 53:06
  When she goes in and confronts Colin, all this starts.
• 53:10
  Yeah. You can't just stop being
• 53:11
  friends with a fella. Yeah.
• 53:12
  Is that why? Because it's not nice.
• 53:17
  It's just brilliant. Do you want to share his
• 53:18
  Siobhan? No, no, twice says that.
• 53:20
  Twice, OK. She is the heartbeat of this
• 53:25
  film. She's just a magnificent
• 53:28
  performance, exasperation, really funny.
• 53:31
  Every time she comes in the house and the donkeys in there,
• 53:33
  it's hilarious. Yeah.
• 53:35
  Oh, for God's sake. She had been a regular
• 53:41
  collaborator and friend of McDonough since 2001, when she
• 53:44
  made her debut at 17 years old and the first production of his
• 53:47
  stage player, the Lieutenant of Inish More.
• 53:50
  And they were having dinner when he was revisiting his Banshee
• 53:53
  script because he'd abandoned it for a few years.
• 53:55
  But she encouraged him to persevere with her because she
• 53:57
  had a love for his Irish players.
• 53:59
  McDonough wrote the role of Siobhan specifically for Condon,
• 54:03
  he said. I'd always wanted to write
• 54:05
  something that would allow her to show just how brilliant she
• 54:08
  is. Yeah, and boy does he do it.
• 54:09
  Yeah, it's what he does, yeah. Condon also appeared in a 2009
• 54:14
  production of Mcdonough's player The Cripple of Finishment.
• 54:17
  This means that she's the only person to have started in
• 54:20
  Mcdonough's so-called Aaron Islands trilogy, named after the
• 54:23
  real Aaron Islands Inishmore, Inishman and Inishi.
• 54:27
  Oh, OK. Right.
• 54:28
  Nice grip, brilliant. I mean, we're running out of
• 54:30
  superlatives already about this film, but it's an incredible
• 54:33
  cast. Not forgetting Barry Kyog and
• 54:35
  his Dominic, another one who was first choice for.
• 54:38
  I mean, imagine having if all four of your first choice actors
• 54:42
  to play doesn't. Get better.
• 54:44
  Doesn't get better. Yeah, one of the best 4 lead
• 54:46
  performances in modern cinema for me.
• 54:48
  Incredible performances completely.
• 54:50
  Agreeable. Yeah.
• 54:58
  Before we continue with Banshees, just want to give a
• 55:00
  quick shout out to comic book legend Rob Liefeld and his
• 55:03
  podcast Robs Evasions with Rob Liefeld.
• 55:06
  Now if you're into comic books at all, you'll know Rob's work.
• 55:09
  Of course, the man Co created Deadpool for goodness sake.
• 55:11
  But beyond being a legend in the industry, he's also a genuinely
• 55:15
  wonderful man. We've connected with him online
• 55:17
  recently and he gave us a glorious shout out on his
• 55:20
  podcast, so we want to return the favour.
• 55:22
  We particularly love your attempt at our accents, Rob.
• 55:24
  Hilarious stuff. What makes Robservations so good
• 55:27
  is that Rob pulls the curtain back on the entire comic book
• 55:30
  industry. He discusses the history of
• 55:32
  comics from someone who is actually there on the front
• 55:34
  lines, creating some of the most iconic characters and storylines
• 55:37
  of the past few decades. There's a lot of love for the
• 55:40
  show because Rob explains so much about how the comic book
• 55:43
  industry actually works. Like the creative process, the
• 55:46
  business side of things, the stories behind the stories.
• 55:48
  If you've ever wondered what it's really like inside that
• 55:50
  world, then this is definitely the podcast for you.
• 55:53
  So go check out Observations with Rob Liefeld wherever you
• 55:56
  get your podcasts. Tell him the ATRM crew sent you.
• 56:02
  The middle. With Dominic left without a
• 56:07
  home, he's graciously invited to Porygon Siobhan's but does
• 56:10
  nothing to show his gratitude. No.
• 56:13
  Over to you, Matt. I mean this super St.
• 56:15
  This is a not perfect comic performance from Kiogan.
• 56:20
  He blows the roof off the scene because he starts off ranting
• 56:23
  about column B Morpie just calling him a fat ginger man is
• 56:28
  one of the most childless insults you can have, but it's
• 56:31
  so funny. Column Dougherty and his fat,
• 56:34
  feckin fingers. All the blubber on them and
• 56:38
  Siobhan has already had enough of his shit already and tells
• 56:41
  him to start eating with his mouth close and his response?
• 56:43
  Where are we France like decks? Me every.
• 56:47
  Time that might might be the funniest sign in the film
• 56:51
  because that's his go to reference for Eden with your
• 56:53
  mouth closed. The French is it.
• 56:56
  And then really. Posh.
• 56:57
  Really posh. Well, he France.
• 57:00
  Oh, it's so funny. And then he's still ranting
• 57:02
  about column but pour it and Siobhan are just not in the mood
• 57:05
  for it. So he goes, Jesus is a
• 57:07
  depressing house. And then Siobhan responds.
• 57:10
  Would you prefer you once? Or I've heard it's a barrel of
• 57:12
  feckin laughs like she's slow. Yes, at this point.
• 57:19
  And then his response, well, touché.
• 57:24
  And it's when he has to explain or what touché means to Poric,
• 57:28
  because you get this amazing reaction shot from Javon where
• 57:31
  she looks from Dominic to Poric as if to say, Oh my God, if even
• 57:36
  Dominic has to explain French to him, the most basic French
• 57:39
  phrase, maybe he is the dimmest man on the island.
• 57:42
  Yeah, if Dominic knows this and he doesn't.
• 57:44
  Yeah, all of that with no dialogue.
• 57:47
  No dialogue. It's just that one incredible.
• 57:49
  Just that one from you. Like oh God.
• 57:52
  Yeah, exactly. And it's weird, like Dominic
• 57:54
  gets that from in the 1st place, which is heartbreaking.
• 57:57
  Yeah. Yeah, there's a deleted scene
• 57:58
  from the film, which is horrific.
• 58:00
  His dad says it to him in a scene where he says that Dominic
• 58:04
  cried more at the beating he's just taken from him than anyone
• 58:07
  did at the execution that he'd just been to on the mainland.
• 58:10
  Yeah, yeah, yeah. Oh.
• 58:11
  It's awful. Horrible.
• 58:13
  Yeah, But then in this scene, it's the way that Dominic just
• 58:16
  keeps needling Siobhan and he won't let go.
• 58:18
  How come you're never married? None of your freaking business.
• 58:21
  Why he was never married. We never wild Siobhan.
• 58:25
  Wild, wild. You've been angry.
• 58:31
  And The thing is. Just so angry, but he looks like
• 58:33
  he's quite into that, like the more angry she like he's like
• 58:37
  really into this and she's. Getting the attention.
• 58:39
  That's why he's like you. Just keep on saying wild wild.
• 58:46
  And then she yells him that Paul told him not act stupid to
• 58:49
  water. He said creepy, not stupid.
• 58:51
  Well, you failed on both counts, haven't you?
• 58:55
  And the absolute carpet of this scene is she's human.
• 58:59
  Tells Poric she's going to bed. Dominic's not staying another
• 59:02
  night, she'd rather have the donkey in the house.
• 59:04
  Slams her bedroom door shut. And that's this beautiful comic
• 59:07
  pause. And Dominic just goes foiled
• 59:09
  again. But faint heart and all that.
• 59:14
  Oiled again just. If if you had any chance.
• 59:19
  I know, I know. He's still so hopeful that he
• 59:22
  is. Really is he's going to give it
• 59:25
  another goal later. He just knows that that's not
• 59:27
  the road to go down. That's not that one.
• 59:29
  Don't ask her about married and being wild, right?
• 59:31
  Let's take a different route. Foil again, But I could try it
• 59:34
  and all that. That's unbelievable.
• 59:36
  And how come is it, Siobhan, that you were never married?
• 59:40
  Outrageous is. Especially back then in an Irish
• 59:44
  community, an Irish Catholic community, yeah.
• 59:46
  Well, this is a great opportunity to slip in our
• 59:49
  second Patreon question. This one is from Burke Swenson.
• 59:52
  Hi, Burke. Hi, Burke.
• 59:53
  Hello back. Burke says this was my
• 59:55
  introduction to Barry Kiogan. His performance, even in such a
• 59:58
  small role, was so well done that it made me want to see his
• 1:00:00
  next film. What performances from new or
• 1:00:03
  unknown actors, media actors to see their next role?
• 1:00:06
  And as always, thanks for all you do to enhance our love of
• 1:00:09
  films. As well.
• 1:00:10
  Thank you, Burke. Yes, Thanks man.
• 1:00:11
  Thanks back. Westie first.
• 1:00:13
  I had a real think about this, and there's quite a few female
• 1:00:18
  actors for me, which I didn't realize at the time.
• 1:00:21
  Florence Pugh, when I saw her in Midsummer.
• 1:00:23
  Oh. Yeah, excellent.
• 1:00:25
  She's absolutely incredible in that.
• 1:00:27
  Anya Taylor Joy when I watched The Witch, yes.
• 1:00:30
  And then later The Queen's Gambit, which I know is in the
• 1:00:32
  films, but I come kind of, you know, skirting the line there.
• 1:00:36
  See a Sharonan when she was in Lady Bird.
• 1:00:38
  Oh yeah, yeah, yeah. She's absolutely fantastic and
• 1:00:40
  brilliant. Hailee Steinfeld and True Grit,
• 1:00:44
  one of the greatest. What?
• 1:00:45
  When I see you again and then she comes up, she pops up in
• 1:00:48
  Sinners and it's like, wow, yeah.
• 1:00:50
  That bridges the gap. Anyone who wants upon a time in
• 1:00:53
  Hollywood. Let's be honest, everyone,
• 1:00:55
  Austin Butler, like everyone. Tarantino, absolutely.
• 1:00:58
  Not that out of the park, but the one that sat with me and I
• 1:01:00
  really saw a spark in this. And it wasn't Breaking Bad, but
• 1:01:04
  it was when I saw Jesse Plemons in Game Night.
• 1:01:06
  Oh yeah. To see more of this guy, he's.
• 1:01:10
  So funny. Believable in game night.
• 1:01:13
  If you haven't seen that, that is such a fun film.
• 1:01:15
  But Jesse Plemons nails that to the wall.
• 1:01:17
  But he's just stroking that dog. He's just said you've got 3 bags
• 1:01:22
  of chips there. Yeah.
• 1:01:24
  How is that profitable for the free to lay people?
• 1:01:27
  Yeah, he's so, so good. Enough so all of them for me, I
• 1:01:33
  was excited to see what's coming and I haven't been disappointed
• 1:01:35
  by anything, to be honest. They've all, they've all kind of
• 1:01:38
  raised the game a little bit, yeah.
• 1:01:40
  And what about you, Matt? I think Michael B Jordan, when I
• 1:01:43
  saw him in Creed, I've not seen him anything else.
• 1:01:46
  And to think that this guy has taken over the Rocky franchise
• 1:01:50
  and got to carry it on and he does it effortlessly.
• 1:01:52
  That's such a brilliant performance.
• 1:01:54
  And then the last one I mentioned, I had seen Once Upon
• 1:01:57
  a Time in Hollywood and I'd seen the screen film she was in, but
• 1:01:59
  even saw I wouldn't have been able to tell you who Mikey
• 1:02:02
  Madison was, but then seen her in an aura which is just this
• 1:02:06
  volcanic charisma which just explodes on the screen.
• 1:02:09
  I was like, and she just carries that film so much and incredible
• 1:02:14
  performance and very, very excited to see what she's going
• 1:02:16
  to do with her career. Firecracker of a performance.
• 1:02:18
  She's an absolute firecracker. Yeah, yeah.
• 1:02:20
  Yeah, yeah. Oh, well, I don't have any
• 1:02:22
  crossover here and I'm stunned, particularly with my second one.
• 1:02:25
  Matt, I would have thought that you would have come up with it,
• 1:02:27
  but I'll go through it. And I'm choosing films here with
• 1:02:30
  multiple performances from actors and actresses that I've
• 1:02:33
  never seen before, going a little deeper.
• 1:02:34
  Oh. Very nice.
• 1:02:35
  OK, so the first one is get out. Yep.
• 1:02:38
  And that's Daniel Kaluya. Yeah, pure screen presence,
• 1:02:41
  something he's continued since. Yep.
• 1:02:43
  Yes. The second is little Royal
• 1:02:44
  Harry, who steals every scene, that is.
• 1:02:48
  In so much. I love that police station scene
• 1:02:51
  is one of the funniest ever for me.
• 1:02:52
  It's hilarious. Just a bit of a shame that he
• 1:02:55
  hasn't really had the material to follow that.
• 1:02:57
  The second is a more recent film and this is the one I thought
• 1:03:00
  you were going to see. A matte licorice pizza.
• 1:03:02
  All right. Yeah.
• 1:03:03
  Alana, him, Cooper Hoffman. This is a debut for both of
• 1:03:07
  those. Yeah.
• 1:03:08
  Yeah, it's ridiculous over the up.
• 1:03:10
  And the film stirred up some controversy because of the
• 1:03:11
  relationship between their characters, But they handle the
• 1:03:14
  material so deftly and tenderly and humorously.
• 1:03:17
  The irresistible. Yeah.
• 1:03:19
  Yeah. And the third film, it's gone
• 1:03:21
  back. All favorite Toledo's Way and
• 1:03:25
  this contains not one, not 2, but three first time performers
• 1:03:28
  for me. Viggo Mortensen as Lalimiaso, we
• 1:03:31
  all know what I think about him. You've also got John Leguizamo
• 1:03:34
  as Benny Blanco from the Bronx and of course Luis Guzman as
• 1:03:38
  Pachanga. I've followed the career of
• 1:03:40
  those guys for over 3 decades. Yes, of course, just because of
• 1:03:43
  that film, right? Brilliant.
• 1:03:45
  Great and a great question. Thank you very much, Burke.
• 1:03:48
  Yeah, that was great. Thanks man.
• 1:03:50
  And Westie, it's over to you. Back to Banshees.
• 1:03:53
  Yes, back to branches and back to Podrick kind of getting his
• 1:03:56
  way through this trial and tribulation that he's part of
• 1:04:00
  just about. So anyways, just, you know,
• 1:04:02
  they're talking about the news. He doesn't quite know what news
• 1:04:05
  is. And he lets it slip that, you
• 1:04:08
  know, Dominic's been beat up by his dad and he's a policeman.
• 1:04:10
  He's just standing right next to him.
• 1:04:12
  Yeah, that's fine. But that's.
• 1:04:13
  Not news, no reason. That's not news.
• 1:04:15
  So it hasn't even made the impact that he wanted to make
• 1:04:17
  because you can see in his head this is going to be like this
• 1:04:20
  big revelation and nobody gives a shit and nobody's bothered.
• 1:04:23
  And he comes out of there and you're blindsided by it because
• 1:04:26
  if you watch it again, it's brilliant because he comes out
• 1:04:28
  and then they've got Keeny in the background and he totally
• 1:04:30
  out of focus, but he just leaves the frame.
• 1:04:32
  Yeah, he does, yeah. There's a cut and you see calm
• 1:04:34
  coming in and then your attention is totally shifted
• 1:04:37
  with like, what's going to happen here?
• 1:04:38
  This is the confrontation. And then all of a sudden there's
• 1:04:40
  just a hand comes in. So believe it or not, I have
• 1:04:43
  actually been punched in the face.
• 1:04:48
  With that sweet mouth of yours. With that sweet mouth of mine.
• 1:04:51
  Can you imagine me after a couple of drinks, just wax a
• 1:04:54
  lyrical about nothing. What do you mean you don't like
• 1:04:57
  Stanley Kubrick? You fucking bang.
• 1:05:04
  So anyway, this to me is like, it's just so realistic, so well
• 1:05:08
  played out and just there's two hits.
• 1:05:10
  It's not over the top. He doesn't get stamped on and
• 1:05:12
  kicked and pushed around. It's just the impact of that,
• 1:05:15
  but it's the way Farrell players that shock and he plays it and
• 1:05:20
  it it reverberates throughout the whole scene.
• 1:05:22
  And Carl knows this and he knows this and he picks them up and he
• 1:05:26
  puts them on that cart. And there's just silence between
• 1:05:28
  them up until that point where it just, you've got the
• 1:05:31
  crossroads and you have that Virgin Mary statue in the middle
• 1:05:34
  of just kind of signify and just harmony and peace and look, all
• 1:05:38
  your separate ways get this over with because there's just going
• 1:05:40
  to be conflict if this continues.
• 1:05:42
  Just going several ways now. And it'll be OK because she's in
• 1:05:45
  the middle of it. And there's just this genuine
• 1:05:48
  heartfelt emotion. If Farrell and Gleason weren't
• 1:05:52
  as close, this wouldn't work as well.
• 1:05:54
  Because you can absolutely tell when Pharaoh's looking at him,
• 1:05:57
  he's obviously thinking his motivation for the scene.
• 1:05:59
  I think with Donald Wetman, imagine if Brendan Gleeson
• 1:06:02
  didn't want to speak to you anymore and this is the last
• 1:06:06
  time you're going to be the last time you're going to see him.
• 1:06:08
  You. I get that genuine sense of like
• 1:06:11
  despair from this. When he cries, that's not just
• 1:06:14
  acting. That's like genuinely ugly
• 1:06:17
  crying. And then when he gets his hand
• 1:06:20
  and he just, you know, he puts the robe in there and he's like,
• 1:06:23
  you know, just have to that's. Done.
• 1:06:25
  That's enough. Like I care about you.
• 1:06:27
  That's me saying I care about you.
• 1:06:29
  Please fucking leave us alone. Just leave it.
• 1:06:32
  That's it, Done. And it's silent all the way
• 1:06:35
  through. Incredible seen this.
• 1:06:38
  But he's there for him when it's exciting, when there's something
• 1:06:42
  to do, when Podrick's in in a shit state, he's there to pick
• 1:06:46
  it up and go out. I've got something to talk about
• 1:06:48
  now. Is he doing that on per?
• 1:06:50
  Is he taking advantage of Podrick to say like, oh, but
• 1:06:53
  I'll help them And I now I've got a story.
• 1:06:56
  This breaks up me day. It breaks up the monotony.
• 1:06:58
  Or is he actually emotionally involved?
• 1:07:00
  Is he actually care about actually saying this?
• 1:07:03
  Is it? It's all done.
• 1:07:05
  It's just so, so well played out.
• 1:07:08
  It is. Even if McDonald ended the film
• 1:07:10
  there, ludicrous. But if he'd let ended the film
• 1:07:13
  there, you'd still think that could go either way.
• 1:07:15
  The same as it does. It ends that way, but we've got
• 1:07:17
  a few more things to go through. So you're never going to get a
• 1:07:20
  sequel to this film because after this scene, we've got a
• 1:07:22
  sequel. Yeah, well, the start of that
• 1:07:26
  sequel, Power Exit is lowest AB. Yeah, lowest AB so far.
• 1:07:30
  He gets worse and he goes to the pub where his ex best mates and
• 1:07:34
  the policeman who's just beaten him up by having a grand old
• 1:07:36
  time and he very unwisely goes at it at a fair old lick and
• 1:07:41
  gets tanked up. Yeah.
• 1:07:43
  Just before that, we see the dynamic between Dominic and his
• 1:07:45
  dad, which goes a long way to explain Dominic's unusual
• 1:07:48
  behavior. Yeah, he's, he's kind of like
• 1:07:50
  under the grey sky of his dad and he does everything that he
• 1:07:55
  says. Just one drink.
• 1:07:57
  Yeah. OK, Daddy.
• 1:07:58
  Yeah. Really, really.
• 1:07:59
  It's it's awful to say. It's awful.
• 1:08:00
  But it's the moment that when drunk, Parid goes over to
• 1:08:03
  confront the two, he's obviously been concocted in his comments
• 1:08:07
  for the last couple of hours in his head.
• 1:08:08
  And he's finally picked up the nerve after he's picked up a
• 1:08:10
  couple of whiskeys to go over and tell them the three things
• 1:08:14
  that he hates the most about in the sharing 1.
• 1:08:19
  Policeman 2 pudgy fiddle players and three.
• 1:08:25
  I had some funny thing for three.
• 1:08:26
  What was it? Amazing.
• 1:08:29
  Then he runs it back but he can't remember #2 and he gets
• 1:08:32
  help from the copper. Pudgy fiddle players point to
• 1:08:36
  his left. Great.
• 1:08:41
  Brilliant. It's all hilarious until it
• 1:08:44
  erupts into pure anger for Porrig when he shouts.
• 1:08:47
  Are you talking to me? Yeah.
• 1:08:49
  Scary. Scary.
• 1:08:51
  Yeah. He's been pushed completely over
• 1:08:54
  the edge by the booze and by columns behavior.
• 1:08:57
  And then it's heartbreaking to hear him seeing that column used
• 1:09:00
  to be nice and now he's not so nice.
• 1:09:02
  We're talking about nicest. He goes on about his how his
• 1:09:06
  parents used to be nice. It's a word he uses a lot.
• 1:09:09
  It shows that he's limited vocabulary, but that doesn't
• 1:09:12
  matter. He's a good man and he's
• 1:09:13
  protective of the people he loves.
• 1:09:15
  Siobhan's nice, I'll remember my sister.
• 1:09:19
  And it's devastating that column has has thrown that right in his
• 1:09:22
  face when he's talking about so you know what people do remember
• 1:09:26
  what? And don't say anything about
• 1:09:28
  music, music and you it. This is just what Donna does
• 1:09:35
  best. The heartbreak and hilarity and
• 1:09:37
  equal measure. That realization from Porrig
• 1:09:40
  when he says he used to be nice and maybe you never used to be.
• 1:09:44
  And then he goes, oh, God, maybe he never used to be.
• 1:09:48
  A devastating night, a realization.
• 1:09:52
  And there's a wonderful sense of slight smugness.
• 1:09:56
  Siobhan just very understatedly tells Column that Mozart was
• 1:10:00
  18th century, not 17th. Yeah.
• 1:10:02
  And just leaves. Yeah, yes, yeah.
• 1:10:05
  It's like Prix's pomposity. Yeah, he's brilliant.
• 1:10:09
  I do, yeah. Yeah, I love it.
• 1:10:12
  And Kyogen describe watching the three actors work in the magic
• 1:10:15
  in this scene, he said. I was watching all of them go
• 1:10:17
  back and forth. It was that moment of you are
• 1:10:19
  witnessing a master class here. I'm always learning.
• 1:10:23
  Wow. Oh, but it's when Porrig drops
• 1:10:25
  it in him as well. I didn't tell him that Daddy
• 1:10:27
  like about fiddling with him. So.
• 1:10:29
  Oh God, yeah. Yeah, because we know that he
• 1:10:31
  once he gets home, that's another beat.
• 1:10:33
  Yep. Yep, with the cuddle again,
• 1:10:35
  yeah. Awful.
• 1:10:37
  So we're a breaking point now. With Porrig spilling out of
• 1:10:39
  control, one more interaction could tip column over the edge.
• 1:10:46
  The next day, Siobhan gets a job offer from the mainland, but
• 1:10:49
  nobody's leaving. Not yet, anywhere, no, And I'm
• 1:10:51
  talking about a small scene on the beach.
• 1:10:53
  Porrig approaches column to apologize about whatever he said
• 1:10:56
  in his junk and stupa last night, and he holds his hand out
• 1:11:00
  for a hand shake and calms, dumbfounded.
• 1:11:04
  You can hear it in his voice when it cracks and he says why
• 1:11:06
  can't you just leave me alone, Dumbfounded.
• 1:11:10
  What you doing? And Porrig's behaviours?
• 1:11:14
  Excruciating, the classic McDonough silence before he
• 1:11:19
  nervously reaches out to give him a pat on the arm and column,
• 1:11:23
  stunned further still. What are you doing?
• 1:11:24
  For fuck's sake, like I. Don't.
• 1:11:31
  Know. And then the moment I think I
• 1:11:32
  think it's the moment that sales at column when Porrig turns
• 1:11:35
  around and asks how the new tune's gone.
• 1:11:38
  A final attempt at an olive branch which falls flat on its
• 1:11:41
  ass. Yeah.
• 1:11:42
  Yeah. And I think.
• 1:11:44
  And this is where Colin's thinking.
• 1:11:45
  Polling's just not listening to word I'm seeing here and his
• 1:11:49
  despair. Drastic measures.
• 1:11:51
  The only solution. Yeah, in that moment for me, I
• 1:11:54
  think, yeah, I get. From that moment, he just
• 1:11:56
  thought I'd never actually thought I'd have to go through
• 1:11:59
  with this one. Yeah.
• 1:12:01
  And I'm going to have to do it now.
• 1:12:03
  Is it? I don't believe this stubborn.
• 1:12:06
  Well, yes, now he is going to have to go through with it
• 1:12:09
  because for so long we'll be thinking, well, this is just an
• 1:12:12
  empty threat. Like you can't threaten to chop
• 1:12:14
  your own fingers off, particularly if you musician and
• 1:12:17
  expect people to take you seriously.
• 1:12:19
  So when it happens and it's that bang on the door and you see the
• 1:12:23
  little like dribble of blood going down and then pour it
• 1:12:26
  picks it up, right. This is real how he's going
• 1:12:29
  through with it and he can barely explain it to Javon.
• 1:12:33
  Was the bang the door? The what?
• 1:12:34
  The bang the door was the bird. No, hard to say.
• 1:12:38
  Can't lie. It was a finger and then her
• 1:12:41
  shriek and horror and scream, scream and then tell the thought
• 1:12:44
  out, I'm not throwing this finger out.
• 1:12:46
  They'll get dirt on it like all the things to be worried about.
• 1:12:51
  Don't worry about getting dirt on the finger.
• 1:12:53
  So. Severed finger.
• 1:12:54
  Severed finger, yeah, it's the way he says it, really
• 1:12:58
  reluctantly says it, the Siobhan.
• 1:13:00
  And it's kind of like a reluctance, acceptance that this
• 1:13:03
  thing is actually happening, he says.
• 1:13:06
  Finger, finger. Yeah, because it's because it's
• 1:13:09
  his fault. In his head, almost like I've
• 1:13:11
  pushed him to this. But obviously Chiffon's had
• 1:13:13
  enough of all this shit between the two of them, so there's that
• 1:13:17
  most full juggling of tones again from McDonough.
• 1:13:19
  It is shotgun. It's dark.
• 1:13:20
  Be funny when she goes up to Column's cottage and he says,
• 1:13:24
  will you have a cup of tea? No, if only came to give you
• 1:13:26
  your finger back in a box. In a box.
• 1:13:30
  Yeah, great. Because she says it was such a
• 1:13:32
  straight face as well, like, like if she's returning out or
• 1:13:35
  like a cake tin or something, maybe to give you a finger back.
• 1:13:39
  No irony whatsoever, no. No the shock's gone but I think
• 1:13:43
  it's got something to say about like masculinity and ego as
• 1:13:46
  well. Because Siobhan just cuts
• 1:13:47
  through all of columns bullshit when he calls pouring boring one
• 1:13:51
  boring man. You are feckin boring with your
• 1:13:54
  piddling grievances over nothing.
• 1:13:56
  His behaviour is so OTT. Just write your song.
• 1:14:00
  Stay away from the pub if that's where Pori goes all the time.
• 1:14:02
  Grow. Because The thing is, it's not
• 1:14:05
  as if anyone else he is any less boring than Poric really.
• 1:14:09
  But Colin wants someone to blame his problems on instead of
• 1:14:12
  taking responsibility for his own decisions in life, which is
• 1:14:14
  led to this point. And Javon just has no time for
• 1:14:17
  any of it. But I think the same is also the
• 1:14:19
  push she needs to make something of her life where Colin says I
• 1:14:23
  do worry that I'm entertaining myself while Steve off the
• 1:14:26
  inevitable don't. Yes.
• 1:14:28
  And she says, no, I don't. But there's the uncertainty and
• 1:14:30
  her voice, which he's very, very close to that very.
• 1:14:33
  Yeah. Because he goes, yeah, you do.
• 1:14:36
  And deep down, I think she's starting to realize just a
• 1:14:39
  little bit, just a little bit where Column is coming from.
• 1:14:43
  And this is the push she needs to look at her future.
• 1:14:46
  I need to leave this island because it's madness here.
• 1:14:49
  Yeah. So from then we'll have Dominic
• 1:14:52
  and Podrick meeting up again, but we haven't mentioned the
• 1:14:56
  fact of this disgusting behavior on Podrick side sending this guy
• 1:15:00
  away. It's.
• 1:15:03
  Really funny. If that's the same bread man I'm
• 1:15:10
  as. If that pits important.
• 1:15:17
  I mean that, I mean, just the chances of that, the writing of
• 1:15:20
  that, yeah, that on the page you just think is that a little bit
• 1:15:25
  too far? Is that taking it a little bit
• 1:15:27
  too far, like the irony of it and just taking the piss out of
• 1:15:31
  itself now? No, that is just right on the
• 1:15:34
  bracket. Who it is that scene is?
• 1:15:36
  Right on the edge. And he knows.
• 1:15:38
  And that's why I think these guys are like sitting on a Cliff
• 1:15:40
  edge talking about that sequence.
• 1:15:43
  They're just basically like, that could have gone a little
• 1:15:45
  bit too far. Now we're going to get the human
• 1:15:47
  reaction to that. As an audience, you go, that was
• 1:15:49
  ludicrous. That makes absolutely no sense.
• 1:15:51
  But now you know why he's done it because he brings it back.
• 1:15:54
  And it's the conversation that they have together.
• 1:15:57
  And this is very, very important.
• 1:15:59
  I think this is just absolutely instrumental to both the
• 1:16:02
  character and the narrative, especially of Dominic.
• 1:16:04
  And he apologizes for spilling the beans on that.
• 1:16:07
  Dominic says you are funny up to that point.
• 1:16:09
  Yeah. And he gives them praise still,
• 1:16:11
  still finds the the positive. And he's going to be.
• 1:16:14
  He's going to kill you for what? You've said.
• 1:16:17
  What like killers are beat us up killers because I'd speak, he'll
• 1:16:19
  kill you. This is where you get that.
• 1:16:21
  What I was talking about before is, is this actually designed to
• 1:16:25
  motivate Podrick? Is this designed to make him a
• 1:16:27
  better person, to push him away from what's happening, to push
• 1:16:30
  him away from his dullness and to stop being such a whiny doll
• 1:16:33
  ass. And it just kind of be something
• 1:16:35
  that's exciting, be something that's engaged and be something
• 1:16:37
  that's worth talking about. And then he tries to prove it
• 1:16:39
  back by telling Dominic about this situation that we've just
• 1:16:42
  discussed where we're like, there's that too far.
• 1:16:44
  Is that 2 tongue in cheek? And Dominic hears that what's
• 1:16:47
  happening in his life now, he's dad's abusive.
• 1:16:50
  He's lost kind of all faith in everything.
• 1:16:53
  He's still got Podrick. And he's just thinking, I've
• 1:16:56
  still got my friend. I've still got a shot of
• 1:16:57
  Siobhan. This is that's the last two
• 1:16:59
  things I've got in my life. Yes, this he loses Podrick here.
• 1:17:03
  Yeah. He loses him and he goes, I
• 1:17:06
  thought you were one of the nicest.
• 1:17:07
  That's one of the meanest things I've ever heard in Cuban's
• 1:17:11
  performance here, when he's just trying to wrap himself up and
• 1:17:14
  protect himself. Just if that emotional hit that
• 1:17:17
  that was with that physical and emotional hit that was worse
• 1:17:21
  than any beaten he's got off his dad.
• 1:17:23
  I think he was banking on Porrig to be a beacon of hope.
• 1:17:26
  For him, exactly, he was, he was a blueprint of like or it could
• 1:17:29
  do it, then I can do it. If he could maybe get somewhere
• 1:17:32
  and be a nice person, then so can I.
• 1:17:34
  And now he's done something that's just so diabolical.
• 1:17:37
  This is a step towards his death.
• 1:17:39
  He's got no choice. He's just on a crumble and
• 1:17:41
  bridge and he can't go backwards.
• 1:17:43
  There's nobody help him when he goes backwards.
• 1:17:45
  Yeah, horrific stuff. So with Dominic thoroughly
• 1:17:49
  disappointed by Porrig's behaviour, he's quickly running
• 1:17:52
  out of friends. At least he's got his sister by
• 1:17:54
  his side for now. For now, yeah.
• 1:17:56
  The crew. A very small crew worked on
• 1:18:05
  Banshees. We're talking about the visuals,
• 1:18:07
  the music, but first, Martin Mcdonough's outstanding writing.
• 1:18:11
  Matt, it's over to you first. Like I said earlier, I always
• 1:18:14
  think of him as a writer first because I don't think he's
• 1:18:17
  prepared to shoot one single frame of film until he's 100%
• 1:18:20
  happy with his script. And he he has mapped out every
• 1:18:24
  single nuance and character decision and whether it's in the
• 1:18:27
  page or in the Ted, he knows his stories better than anyone.
• 1:18:30
  And I think he has this ability to take the simplest but most
• 1:18:34
  intriguing of conceits and then spin it off so her mother puts
• 1:18:38
  up signs because her daughter's murder has been forgotten about.
• 1:18:40
  Where do you go with that? He knows where you can go with
• 1:18:43
  that. Two hit men lie in law after a
• 1:18:46
  hit goes wrong. Sounds like the most generic
• 1:18:48
  film ever, but not in his hands. And it's the same with this one
• 1:18:52
  man abruptly ends a friendship because he says he doesn't like
• 1:18:55
  the other fella anymore. How do you develop that into a
• 1:18:58
  story? But I think that's this great
• 1:19:00
  skill to see the potential for story and themes and characters
• 1:19:03
  and to go from that simple setup and develop this into a story
• 1:19:06
  which includes self mutilation and child abuse and dead
• 1:19:10
  donkeys, but at the same time make it really funny.
• 1:19:13
  And also at the same time, I have that thematic depth where
• 1:19:15
  it's talking about loneliness and toxic masculinity and
• 1:19:19
  artistic integrity, all very deliberately set to the backdrop
• 1:19:23
  of the Irish Civil War. How on earth do you corral all
• 1:19:26
  that into a story that makes any kind of sense?
• 1:19:29
  Yeah, but that's the brilliance of his writing.
• 1:19:31
  He can't do that. And you can tell he's gone over
• 1:19:33
  this again and again and again until he's got it exactly where
• 1:19:36
  he wants it, where he's got enough answers in there if you
• 1:19:38
  want them. But he leaves enough space for
• 1:19:40
  the actors to play with it and for the audience to fill in the
• 1:19:43
  blanks themselves if they want to.
• 1:19:44
  It's a masterpiece of writing, really is.
• 1:19:47
  It is. It is the imagine saying that as
• 1:19:49
  somebody to get them around to your wavelength is this great
• 1:19:52
  film about two friends. One of them doesn't doesn't want
• 1:19:55
  to be friends with either 1. So he threatens to cut off his
• 1:19:57
  fingers. Yeah.
• 1:19:58
  Sorry. Yeah.
• 1:19:59
  Martin McDonald is directing this.
• 1:20:01
  OK, that's fine. Yeah, yeah, yeah, yeah.
• 1:20:04
  I just can't get enough of the balance of tones in the writing.
• 1:20:06
  It's at once the greatest comedy ever and the worst kind of
• 1:20:10
  tragedy. Now, a lot of that is credited
• 1:20:12
  the cast and their dialogue and delivery, but McDonald's
• 1:20:16
  writing? So unique.
• 1:20:18
  Said it many times that he's, he feels is very much in spirit of
• 1:20:20
  the coins, but he's not doing an impersonation of them.
• 1:20:23
  Maybe it's just because he flies in the face of convention like
• 1:20:26
  they do. Yeah, He.
• 1:20:27
  You've got incredible funny moments sitting side by side in
• 1:20:30
  the same scene with desperate, dark sadness.
• 1:20:33
  Consider what we talked about that scene where Poirot picks up
• 1:20:36
  the student fella and gives him a lift, but comes up with that
• 1:20:39
  horrific story to show him off the island.
• 1:20:41
  Yeah. In the vain hope that he can get
• 1:20:43
  his friend back. I mean, it's school ground
• 1:20:46
  stuff, isn't it? He tells him that his dad's been
• 1:20:49
  run over by a bread van and he should go home so that his dad
• 1:20:52
  doesn't die alone. That's how his mommy dad.
• 1:20:58
  Especially yeah, especially considering his mother went the
• 1:21:01
  same way. But that reaction is priceless.
• 1:21:03
  If it's same fucking bread fan I'll kill them.
• 1:21:08
  Who's he going to kill? The bread fan Porrig's face when
• 1:21:12
  he shuffles off? He can't believe what he's just
• 1:21:14
  said. He can't believe that what he's
• 1:21:16
  been reduced to. Yeah, yeah.
• 1:21:18
  And there are more laughs at the start of the film, but McDonough
• 1:21:21
  still gently weaves funny moments in as things turn for
• 1:21:24
  the worst near the end. You've got that grotesque image
• 1:21:27
  of a fingerless column in the pub conducting the music with
• 1:21:30
  the blood splattering. Everywhere.
• 1:21:32
  Yeah, that's lovely laugh. That's lovely.
• 1:21:40
  It shouldn't work, but it's hilarious.
• 1:21:42
  And it really shows how far Column has fallen into his own
• 1:21:45
  despair as well. What's he doing?
• 1:21:46
  Yeah. McDonald writing is so
• 1:21:49
  idiosyncratic, so unique that you can never predict where his
• 1:21:53
  storytelling will go. He did the same thing on him,
• 1:21:55
  Bruges. Absolutely hilarious moments
• 1:21:57
  next to complete sadness and hopelessness.
• 1:22:00
  Long may it continue for me. Yeah.
• 1:22:02
  Great writing. I mean, I totally agree.
• 1:22:05
  And I agree with Matt as well. I think he is a writer before he
• 1:22:07
  is a director. And the thing that he does
• 1:22:09
  really well is he, you don't know who's the lead in any of
• 1:22:11
  his films. Everyone is important.
• 1:22:14
  Yeah. So if you look at the Woody
• 1:22:16
  Harrelson character of the Sam Rockwell character or the fancy
• 1:22:18
  McDonald character just in billboards, like who's it about?
• 1:22:21
  Yeah, everyone is just as important as the last.
• 1:22:23
  And I think that's the genius of he's right.
• 1:22:25
  He doesn't really have any kind of sub characters.
• 1:22:28
  Everyone is important. Everyone has his time.
• 1:22:31
  Everyone has his attention and that's really, really brilliant,
• 1:22:34
  but it's the things that he writes about that have these
• 1:22:37
  underlying motives and not underlying good punches.
• 1:22:40
  I mean, if you look at Dominique, that is just an
• 1:22:42
  absolute exploration of the tragedy of ignored youth, the
• 1:22:48
  view of women in society. The fact that Siobhan is the
• 1:22:50
  only one leaving with ambition, the only one taking a chance,
• 1:22:53
  the only one escaping and getting out there and doing
• 1:22:56
  something and working for a living and doing something
• 1:22:58
  necessary and having the guts to do that.
• 1:23:01
  And that's the female character doing that.
• 1:23:03
  That's normally the male characters doing that.
• 1:23:04
  So it's he subverts a lot of tropes and subverts a lot of
• 1:23:07
  expectations. And he's writing.
• 1:23:08
  And another thing he does really, really well is showing
• 1:23:11
  the sacrifices you have to make to be an artist, the sacrifices
• 1:23:14
  you have to make to be creative. You can't be a nice person to
• 1:23:18
  make your own art. You have to let somebody down
• 1:23:21
  because you have to believe in yourself.
• 1:23:23
  You have to create something for you.
• 1:23:25
  Therefore you have to be selfish.
• 1:23:26
  Therefore, selfishness is viewed as derogatory in this society.
• 1:23:30
  Therefore, you're a bastard. That's what you have to do.
• 1:23:33
  You have to put up boundaries and you have to cut your own
• 1:23:35
  fingers off to make something. All of his writing is
• 1:23:38
  extraordinary across the board, and this is no exception.
• 1:23:43
  Yeah, too true. McDonough started writing the
• 1:23:46
  screenplay for Banshees around 10 years before making it.
• 1:23:49
  The film shares a similar title to an unpublished early play of
• 1:23:52
  his called The Banshees of Inishia, which was never
• 1:23:55
  performed. And by his own admission, it
• 1:23:57
  wasn't that good either. That play was meant to be the
• 1:23:59
  third entry in his aforementioned Aaron Ireland's
• 1:24:02
  trilogy, following the crippling of Vinishment and The Lieutenant
• 1:24:05
  of Vinishmore. And the original Banshee script
• 1:24:08
  was a lot more plot driven. Caught in the Farrell, he said
• 1:24:11
  there were shootouts and there were more characters, and
• 1:24:13
  Pharrell loved it, but McDonough didn't.
• 1:24:15
  Gleeson also had reservations, mostly about his character not
• 1:24:18
  having an awful lot to explain his words, so McDonough
• 1:24:21
  discarded the project for a number of years.
• 1:24:23
  Yeah, again, that sounds very similar to the coins.
• 1:24:26
  They write something to put it down and then return back after
• 1:24:29
  a few years. Yeah.
• 1:24:30
  Yeah, he picked it up again at the end of 2019, thinking that
• 1:24:33
  was the first few pages were pretty good, he said.
• 1:24:35
  But then it goes to shit, so I took all of the crap out and
• 1:24:38
  just wrote it from scratch. The original version had too
• 1:24:40
  much position Civil War characters from the main number
• 1:24:43
  introduced, and it was too simplistic, according to
• 1:24:45
  McDonough. He's got a really interesting
• 1:24:47
  writing style. He doesn't do treatments for his
• 1:24:50
  films, so he doesn't know where the story's going to go into
• 1:24:52
  lease actually in the middle of rightness, which is incredible.
• 1:24:56
  When he was writing the pub scene, for example, where Colin
• 1:24:59
  threatens to cut off his fingers, he had no idea where
• 1:25:01
  the story would go until that ID came to him in the moment.
• 1:25:04
  Wow, It just evolves like that. Yeah, right.
• 1:25:07
  And Gleason said he throws all the cards in the air in his
• 1:25:10
  writing. He saw me before, for he likes
• 1:25:12
  to put a roadblock in the way he gives himself a situation that
• 1:25:15
  is almost impossible. That's a huge inspiration for me
• 1:25:18
  because I feel like if I'm going to write something, then I need
• 1:25:20
  to have it fleshed out from start to exactly, yeah.
• 1:25:22
  It's not the traditional way to write a screenplay is that's
• 1:25:25
  you'd need a treatment for the treatment or the narrative.
• 1:25:27
  Beats, it's the start, middle and end.
• 1:25:29
  That's how I'm going to flesh it all out.
• 1:25:30
  So I mean, that's just huge. Any creators out there listening
• 1:25:32
  to this who want to write something, just write it.
• 1:25:34
  These guys did. Yeah, as we said in a Sharon is
• 1:25:37
  official island. The word itself translates to
• 1:25:40
  the island of Ireland. Yes, right.
• 1:25:43
  And a banshee is an ancient female evil spirit from Irish
• 1:25:47
  folklore which when encountered, serves as an omen of death for a
• 1:25:51
  loved one by screeching at them in extremely loud volume
• 1:25:54
  portends to death, as Column says.
• 1:25:57
  Yeah, but right in the carrot of Podrick, McDonough drew upon his
• 1:25:59
  own personal experiences of emotional pain, like a
• 1:26:02
  relationship breakup, he said. I really try to be truthful to
• 1:26:05
  that sadness as much as I could on Podrick's behalf.
• 1:26:08
  That's lovely. Yeah, incredible.
• 1:26:10
  And for column, he drew upon professional experiences when
• 1:26:13
  facing doubts in his Gray, he said, should I be making more
• 1:26:16
  than one film every five years? Should I speed it up?
• 1:26:18
  And I think that's sort of imbued Brendan side of the
• 1:26:21
  story. Yeah.
• 1:26:22
  I love it. You can tell that even though
• 1:26:23
  it's way out there, it comes from a personal place.
• 1:26:26
  Yeah. Absolutely.
• 1:26:28
  As clarified by a calendar scene on screen early in the film,
• 1:26:31
  More Fool Me, Banshees is set in April 1923, during the latter
• 1:26:36
  half of the Irish Civil War. And the Irish Civil War lasted
• 1:26:40
  from June 1922 to May in 1923. It was fought between the
• 1:26:44
  government of Ireland, supported by the United Kingdom, and the
• 1:26:46
  Irish Republican Army of the Sovereignty of Ireland following
• 1:26:50
  their previous war for independence.
• 1:26:51
  Yeah. And the results were people who
• 1:26:54
  previously fought together now fighting against one another.
• 1:26:57
  Something particularly relevant to Banshees, Yeah.
• 1:26:59
  Friend against friend, brother against brother.
• 1:27:02
  McDonough used the war theme as a backdrop which reflects the
• 1:27:05
  narrative, seeing that it's not necessary to know the insurance
• 1:27:07
  and outs of the war and the reasons for it, he said.
• 1:27:10
  All you need to know is that it was over a hairline difference
• 1:27:12
  of beliefs which had been shared up until the year before, and it
• 1:27:16
  led to horrific violence. Yeah.
• 1:27:18
  Yes. An unusual basis for a
• 1:27:20
  screenplay, but one which gets so much gold from.
• 1:27:23
  Yeah. And here is our third and final
• 1:27:25
  Patreon question from Michael Smith.
• 1:27:28
  Hello, Michael. Hello, Michael.
• 1:27:29
  Michael says that's always great work.
• 1:27:31
  A recent unexpected hospital stay was made easy going through
• 1:27:34
  the back catalog. I discovered the apartment after
• 1:27:37
  your alternative Christmas movie pod.
• 1:27:39
  Well, that's very nice, Michael. Wonderful.
• 1:27:41
  I hope you're on the mend as well.
• 1:27:42
  Yes, indeed. Yes, best.
• 1:27:43
  Wishes, Michael. Yep.
• 1:27:44
  Michael's question is The Banshees of an Assurance seems
• 1:27:47
  to be a classic Marmite film. Do we need to explain Marmite
• 1:27:50
  for overseas listeners? You love it, I hate it.
• 1:27:52
  Yeah, you either love it or hate it.
• 1:27:54
  Yes, it is a yeast based spread yeast.
• 1:27:57
  Extract isn't it? Yeast extract.
• 1:27:59
  You love it on crumpets now? I love it on crumpets, yeah.
• 1:28:02
  Delicious, yes, Try it out. So it's a classic Marmite film.
• 1:28:06
  Either you love it or hear this. Audiences are either completely
• 1:28:09
  enchanted by its bleak humour and philosophical depth, or
• 1:28:12
  totally put off by its person and sudden jar and violence.
• 1:28:15
  In your opinion, what specific elements of the movie do you
• 1:28:17
  think is the primary reason it divides audiences so sharply?
• 1:28:21
  And as a follow up question, what other films can you think
• 1:28:23
  of that have a similarly polarized and love it or hear
• 1:28:26
  the reputation among film fans? Right.
• 1:28:29
  Oh, it's a tongue twister. Matt, you first.
• 1:28:32
  The specific element I think is the fact that Columns threat
• 1:28:36
  isn't a standard movie threat. It isn't leave me alone or I'll
• 1:28:40
  come after your animals, I'll come after your sister and then
• 1:28:42
  I'll come after you. It's the threat of self
• 1:28:44
  mutilation, which is so hard to understand him then going
• 1:28:48
  through with that. Yeah.
• 1:28:49
  And it's fundamentally extremely disturbing because it doesn't
• 1:28:53
  make any kind of sense and the film doesn't explain it.
• 1:28:56
  I think that's tied together with the fact of how much of A
• 1:28:59
  resolution do you actually get here.
• 1:29:00
  There's a lot of ambiguity still at the end, what's going to
• 1:29:03
  happen to these characters. And that just doesn't always
• 1:29:05
  work for people who, like, need their happy renders.
• 1:29:09
  And then in terms of other examples, I'll just go back to
• 1:29:11
  the one we covered last year, The Blair Witch Project, I think
• 1:29:14
  one of the most divisive films ever.
• 1:29:17
  You, like us, think it's absolutely terrifying.
• 1:29:19
  Or you think it's just three annoying people in the woods
• 1:29:22
  screaming and pointing cameras to rocks.
• 1:29:24
  In which case you're wrong. Yeah, brilliant.
• 1:29:30
  Yeah. Yeah.
• 1:29:31
  I'll start off with the second question.
• 1:29:33
  The films that divide opinion for me are often ones that defy
• 1:29:36
  convention. The films that came to mind were
• 1:29:38
  things like Mother, Blue Velvet, the attack on subjects that most
• 1:29:42
  people don't want to confront and make you pay for sitting
• 1:29:44
  down and watching them. Yeah, I think Banshees is very
• 1:29:47
  similar. I've never seen a film about so
• 1:29:49
  little that there's so much to see in such a strange, sweet,
• 1:29:53
  sad, violent and funny way. It's a challenging film in more
• 1:29:57
  ways than one. You've got to go through this
• 1:29:58
  heartbreak and journey with these characters and really, for
• 1:30:01
  what reason or to what end? Is all of this business worth
• 1:30:05
  it? Is it worth your time?
• 1:30:06
  It absolutely is, of course, but I can understand why people
• 1:30:10
  might not take to it. Bleak and beautiful it.
• 1:30:13
  Sometimes people just don't want to suffer for two hours.
• 1:30:15
  They want to switch off and not have to come to terms with the
• 1:30:18
  loneliness of this film because it is entrenched in loneliness.
• 1:30:23
  But it is also very beautiful and soulful.
• 1:30:26
  If you're not a huge fan, give it another go because there is
• 1:30:28
  so much to get your teeth into, yeah.
• 1:30:30
  Oh, absolutely. I mean, if you're listening to
• 1:30:32
  this this far, you're going to be a fan of the film.
• 1:30:34
  Yeah, but do you not think that people just TuneIn for us Westie
• 1:30:37
  and not the film? Not for me, maybe for you guys.
• 1:30:42
  Modesty. There he goes.
• 1:30:46
  OK, see Michael's question. Those questions a good one for
• 1:30:49
  me because this is something I really, really enjoy about
• 1:30:51
  cinema and about art in general. And I think anything that has a
• 1:30:54
  strong passion and a singular vision is polarizing.
• 1:30:57
  And anything that's polarizing is real art because you're not
• 1:31:01
  making anything for an audience, you're making it for yourself.
• 1:31:03
  And if you find an audience, that is a bonus.
• 1:31:05
  And if you don't find an audience, then you've lost
• 1:31:07
  nothing. If you're polarizing artists,
• 1:31:09
  that's what you need to be. Otherwise, you're not pushing
• 1:31:11
  anything. You're making something for
• 1:31:12
  everybody and that is a failure as far as I'm concerned.
• 1:31:15
  So Marmite films as we're putting them, love it.
• 1:31:18
  I hated films as we're putting them on my favorite.
• 1:31:20
  That's what I buy into and I want to take that risk.
• 1:31:23
  I want to take that chance. I want to go into something and
• 1:31:26
  I want somebody to make us hate something or make us love
• 1:31:28
  something. Either way, I've won because I
• 1:31:31
  know where I stand on that. And I'm not going to name films,
• 1:31:34
  but I'm going to name film makers who I believe have this
• 1:31:37
  stance and have had this stance throughout most of the career.
• 1:31:41
  That is good because that means we have discussion, that means
• 1:31:45
  we have opinion, that means we know who we are, and that means
• 1:31:47
  we'll have a podcast. So that's all a good thing.
• 1:31:50
  So the film makers for me that do this, notably Wes Anderson
• 1:31:54
  has always been that divisive. Charlie Kaufman, another one
• 1:31:58
  straight down the line. Bellator for me.
• 1:32:00
  I'll bring it up again. Absolutely incredible.
• 1:32:03
  Might not be for you, but absolutely worth it because that
• 1:32:06
  is just for me, pure cinema, Kubrick.
• 1:32:08
  We can turn around and say 2001 is one of the best films ever
• 1:32:10
  made, but I'll turn around, you look and I'll say Barry Linden.
• 1:32:13
  Get it out of my face. Exactly.
• 1:32:15
  And we've got a podcast on films.
• 1:32:16
  Aronofsky, like you've just mentioned.
• 1:32:18
  I'll bring him up last, Very polarized and very much down the
• 1:32:21
  middle. But if you haven't got film
• 1:32:22
  makers like that, if you've got Michael Bay all day, or if
• 1:32:25
  you've got these people who are just making films, you don't
• 1:32:27
  even know who's made it and it's just generic, you're wasting
• 1:32:29
  your time. Yeah, Amen.
• 1:32:31
  Strong views. Obviously.
• 1:32:34
  West we were talking about. Exactly.
• 1:32:36
  Somebody first BBQ. So McDonough had his
• 1:32:41
  idiosyncratic best on Banshee screenplay, given us one of the
• 1:32:44
  most refreshing, strange and simple scripts of the 21st
• 1:32:47
  century. Indeed, I love it.
• 1:32:51
  Part of Burwell returned as composer, having previously
• 1:32:54
  worked with Martin McDonagh on In Bruise, 7, Psychopaths and
• 1:32:57
  Three Billboards. Regular collaborator.
• 1:32:59
  And there's something again, very corn esque about the music.
• 1:33:03
  That song at the start that wouldn't be out of place in an
• 1:33:05
  inner brother or something like that.
• 1:33:07
  You know. Yeah, it would fit.
• 1:33:08
  The score is built around traditional Irish melodies, but
• 1:33:11
  it's not like like the tourist board version of Ireland.
• 1:33:14
  No, it's anything but isn't. It No, it's not.
• 1:33:17
  It's not Boston with the Dropkick Murphy's playing.
• 1:33:21
  Instead, there's a lot of melancholy running through every
• 1:33:24
  note that captures the film's themes.
• 1:33:26
  The main fiddle theme has got this haunting quality that stays
• 1:33:29
  with you. It's really simple.
• 1:33:31
  It's almost like it's fragile, so fragile it's going to break,
• 1:33:35
  but it carries the emotional weight of of everything that
• 1:33:38
  we're seeing. Burwell knows exactly when to
• 1:33:40
  let the music breathe and when to pull back completely,
• 1:33:42
  allowing the silence of that desolate island to speak for
• 1:33:45
  itself, just like McDonald does with his visuals.
• 1:33:48
  I don't think there's any manipulation here with the
• 1:33:51
  music. Nothing heavy-handed to tell you
• 1:33:53
  how to feel or anything like that.
• 1:33:55
  No, I think he just trusts the story and the performance that
• 1:33:58
  they do all the heavy lifting. He just gives you enough musical
• 1:34:02
  texture to enhance what's already there.
• 1:34:05
  And I really think you could be forgiven for thinking that there
• 1:34:08
  isn't much music in the film, which is quite amazing,
• 1:34:10
  considering a lot of it is about music.
• 1:34:13
  Yeah. Understated work.
• 1:34:15
  Classic Burwell. Yeah.
• 1:34:16
  Yes, it is. Yeah.
• 1:34:17
  What about UST? Yeah, very much the same.
• 1:34:19
  I think the fact that he's used three main instruments, which
• 1:34:22
  one's a cellist, which is a keyboard that makes bell sounds,
• 1:34:26
  essentially, one's a harp and one's a flute.
• 1:34:29
  So for me, them three instruments are quite hopeful
• 1:34:31
  and quite positive, where he turns everything.
• 1:34:34
  It's almost like a fairy tale. And I've watched an interview
• 1:34:36
  with him and he said he was reading Grimm Fairy Tales with
• 1:34:38
  his daughter, thought why don't I turn this into like a fairy
• 1:34:41
  tale kind of field? You get that from the start.
• 1:34:45
  Yeah, it's. And there's a mystery to this.
• 1:34:47
  There's a mystery to the score. It keeps everything quite
• 1:34:50
  chromatic. And everything sits between
• 1:34:51
  major and minor. There's no majors and there's no
• 1:34:54
  minors in this score. It sits right in the middle.
• 1:34:56
  And they like McDonough. I think he's worked with him so
• 1:34:58
  long where he goes. I'll tell you what, I'm going to
• 1:35:00
  show you where the line is. And you've got to decide which
• 1:35:02
  part of the line you want to step on.
• 1:35:04
  And it's very much like an old music box that you just turning
• 1:35:08
  and it just pops open and you kind of stop it.
• 1:35:10
  It's just going to play over no matter what emotions on the
• 1:35:13
  screen. That's what you've got to hear.
• 1:35:15
  And it doesn't matter if it fits or not.
• 1:35:16
  It's just part of it's, it's like you found it on the island
• 1:35:19
  and that's the soundtrack of the island.
• 1:35:20
  It's a beautiful score. It is.
• 1:35:22
  It's amazing. Yeah.
• 1:35:23
  What about you, Mass? Kind of where Worlds music.
• 1:35:26
  Well, they've clearly got a hormonious relationship.
• 1:35:29
  Yeah. Burwell McDonough.
• 1:35:31
  And it is like In Bruges. He doesn't layer it over the top
• 1:35:33
  of every scene. I think he lets the dialogue in
• 1:35:36
  the action tell the story of the scenes.
• 1:35:37
  And I think the music is just about tying the very scenes
• 1:35:41
  together. Like if you look at this
• 1:35:42
  soundtrack on Spotify, it's only about half an hour long.
• 1:35:45
  Most tracks are only about a minute long.
• 1:35:47
  I think the longest is 4. So it's one of those where I
• 1:35:50
  think you have to take yourself out of the film a bit to really
• 1:35:53
  deliberately listen to it and appreciate it.
• 1:35:56
  But you should do because what is there is great.
• 1:35:58
  It's got this melancholic Lil to it.
• 1:36:01
  It could be very cliched considering the setting in time
• 1:36:03
  period, but it's not. It's just about creating this
• 1:36:06
  somber torn and this somber mood.
• 1:36:08
  Very gentle, plucked strings, woodwind cycle fawn.
• 1:36:12
  So it's not a soundtrack that hits you over the head, but
• 1:36:14
  McDonough doesn't want it to. You wanted layered in with those
• 1:36:17
  shots. The landscape and the characters
• 1:36:19
  aren't talking, and that's what it does.
• 1:36:21
  Yeah, Mcdonough's brief to Burwell was simple.
• 1:36:23
  He didn't want any cliche Irish folk music in the school.
• 1:36:27
  Yeah, Burwell said that McDonough told him.
• 1:36:29
  I heard that DDD, old World Irish film music.
• 1:36:33
  He clearly touched a nerve of some sort, so I never brought
• 1:36:35
  that up again. But McDonough didn't give him
• 1:36:37
  any more notes, so Burwell didn't think about it again
• 1:36:39
  until he saw some actual footage.
• 1:36:41
  Yeah, for Parrig, he conceived of childlike music, as he coined
• 1:36:45
  it. Disney character music, right?
• 1:36:47
  While he employed a more traditional sound for Colin
• 1:36:50
  Fitten, considering his musical obsession.
• 1:36:52
  Yeah, the opener piece of music isn't Irish at all.
• 1:36:55
  It's a Bulgarian folk song performed by the Bulgarian State
• 1:36:58
  Radio and Television Female Vocal Choir.
• 1:37:01
  McDonough just loved the song and thought it fit the opening
• 1:37:04
  the film perfectly. It's great.
• 1:37:06
  It's so, it's wonderful, so uplifted, so simple, understated
• 1:37:09
  beauty from Carter Burwell's music pitch perfect for this
• 1:37:12
  story. Yes indeed, Ben Davis returned
• 1:37:17
  as Martin McDonald, cinematographer.
• 1:37:19
  Haven't previously shot 7 Psychopaths and Three
• 1:37:21
  Billboards? Westie, over to you main man.
• 1:37:24
  It's incredible work. This is shot on the RA Alexa
• 1:37:27
  Mini LF, which will go into later RA Signature Primes.
• 1:37:30
  And the beautiful thing about Signature primes, I'm not going
• 1:37:33
  to bore anybody with him, but if he's directly in the light, it's
• 1:37:35
  not going to blow out. It's not going to affect the
• 1:37:37
  frame that much. And he shoots a lot into the
• 1:37:39
  light here, shoot a lot in the sunlight, shoots a lot in the
• 1:37:42
  candlelight, shoots a lot in the firelight and it doesn't distort
• 1:37:44
  the frame at all. He also uses a black magic Ursa
• 1:37:47
  mini pro 12 Ki think, which is what's on the drone.
• 1:37:51
  So he's shooting out an AK and then cropping it back down to
• 1:37:54
  4K. That's why you get that
• 1:37:55
  incredible quality, that incredible sharpness that's
• 1:37:58
  across all of it and the thing that I get from this, this is a
• 1:38:02
  landscape film for me, all of it is, and even the close-ups are
• 1:38:06
  landscapes. The close-ups are landscapes of
• 1:38:08
  faces because he's has such a contrast where you say every
• 1:38:12
  line, every minute that somebody's laughed, every minute
• 1:38:16
  that somebody's cried. He's got that in that face
• 1:38:18
  because he uses something called negative fill, but if you have
• 1:38:21
  positive fill, it's white, so you're bouncing light in.
• 1:38:24
  If you have negative fill, it's black, so you're taking light
• 1:38:26
  away. So you've got shadow and you've
• 1:38:27
  got contrast and that's what gives this really nice rounded
• 1:38:31
  look. The difference between
• 1:38:32
  candlelight, which is in Columns house and it's in Podrick's
• 1:38:35
  house because they're poorer. But then you go to the oil
• 1:38:37
  light, which is in the post office, there's oil light in the
• 1:38:40
  pub. That's all beautifully done.
• 1:38:42
  It's backs all of that up and it makes it really, really
• 1:38:44
  accessible. There's nothing that really
• 1:38:46
  screams cinematography, but it all screams cinema, and I think
• 1:38:52
  that's the best thing that Ben Davis does.
• 1:38:53
  It's a really, really excellent master class in cinematography
• 1:38:56
  because it's so subtle you don't even know how good it is.
• 1:38:59
  Subtle is the word. I had written down 1st as well,
• 1:39:01
  actually, and very important in the way that, as I said about
• 1:39:05
  McDonough when talking about him as director, it bridges that gap
• 1:39:08
  between being a very theatrical film in a very cinematic one of
• 1:39:12
  a thing. That's the challenge the film
• 1:39:13
  has, I think, and that's where Davis really excels.
• 1:39:15
  But what's crazy to me is I was looking at his filmography and
• 1:39:18
  he's done about four or five Marvel films.
• 1:39:20
  Yeah, you just wouldn't think the DP on Guardians of the
• 1:39:23
  Galaxy would be the same guy doing this.
• 1:39:26
  But I think that's just tribute to his versatility and probably
• 1:39:29
  his experience on something massive like that several times
• 1:39:31
  over means he could take something like this very stagey
• 1:39:34
  on the page and work in harmony with McDonough to give it the
• 1:39:37
  visual oomph that it does have. Yeah, But like, say, it is
• 1:39:40
  subtle, a great Wesley, again, trying to, like, think of an
• 1:39:43
  actual camera moves. It's very hard.
• 1:39:45
  And if it does, it's very deliberate.
• 1:39:47
  And I think the other thing he does is he just knits together
• 1:39:50
  all the outside scenes, which I imagine was shot in very
• 1:39:53
  changeable weather. Yeah, considering where it was
• 1:39:55
  show, which be a massive challenge.
• 1:39:57
  Knit knows with the interiors, which never feel overlit.
• 1:40:00
  The OS feel like the only light you're getting is through the
• 1:40:02
  windows or the candles or the gas lamps, as we've been seeing.
• 1:40:05
  And the result is something that it leaps off the screen when a
• 1:40:08
  lesser DP I think would have struggled to make any of this
• 1:40:10
  work in that way. Another thing as well that this
• 1:40:13
  was done with the DFD, which is a digital film, the digital
• 1:40:16
  process, which basically means they're shooting on digital,
• 1:40:19
  which is shot on the Alexa Mini, which is large format.
• 1:40:22
  It's beautiful, yeah. So what they do is then they
• 1:40:24
  take this process and they'll take the digital image, they'll
• 1:40:27
  put it under actual film, yes, run that through process that
• 1:40:30
  and then put it back on digital and then just make any changes
• 1:40:33
  that they want to start. Therefore, you have natural
• 1:40:35
  green, you can choose your film stock.
• 1:40:37
  It's quite an expensive process just to do that.
• 1:40:39
  So for this would have been 50 grand just for that process.
• 1:40:42
  Wow, right. Just to run 2 hours through that
• 1:40:45
  DFD and get it back and get that field with.
• 1:40:48
  But I think it really really makes a difference.
• 1:40:51
  Yeah, Davis said he saw that ID the studio execs by saying it
• 1:40:54
  was like the difference between listening to an album on vinyl
• 1:40:57
  versus A1 on CD. Yeah.
• 1:40:59
  Right, right. Definitely.
• 1:41:01
  Yeah, I think the visuals just reinforce the theme.
• 1:41:03
  They they all work together like all good films do.
• 1:41:06
  This place looks a dilek that has something lurking underneath
• 1:41:09
  that doesn't really get spoken about.
• 1:41:11
  I really do think that the film may well be unpalatable, too
• 1:41:15
  unpalatable. Or at least cross the line a few
• 1:41:17
  times. If it weren't for those
• 1:41:19
  incredible visuals they keep, you would be, I think, yes.
• 1:41:23
  How could Column be on the precipice of suicide with the
• 1:41:27
  view that he has from his house? He lives on the beach, for
• 1:41:30
  goodness sake. Yeah, he's got a streamline past
• 1:41:33
  his house and no neighbors to bother him.
• 1:41:34
  Idyllic. Or maybe that's the reason for
• 1:41:37
  his malaise. And it might be.
• 1:41:38
  He's been isolated and cut off. The ocean is unforgiven.
• 1:41:42
  He sings his song to the ocean and it gives him nothing back.
• 1:41:45
  Yeah, I like Davis's interior work as well.
• 1:41:48
  Those pub scenes, they offer kind of like a respite for
• 1:41:52
  what's going on outside. And he uses natural light
• 1:41:55
  amazingly well, particularly when it's bleeding into Columns
• 1:41:58
  Cottage. It's almost like he surround
• 1:42:01
  himself in darkness. And Poric is that natural light
• 1:42:04
  that's trying to breakthrough but can't.
• 1:42:06
  There's just a slither of it there you can see.
• 1:42:07
  Yeah. Obviously Columns preoccupied
• 1:42:10
  with his own mortality. And I think the visuals lean
• 1:42:12
  into that. There's an obsession with nature
• 1:42:15
  and wildlife. And it feels to me that there's
• 1:42:17
  a feeling of, of like return back to worth in this film.
• 1:42:21
  Like when I was said and done, nobody will remember any of
• 1:42:24
  this. Just like Column says in the
• 1:42:25
  pub, we're all insignificant in the grand scheme of things, but
• 1:42:28
  nature, wildlife, the sand, the sea will all remain.
• 1:42:31
  And I think that's really emphasized with the visuals.
• 1:42:34
  Yeah, Mcdonough's brief to Davis was that the visual should not
• 1:42:37
  perpetuate the cliched cinematic view of Ireland, overcast and
• 1:42:40
  dull. He wanted to capture the island
• 1:42:42
  of his youth, drawn inspiration from John Hendy postcards, which
• 1:42:46
  depicted rural Ireland, sunshine, lush greens and colors
• 1:42:49
  that pop. David said McDonough aimed to
• 1:42:51
  play the tragedy against the beauty of nature.
• 1:42:54
  Yeah, during prep, McDonough Davidson first assistant
• 1:42:59
  director Peter Corn mapped out the weather that they wanted for
• 1:43:02
  each scene. And the weather obviously plays
• 1:43:04
  a big part in the narrative. For example, when Siobhan
• 1:43:06
  leaves, they wanted to be sunny to represent New Horizons.
• 1:43:10
  Yeah, Similarly they wanted the opening scene of Porridge and
• 1:43:12
  the town to be sunny as well before turning grey when he gets
• 1:43:15
  that horrendous news from column at the pub.
• 1:43:18
  And Davis? He has painted meetings by
• 1:43:20
  artists like Rembrandt and Bruegel is inspiration for the
• 1:43:23
  lightning choices in the film. They created pockets of light
• 1:43:26
  using candles and oil lamps, and you can see both of those would
• 1:43:28
  work in the film. Yeah, but naturally, an oil lamp
• 1:43:31
  in the middle of a table and a pub doesn't do all of the work.
• 1:43:33
  No. So Davis had lights hidden in
• 1:43:35
  the rafters of the ceilings. Yeah.
• 1:43:37
  Yeah, right. When column is playing the
• 1:43:39
  fiddle around the table, everyone around that table has a
• 1:43:41
  light above their head. They do?
• 1:43:43
  Yeah. And Davis was specific of his
• 1:43:45
  camera placement. As the narrative progresses, his
• 1:43:48
  column is emotionally closed off.
• 1:43:49
  He gave some distance between the camera and the character,
• 1:43:52
  but this moves closer in as the film goes on, like in the
• 1:43:54
  confession scene. For similar reasons, Davis
• 1:43:56
  didn't put an eye light in column in certain scenes.
• 1:43:59
  He said that you gain access to a character if you put a
• 1:44:01
  pinprick of light in their eye, so omitting this close the
• 1:44:05
  character off from the audience. Yeah, right.
• 1:44:08
  Nice. Great during prepping after work
• 1:44:10
  on shooting days, Davis would head out across Inish more and
• 1:44:13
  filmed the local wildlife. A lot of this footage is used in
• 1:44:16
  the film as transitions between scenes, as that incredible kind
• 1:44:19
  of granite floor with a bird landing on it and kind of.
• 1:44:22
  Oh, yeah, yeah, yeah. Those two goats, you can only
• 1:44:27
  see one, but then it moves to the side and then there's one
• 1:44:29
  behind. It's almost like the two main
• 1:44:31
  characters. Oh.
• 1:44:32
  It is, yeah. Yeah.
• 1:44:33
  The editor on the film was Oscar winner One for Sound of Metal,
• 1:44:37
  Mikhail Nielsen. Yeah, nice.
• 1:44:39
  One of his main goals was to make both the location of Anna
• 1:44:41
  Sharon and it's animals to be characters in the film just as
• 1:44:44
  much as the cast are. He edited that wildlife footage
• 1:44:47
  in his transitions to give us as an audience, in his words, a
• 1:44:50
  chance to contemplate. Yes, to get your breath back.
• 1:44:53
  Really. Yeah, but Nicholson was only
• 1:44:55
  brought in at the 11th hour after Mcdonough's usual editor,
• 1:44:58
  John Gregory, sadly passed away just before filming started.
• 1:45:02
  McDonough said. John loved westerns and he loved
• 1:45:04
  the West of Ireland, so it's a real shame he didn't get to see
• 1:45:06
  it in the film, as he might have noticed, is dedicated to
• 1:45:09
  Gregory. Yes, yeah, it's right at the
• 1:45:11
  end, isn't it? In the credits, Yeah.
• 1:45:12
  Nielsen said that he knew it was a delicate situation and
• 1:45:15
  visited. The said only wants to meet with
• 1:45:17
  McDonough, otherwise he worked from his edit in Sweden
• 1:45:19
  Copenhagen. Oh right, nicely judged.
• 1:45:22
  Yeah, very nice. Yeah.
• 1:45:23
  So a super talented crew on Banshees and Hanson.
• 1:45:26
  Mcdonough's bleak, beautiful writing with outstanding music
• 1:45:29
  and visuals. Definitely the end.
• 1:45:38
  With Dominic disappointed with the new Porrig, he takes one
• 1:45:41
  final crack at Yvonne before everything falls apart.
• 1:45:44
  Yep, and Matt, it's over to you to pick that battle on up.
• 1:45:49
  Oh, good luck here mate. I need to Donna, I mean, this
• 1:45:52
  scene was just the most memorable scene on first few
• 1:45:55
  and. You know it's without that.
• 1:45:56
  Certainly one I think that's gone in a popular culture the
• 1:45:58
  most it's become a main and considering it's not even the
• 1:46:01
  two main characters, it's the two sport characters.
• 1:46:03
  I think that says a lot about how this is written, how it's
• 1:46:05
  played out. Dominic and reformed by the lake
• 1:46:08
  and the beautiful thing is how well the players in condos to
• 1:46:11
  that early scene between the two of them where they're having the
• 1:46:13
  argument or for supper, which is just pure hilarity throughout
• 1:46:16
  and this fully of times. But then just another example of
• 1:46:19
  how McDonough can thread a scene from complete hilarity to put a
• 1:46:22
  heartbreak without listen to step.
• 1:46:25
  You get Dominic scaring the life out of Siobhan by creeping up in
• 1:46:28
  it as she's piercing out over the leg.
• 1:46:30
  Would you ever stop creeping up on people?
• 1:46:32
  I wasn't creeping up on you. I was sidling up on you like.
• 1:46:35
  There's a difference. And then he sources spiel to try
• 1:46:39
  and win over Siobhan after she calls Mrs. McCormick a Google.
• 1:46:43
  I always call her a go to because she is a ghoul.
• 1:46:46
  Jeez, you have a lot in common. Don't what you mean you call an
• 1:46:48
  old people ghouls and that it's so awkward and it's it's what
• 1:46:52
  you said Luke about McDonough. He's happy with silence, like
• 1:46:55
  awkward silence. And like when Dominique calls it
• 1:46:58
  a great or lake and then just pointed out where like.
• 1:47:01
  Yeah, yeah, yeah. He doesn't know what he's doing.
• 1:47:04
  Yeah. She knows where the Lakers
• 1:47:05
  Dominic can try in front of her. And like, I don't think we've
• 1:47:09
  talked about how great the physical performance is from
• 1:47:11
  Kyogen, and this because it's a result of the abuse from his
• 1:47:14
  father. Is he maybe on the spectrum
• 1:47:16
  somewhere? But it's all these physical tics
• 1:47:18
  he's got, like, touching his face.
• 1:47:20
  And in this scene, he's wriggling around on the spot,
• 1:47:23
  like trying to get these words out.
• 1:47:25
  And he's so tight. But it is still funny at first
• 1:47:28
  because he starts winding up the speech to ask her out.
• 1:47:30
  And he says they've got a lot in common and she just goes, we
• 1:47:33
  don't have anything in common. And then he just goes, don't
• 1:47:35
  skip ahead. Because.
• 1:47:38
  He's still got this all to come, but then you just get to share
• 1:47:41
  your heartbreak of it all. Stumbling over his words.
• 1:47:43
  He's so nervous. And I think Condon plays it so
• 1:47:46
  well because Siobhan has barely tolerated Dominic throughout the
• 1:47:49
  film, but when she realizes what he's asking and he's trying his
• 1:47:53
  best to be normal, which has also been asked him to do, her
• 1:47:56
  face just softens and she lets him down as gently as she can.
• 1:47:59
  Like, I don't think so, love. Yeah, that's hard.
• 1:48:03
  She's so compassionate. She's so compassionate in this
• 1:48:05
  scene. And then he's just no, yeah, no.
• 1:48:08
  I was thinking no. I was thinking no, I.
• 1:48:10
  Was thinking, I mean, I'm watching through me fingers
• 1:48:13
  here. It's so painful.
• 1:48:15
  He tries to sell it out a bit. You know, faint hearts and all
• 1:48:17
  that. And then you just get one of the
• 1:48:19
  best delivered lines I've ever heard in any film.
• 1:48:22
  Just that pause. Well, there goes that dream, and
• 1:48:28
  just your heart shatters into a million pieces.
• 1:48:30
  For him, Niagara Falls. Every time and just tries to
• 1:48:33
  sell it out once more. Well, I'd best go over there and
• 1:48:36
  do whatever that thing over there I was going to do was,
• 1:48:39
  which you think is funny at first, but then when you realize
• 1:48:42
  what he does after he's. Going to do, yeah.
• 1:48:44
  Exactly, it makes it even more heartbreak and be a.
• 1:48:46
  Just. Yeah, just that.
• 1:48:47
  Well, there goes that dream. That was his final shot, wasn't
• 1:48:51
  it? Yeah, wow.
• 1:48:52
  It's his final line. Yeah, yeah.
• 1:48:54
  Incredible. Heartbreaking.
• 1:48:55
  He like so many layers. Incredible performance.
• 1:48:58
  Yeah, it's unbelievable. That slip when he nearly slipped
• 1:49:00
  into the water, that wasn't scripted.
• 1:49:02
  He almost went in. Takes condom with him as well.
• 1:49:07
  He nearly does, yeah. Well, after this Porrig takes it
• 1:49:09
  upon himself to give Calm some tough love.
• 1:49:12
  Haven't talked it through with Dominic on the Cliff side.
• 1:49:15
  Obviously. 2 brilliant brains working it out there.
• 1:49:18
  The meeting of minds. And he busts in there like it's
• 1:49:24
  a saloon in the Wild West. Yeah.
• 1:49:26
  How you doing, fatty? Dancing with your dog, is it?
• 1:49:32
  How's that for an old hello? Amazing.
• 1:49:34
  And it's this dialogue is incredible.
• 1:49:37
  Have you gone feck and mental? No, I haven't gone feck and
• 1:49:40
  mental. But I've got 10 fingers to prove
• 1:49:42
  I haven't gone feck and metal. How many fingers do you have to
• 1:49:44
  prove you've not gone fucking mental?
• 1:49:46
  9 and 9 is the epitome of mental.
• 1:49:48
  Yeah, Epitome. It's amazing when that dog comes
• 1:49:54
  over and forgets where he is or what he's doing there for a
• 1:49:57
  moment and just loves the interaction with this dog.
• 1:50:00
  Yeah, the dog. That's enough of that.
• 1:50:10
  But he comes in with so much bluster and bravado.
• 1:50:12
  And then once he sits down, you see the real Porrig.
• 1:50:15
  He's stumbling over his words. He's being nice, talking about
• 1:50:18
  Calm's tune and all of that kind of stuff.
• 1:50:20
  And it's devastating to hear Calm say, we were doing so well.
• 1:50:24
  And Product says I wasn't doing well, I was doing terrible.
• 1:50:27
  As his voice breaks, yeah, it's like he's been bereaved.
• 1:50:31
  It is he's. Absolutely devastated he doesn't
• 1:50:33
  know how to process all of this information, no.
• 1:50:35
  It's just it's just heartbreaking from this is just
• 1:50:39
  too much for me. I'm sorry.
• 1:50:41
  But it really is, isn't it? It does get worse, but Porridge
• 1:50:44
  thinks he's got it cracked. And he asks him as the clock
• 1:50:48
  strikes 2 if he wants to go to the pub to celebrate his new
• 1:50:51
  tune. And Column sees his opportunity
• 1:50:53
  and tells him to go to the pub, leaving him with the opportunity
• 1:50:55
  to fulfill his promise. Yeah.
• 1:50:58
  And there's a really funny gag when the dog drags the.
• 1:51:00
  She's out of the garage. That's.
• 1:51:02
  Great, that's fun. That's.
• 1:51:03
  Really funny. Obviously it all goes horribly
• 1:51:06
  wrong at the pub. The clock strikes 4 and Porridge
• 1:51:09
  had 4 pints in two hours just sitting there waiting.
• 1:51:13
  Yeah. And then Siobhan shows up and
• 1:51:15
  heaps more misery on top by telling him that she's leaving.
• 1:51:18
  This is a desperate situation. Column hasn't showed up to the
• 1:51:22
  pub, Siobhan's leaving and to top it off comes lost all his
• 1:51:25
  fingers off. Yeah, this has gone terribly
• 1:51:27
  wrong for Pori. How did it end up like this?
• 1:51:30
  There's incredible drone shot after Column throws his fingers
• 1:51:33
  at the door, and that image of them coming around the corner in
• 1:51:36
  slow, more like a specter of death in the long black court,
• 1:51:39
  blood driven from his stumps. A really everlasting image which
• 1:51:43
  strikes fear in the porridge. And Siobhan who that that's her
• 1:51:47
  signal. She can't wait any longer.
• 1:51:49
  Yeah. She's gone, yeah.
• 1:51:51
  And surprisingly, we've talked about it in this film.
• 1:51:53
  Visual effects player, A key part, specifically with the
• 1:51:56
  snipment off of columns, fingers and his subsequent stumps.
• 1:51:59
  Simon Hughes of Union in VFX oversaw the work and said the
• 1:52:03
  biggest challenge was creating CG stumps of Brendan's fingers
• 1:52:06
  alongside the intricate movement and animation required.
• 1:52:09
  Yeah, yeah. And there were other VFX that go
• 1:52:12
  on notice like Column's House being a Blaze, the Lightning
• 1:52:15
  Storm, and Mark Payton's that he is for the opening scenes.
• 1:52:17
  Or pretty seamlessly done. Yeah.
• 1:52:20
  I mean, there's that incredible drone shot that you've
• 1:52:22
  mentioned. They will see calm in the
• 1:52:23
  foreground and then it comes over and you see Porridge and
• 1:52:26
  Siobhan walking up as well. And you kind of know that
• 1:52:27
  there's going to be an interaction, but what kind of
• 1:52:29
  interaction is it going to be? And you see calm come in between
• 1:52:32
  them two. So he's actually caused them to
• 1:52:34
  separate. It's because of him comes
• 1:52:36
  between them. Very nice.
• 1:52:38
  And Siobhan is now leaving, and it's the way that she leaves.
• 1:52:41
  She is unbelievably, because she is so fragile here.
• 1:52:45
  She can't take me books and that's all I've got.
• 1:52:48
  That's heartbreak, and that can. You look delivery to them.
• 1:52:50
  For us, it's just she's like, I can't carry everything.
• 1:52:53
  That's all I've got. She's got literally nothing else
• 1:52:55
  but the clothes on her back. But it's his line delivery year
• 1:52:57
  and he's like, oh, don't say all Poric.
• 1:53:00
  See, yeah, yeah. You leave and say, yeah, God,
• 1:53:04
  when it comes to that board as well.
• 1:53:06
  These are some of the most beautiful shots in the film.
• 1:53:09
  The way that board is framed. And then when she's on that
• 1:53:12
  board, just the way that she's framed against the sale.
• 1:53:14
  And yeah, there's people in the background out of focus, but she
• 1:53:17
  looks like she's heading towards the sunrise.
• 1:53:20
  She looks like she's heading towards something free and
• 1:53:23
  colourful and bright and new and exciting.
• 1:53:26
  And it's that chord that she's got on as well, like little
• 1:53:28
  course and everybody's in Brown. Yeah, it's real splash of
• 1:53:31
  colour, isn't it? As we're talking about the
• 1:53:34
  costumes, costume designer Imani Maldonna, she wanted to ensure
• 1:53:37
  that they didn't look or feel like, in her words, a pastiche
• 1:53:41
  of the Arran Islands. Yeah.
• 1:53:42
  So she used entirely homespun and only Irish walls, linens and
• 1:53:47
  over dyed fabrics. Unbelievable.
• 1:53:49
  All the sweaters in the film are hand knit by an 8 year old local
• 1:53:52
  lady, Delia Barry. Gleason loved his so much that
• 1:53:55
  he kept regular contact with Barry, sending her cards in
• 1:53:58
  return for more knitwear. I loved it.
• 1:54:00
  Need some of that clubber. Wow.
• 1:54:02
  It's incredible. It looks unbelievable.
• 1:54:04
  For Porrig's red sweater, Maldana conceived it as being
• 1:54:07
  made by Siobhan, his sister, she said.
• 1:54:10
  I can imagine Siobhan thinking, Oh my God, the winter is coming
• 1:54:13
  in and it's very cold. I'm going to knit Porriga
• 1:54:15
  jumper. Yeah, Been making the little
• 1:54:17
  color as a kind of personal touch.
• 1:54:19
  Yeah, yeah, lovely. And for Comes, she said there
• 1:54:21
  had to be something of the poet in the way he dressed, but
• 1:54:25
  without it being very ostentatious.
• 1:54:27
  She said that his clothes reflect that of someone who has
• 1:54:29
  travelled to the outside world and has brought back ideas of
• 1:54:32
  what an artist should dress like.
• 1:54:34
  Corduroy and linens are part of his ensemble.
• 1:54:37
  Yeah, great. Yeah.
• 1:54:38
  It just shows like the My New Detail that the production goes
• 1:54:40
  to. Yeah, we don't see that.
• 1:54:42
  We don't see it, but we don't think that.
• 1:54:45
  But that reinforces the story, doesn't it?
• 1:54:47
  And the characters really does. I think subsequently from this
• 1:54:51
  scene, it gets darker, it gets overcast.
• 1:54:53
  Yeah, not the weather, but the tone just seems to shift to a
• 1:54:58
  shadow. Have I even got to go into this
• 1:55:00
  bit? And then he comes home and then
• 1:55:03
  we'll get that, that horrible push to the corner of the house
• 1:55:07
  which reminds me of like Mulholland Dr. You know what
• 1:55:11
  it's like. Good things are just around the
• 1:55:12
  corner, the corner of this Mulholland Drive in this corner.
• 1:55:16
  I don't like it. I don't like it at all.
• 1:55:19
  I don't like it at all. I don't like it.
• 1:55:20
  I don't like it so. And it would come around and
• 1:55:23
  then Jenny's dead. That's just pull the Band-Aid
• 1:55:25
  off and it is absolutely devastating.
• 1:55:29
  It's devastating for Porrig, It's devastating for us.
• 1:55:31
  He's only glimmer of hope. He's only friend, the only one
• 1:55:34
  keeping him from being sad. His levels of grief, the way he
• 1:55:37
  deals with it, that side and that, that realization of
• 1:55:41
  there's nothing I can do about this.
• 1:55:43
  And it's then he finds the finger and pulls it out of her
• 1:55:46
  mouth and he's gone. Actually, I can't do anything
• 1:55:48
  about this, but I can do something about this.
• 1:55:51
  I can now. I've got someone to blame.
• 1:55:52
  I've got somewhere to put me anger.
• 1:55:54
  And then it comes to the point where he's burying Jenny and
• 1:55:56
  everyone knows that he buries that in his quilt from his bed.
• 1:56:01
  Yeah. So that's him not comfortable
• 1:56:03
  anymore. He's obviously just going to.
• 1:56:05
  He's not going to have a quilt. He's just.
• 1:56:07
  Hadn't noticed. He doesn't want comfort, he
• 1:56:08
  doesn't want warmth. He's given that all to Jenny,
• 1:56:10
  and now he's just cold and his heart's gone.
• 1:56:13
  Yeah, his heart's gone, and it's on the sign that says Jenny with
• 1:56:16
  a little black heart. There you go.
• 1:56:17
  Hot. It's too much.
• 1:56:19
  It's too The more the more I talk about this film, the more I
• 1:56:22
  realize it's an absolute masterpiece.
• 1:56:25
  Just a master. Masterpiece.
• 1:56:27
  And he goes into the pub and we'll have that wonderful moment
• 1:56:30
  where he's finally written the track, he's composing it and
• 1:56:35
  everywhere just doesn't give a shit.
• 1:56:38
  Everybody's looking John Joe behind the bar.
• 1:56:41
  What the fuck is going on? Just give him like a towel or
• 1:56:44
  something. But they're like no, there's no
• 1:56:46
  stopping him. He's absolutely in the zone now.
• 1:56:47
  He's going for it and he's just punching that violin and people.
• 1:56:50
  That's lovely lads. And Paul comes in and he goes.
• 1:56:53
  He thinks that's it. He's done his side.
• 1:56:55
  He's got all these fingers off. That's it.
• 1:56:56
  And I feel better. I feel great.
• 1:56:59
  Let's just cut it there. Let's just call it a day.
• 1:57:01
  I've written me music, you know me legacy is now there.
• 1:57:04
  I can't be remembered for something.
• 1:57:06
  Empire comes in and that's it's anything but the truth.
• 1:57:09
  Yeah, me little donkey died today.
• 1:57:11
  So no, we'll not call it the end.
• 1:57:12
  We'll call it the fucking start. That line will not call this the
• 1:57:15
  end. We'll call this the start.
• 1:57:16
  That's just so powerful. Yeah, that's amazing.
• 1:57:19
  And so to our graves, we're taking this.
• 1:57:21
  Yeah. One of our graves, anyway.
• 1:57:22
  Yeah, Amazing. 2:00 tomorrow, God's Day Sunday, I'm going to
• 1:57:26
  put in your house now. Make sure the dog's not there.
• 1:57:28
  I've got nothing against that gun, and I'm not going to check
• 1:57:30
  if you're in or not. But before that, we'll have
• 1:57:33
  Kearney coming in, grabbing his hair.
• 1:57:35
  Ask him where Dominic is and when.
• 1:57:36
  You know on the second viewing that he's obviously killed
• 1:57:39
  himself by now. Yes.
• 1:57:41
  You don't know where he is, but that's so satisfying when Colin
• 1:57:45
  gives him a smack. Yeah, leave him alone.
• 1:57:47
  He's. Done.
• 1:57:48
  Yeah, that little tap on the face just.
• 1:57:50
  Before he leaves 22. Yeah, so the die is cast, and
• 1:57:55
  we're headed for a showdown of epic proportions.
• 1:57:58
  Showdown, All right, Yeah. After Colin goes to another
• 1:58:03
  confession and confirms the despair is back a bit, Porridge
• 1:58:06
  gets a heartfelt letter from his sister as he plans his revenge.
• 1:58:11
  It's over to you. Every scene, every scene is met
• 1:58:14
  with a chorus of. Yeah, because I mean everyone is
• 1:58:18
  spiraling here, but you can't see it Pouring isn't a man of
• 1:58:21
  his word. He is going to arrive at 2:00 to
• 1:58:23
  burn that house down, but he will absolutely make sure that
• 1:58:26
  columns dog is going to be unharmed and all of this here
• 1:58:29
  like he takes care of that dog and no he.
• 1:58:31
  Needs to scoop some. Which is a lovely thing to see
• 1:58:35
  in amongst all this darkness it. Is, yeah.
• 1:58:38
  But I think the same way he's getting the firewood together
• 1:58:40
  and it's with Siobhan's letter and voiceover.
• 1:58:43
  I think this is McDonough just knitting together everything he
• 1:58:45
  wants to see in this film because because this situation
• 1:58:48
  has escalated to the point of attempted murder, because people
• 1:58:51
  just can't communicate with each other or they can't leave things
• 1:58:54
  alone or they do things without thinking of the consequences.
• 1:58:58
  And while all this is going on, the Civil War is still raging on
• 1:59:01
  in the mainland and no one on here understands that either.
• 1:59:04
  It's just a headline. And I think McDonough, he
• 1:59:06
  doesn't have a lot of animals in this film by accident or just
• 1:59:10
  because of the on an island. I think they are the innocence
• 1:59:12
  here. They are the innocent bystanders
• 1:59:14
  to all of this. They can't affect any of this
• 1:59:16
  madness that's going on. They decide the mute witnesses
• 1:59:19
  or the end of this collateral damage from Columns dog to
• 1:59:22
  Jenny. And I think this is obviously
• 1:59:24
  contrasted to everything Siobhan is talking about in her letter.
• 1:59:27
  She sounds so happy and set up straight away.
• 1:59:29
  And again, that's the point McDonald was making.
• 1:59:32
  She's not the other side of the world, she's only over there on
• 1:59:36
  the mainland channel. Which might as well be the other
• 1:59:39
  side of the. World it might as well be
• 1:59:40
  Australia. That's just going to do all the
• 1:59:42
  difference makes to Poric. That's how small the dividing
• 1:59:44
  line between peace and war is here.
• 1:59:47
  There's that visual contrast of all this really logical,
• 1:59:50
  thoughtful argument that she's putting forward as to why Poric
• 1:59:52
  should follow her lead. But while it's been read out,
• 1:59:55
  he's loading up his card with firewood because he's going to
• 1:59:57
  burn his best friend's house to the ground, possibly with him in
• 2:00:00
  it. But then, in classic Madonna
• 2:00:03
  style, there's always an unexpected laugh.
• 2:00:04
  And it comes when Siobhan makes this really heartfelt plea for
• 2:00:08
  Poric to leave in the Sharon. Because, as she says, all it is
• 2:00:11
  from there is bleakness and grudges and loneliness and spite
• 2:00:14
  and the slow passing of time until death.
• 2:00:17
  I'm sure you can do that anywhere.
• 2:00:20
  Yeah, great. He may as well leave.
• 2:00:21
  Yeah, everybody's a lot less mental over here, but I think
• 2:00:24
  that's because they're Spanish. Yeah, they're all from Spain.
• 2:00:27
  Yeah. Yeah.
• 2:00:28
  Really good that. Yeah, I love that.
• 2:00:30
  I've talked about the balance of comedy and tragedy, and I think
• 2:00:32
  it's best realized in this moment afterwards, when Porg is
• 2:00:36
  at the lowest he could possibly be.
• 2:00:38
  Yeah, his sister's gone. Columns lopped off all of his
• 2:00:41
  fingers. His donkey is dead.
• 2:00:42
  He's committed arson and possibly murder.
• 2:00:45
  As far as he's concerned, absolute despair.
• 2:00:48
  But he starts off his letter back with the Siobhan.
• 2:00:52
  Obviously. I don't know what ensconce
• 2:00:53
  means. That will never fail to get me,
• 2:01:01
  obviously. I mean, obviously I don't know
• 2:01:04
  what it's got anything. You could.
• 2:01:05
  You could sum up as a McDonough moment.
• 2:01:07
  That's it. Yeah. 100%.
• 2:01:11
  This is the most sad situation I've ever seen put on film and
• 2:01:15
  I'm getting this kind of laugh from.
• 2:01:17
  Yeah, you're laughing from yeah, in the middle of it, though.
• 2:01:19
  Yeah, McDonough up the result tricks, just finding the most
• 2:01:22
  idiosyncratic way to showcase his talents.
• 2:01:24
  Yeah. That balance of absolute
• 2:01:26
  hilarity and devastating drama. Yeah.
• 2:01:28
  But the rest of the letter is equally as heartbreaking.
• 2:01:31
  Yeah. When he's talking about Jenny
• 2:01:34
  being there with him. Get off me, Jenny.
• 2:01:37
  Oh yeah, yeah. This is a man who is gone.
• 2:01:40
  The real Porrig isn't there Now it's a different person.
• 2:01:43
  And he ends his letter with more devastation, with the reveal of
• 2:01:46
  Dominic being dead. I mean, come on.
• 2:01:49
  What are you doing to us? My goodness.
• 2:01:52
  How much more can we take of this?
• 2:01:54
  And I truly believe that before this revealed Keeney, who's the
• 2:01:58
  copper, he's coming up to Porrig's house, presumably
• 2:02:01
  because Columns House is on fire.
• 2:02:03
  Yeah, I wouldn't be surprised if he he's coming to kill him and
• 2:02:06
  not arrest him. Yeah.
• 2:02:08
  Possibly. He looks like with that intent
• 2:02:10
  in his eyes, but the scene ends with fire licking around columns
• 2:02:13
  feet as his possessions are incinerated.
• 2:02:16
  Porrig ends his letter with I hope I see you again someday if
• 2:02:19
  you ever come back home. And that's interwoven with
• 2:02:22
  Porrig in bed crying, saying come back home, Siobhan.
• 2:02:28
  I've got I've got chills just saying I.
• 2:02:29
  Know, I know. So after everything that's
• 2:02:32
  happened that you guys have just spoken about.
• 2:02:36
  I wish it didn't, yeah. To wish I didn't.
• 2:02:39
  We see his dog running onto the beach, we see Calm standing on
• 2:02:42
  the beach and we see Porrick's disappointment that his best
• 2:02:45
  friend is still alive. That's what I get from his look.
• 2:02:47
  He looks on the beach and he's like, right, well, this goes on.
• 2:02:51
  And the disappointment that Calm had, he thought it was over,
• 2:02:54
  Boric thought it was over. And they come down and have this
• 2:02:56
  discussion and the dialogue here is just absolutely fantastic
• 2:02:59
  because I think the both at that point where they've done things
• 2:03:02
  that there's no coming back from, and I think he puts that
• 2:03:06
  on his, I think that's a good thing.
• 2:03:08
  Are they going to recover from this?
• 2:03:09
  Is one of them going to die soon?
• 2:03:11
  If so, which one? Don't know.
• 2:03:14
  He actually says, I think that, you know, the fighting's calmed
• 2:03:16
  down a little bit over there and he's like, there's always going
• 2:03:19
  to be something to fight about. There's always going to be
• 2:03:21
  something. There's always going to be a
• 2:03:22
  confrontation. Nothing's ever going to be
• 2:03:25
  peaceful. Nothing's ever going to be easy.
• 2:03:27
  Even on an island with just a few people on it, There's always
• 2:03:29
  confrontation between human beings.
• 2:03:31
  And I think that's the point. And I think honestly, at this
• 2:03:34
  point, Colin just wants all this over with.
• 2:03:36
  It's backfired. It's backfired massively.
• 2:03:38
  Massively. Yeah.
• 2:03:39
  Yeah. Maybe this film is telling you
• 2:03:40
  just a welcome change. Let go of things you can't
• 2:03:43
  control. Let go over the people.
• 2:03:45
  Let go of trying to control other people.
• 2:03:47
  Calm then says to Parekh, Thank you for looking after me, dog.
• 2:03:49
  And it's any time. Yeah.
• 2:03:51
  So there's still a side of each of them that love each other,
• 2:03:54
  but there's no room for that anymore.
• 2:03:56
  Only if something innocent, if there's an innocence in between
• 2:03:59
  them, they'll look after that innocence.
• 2:04:01
  Much like when Calm takes him home after he's been smacked.
• 2:04:03
  Yes. You need me help there, right?
• 2:04:05
  I'll look after your dog. You need me help there?
• 2:04:06
  They're not monsters, no lovely people who are just depressed
• 2:04:11
  and down and confused and angry and that walk away where we see
• 2:04:16
  Mrs. McCormack sitting between two of them.
• 2:04:19
  She is always foreshadowed death throughout the whole film.
• 2:04:22
  Either one of them is going to die or ultimately this is the
• 2:04:26
  death of their friendship and she's watching that happen.
• 2:04:28
  A wonderful, wonderful moment between two wonderful actors who
• 2:04:31
  are obviously very, very close and obviously very connected to
• 2:04:35
  this material. It is.
• 2:04:37
  It's incredible. This last scene was shot on the
• 2:04:39
  last day of filming. McDonough said that he didn't
• 2:04:42
  know at the beginning of the script whether the film would
• 2:04:44
  have a happier ending or a sadder ending.
• 2:04:46
  It could have gone either way. Yeah, it goes back to what we
• 2:04:49
  were saying before. It was only after the rest of
• 2:04:50
  the film was shot and elements of the script were incorporated
• 2:04:54
  that the story gained kind of like its own tone.
• 2:04:55
  And he knew where it was going. And only then he decided on the
• 2:04:58
  end. And which is an incredible way
• 2:05:00
  to write. Yeah.
• 2:05:01
  Well, yeah, terrifying if you ask me.
• 2:05:04
  How is this going to end? I don't know until I get there
• 2:05:07
  what. And interestingly, it's
• 2:05:10
  mentioned in the film that the war might end soon.
• 2:05:13
  And when the film begins on April 1st, 1923, the 11th month
• 2:05:17
  long civil war was less than two months away from ending.
• 2:05:20
  Yeah, Shevon makes reference to it in her letter, and so does
• 2:05:23
  column on the beach down here as well.
• 2:05:25
  And I think a shout out should go to Sheila Flinton, who plays
• 2:05:28
  Mrs. McCormick. Oh, yeah.
• 2:05:29
  Is she the titular banshee? Is she just a busy body or a nut
• 2:05:32
  bag? Yeah.
• 2:05:33
  Don't know. But she's incredible.
• 2:05:35
  Yeah. She is incredible, Yeah.
• 2:05:36
  Was it 7 or 8 years because your parents died or was it 7 years
• 2:05:40
  since they died? Oh, so there you have it.
• 2:05:46
  A simple tale of despair and loneliness which has done
• 2:05:49
  irreparable damage to fingers, families and friends.
• 2:05:52
  Indeed, yes. Reception and awards.
• 2:06:00
  When the film premiered at the Venice Film Festival, it
• 2:06:02
  received a 15 minute standard ovation, which seemed to set the
• 2:06:05
  tone for how banshees would be generally received.
• 2:06:09
  It did get overwhelm and positive reviews.
• 2:06:12
  Empire gave it 4 out of five and said another great feel bad
• 2:06:15
  treat from Martin McDonagh, featuring one of Colin Farrell's
• 2:06:18
  best performances yet is a guy trying and failing to deal with
• 2:06:21
  the fallout of a falling out. Yeah, I think that's a little
• 2:06:26
  bit of an understatement from Empire.
• 2:06:28
  Yeah, it is a bit understated, isn't it?
• 2:06:30
  Yeah, The Telegraph gave it 5 out of five seeing an often
• 2:06:33
  shoulder shudderingly funny film.
• 2:06:35
  It was comic dialogue. It's dazzlingly designed and
• 2:06:38
  performed. Which?
• 2:06:39
  It is sticking, but it's missing the point a little.
• 2:06:42
  Bit that's a bit over the other side isn't?
• 2:06:44
  It. Yeah, Regrettably, Roger Ebert
• 2:06:46
  didn't get to see this film, and I think he would have loved it,
• 2:06:49
  I think. He would have loved it, yeah.
• 2:06:50
  But writing for rogerebert.com, what do you think?
• 2:06:53
  Reviewer Glenn Kenny gave it out of four fellas.
• 2:06:55
  I'm going to give it the full back.
• 2:06:57
  Yeah, full. Yeah, I think so.
• 2:06:59
  Any self respecting film critics will give this for.
• 2:07:02
  Out of four? Well, actually, Glenn Kenny
• 2:07:03
  rogerebert.com gave it 3.5 out of four just missing.
• 2:07:07
  That top OK. That's very close.
• 2:07:08
  OK, he said. Farrell does some of his best
• 2:07:11
  act in with his furrowed brows. Gleason has a glare that's both
• 2:07:14
  a death ray and an enigma. The pauses these guys in act are
• 2:07:18
  at times even funnier than the verbal comebacks McDonough has
• 2:07:21
  written for them. Yeah, that's more rounded.
• 2:07:23
  That's spot on, Yeah, their performances match the dialogue.
• 2:07:26
  On Rotten Tomatoes now, it has 96% from critics, 75% from
• 2:07:30
  audiences, reinforcing the point that Michael said earlier about
• 2:07:32
  it being a polarizing experience.
• 2:07:34
  Indeed, yeah. And on IMDb it has 7.7 out of
• 2:07:38
  10. Right.
• 2:07:39
  OK, still. Still pretty high and on a $20
• 2:07:42
  million budget. Banshee's returned just over 50
• 2:07:45
  million, which considering the limited plot, a period piece set
• 2:07:49
  outside America, I think that's pretty astounding.
• 2:07:52
  It is pretty astounding. And that's what I said.
• 2:07:54
  It's a hard sell to get people like it.
• 2:07:56
  Really is. Well, well.
• 2:07:58
  Well. Well, I don't fancy that.
• 2:08:02
  Then. Have you seen In Bruges?
• 2:08:03
  No. Well, there's nothing here for
• 2:08:05
  you there. There's nothing.
• 2:08:06
  It also featured extensively on the awards circuit.
• 2:08:09
  Didn't it matter? It did.
• 2:08:10
  At the Golden Globes. It was nominated in eight
• 2:08:13
  categories, which was the most nominated film since Cold
• 2:08:16
  Mountain in 2004, and it took home 3 awards, Best Motion
• 2:08:20
  Picture in Musical or Comedy, Best Actor for Farrell in
• 2:08:23
  Musical or Comedy, and Best Screenplay.
• 2:08:25
  It got the same number of Oscar nominations 8.
• 2:08:28
  Those were for Best Picture, director, actor, Farrell,
• 2:08:31
  supporting actor Gleason Piogan, supporting actress Condon,
• 2:08:39
  screenplay, editing and score. Unfortunately, it didn't get a
• 2:08:42
  sausage. Lost out on all 8 counts.
• 2:08:46
  Such a shame. And no nomination for production
• 2:08:49
  design I think is criminal. That is, yeah.
• 2:08:51
  It was more successful on British shows.
• 2:08:53
  At the Baftas, it got 10 nominations, winning 4
• 2:08:56
  Outstanding British Film, Screenplay and Supporting
• 2:08:59
  Actress and Actor for Condon and Kiogan Very.
• 2:09:02
  Well deserved. Absolutely.
• 2:09:04
  Yeah. Hometown vote.
• 2:09:05
  Yeah, definitely. So understated success at the
• 2:09:07
  box office, unanimous praise from critics, and a decent hold
• 2:09:10
  during awards season for this film.
• 2:09:13
  Incredible stuff. Yes, unbelievable sequels and
• 2:09:19
  influence. No sequel has been made to
• 2:09:23
  Banshees, and I think we'd be all stunned if one did
• 2:09:26
  materialize. It has been called one of the
• 2:09:29
  best films of the twenty 20s and one of the saddest films ever
• 2:09:32
  made. But what about our thoughts on
• 2:09:34
  its influence and its legacy? And it's quite difficult to say
• 2:09:38
  because there hasn't been too much time since its release.
• 2:09:42
  So that just hasn't settled really.
• 2:09:43
  But for me, it's to do with Martin McDonough.
• 2:09:46
  He confirmed his place as a unique film maker with this one.
• 2:09:49
  Want to be cherished and nurtured.
• 2:09:50
  And whatever idea he comes up with, no matter how strange,
• 2:09:54
  studios who just throw money at him.
• 2:09:56
  Yeah. Original ideas have become a
• 2:09:57
  less and less in popular culture.
• 2:09:59
  So having somebody like him making these kind of movies are
• 2:10:02
  so important to a creative industry just like this.
• 2:10:05
  Yeah. And secondly, just Gleason and
• 2:10:07
  Farrell together on screen is a joyous experience of.
• 2:10:10
  Course it is. Yeah, they could read the form
• 2:10:12
  book and I'd be enthralled. Yeah, I'm certain we'll get a
• 2:10:16
  few more films with the two of them in.
• 2:10:17
  I would love to have endless films, but no matter how many
• 2:10:20
  more they give us, that won't be anywhere near enough.
• 2:10:23
  Yeah, they confirm their legacy is a great double act.
• 2:10:26
  Yeah, definitely. What do you think, Westie?
• 2:10:29
  Like I said, there was just these films that are coming out.
• 2:10:31
  Avatar came out at the same time, Marvel films are coming
• 2:10:33
  out the same time. And I just felt completely
• 2:10:36
  disconnected and just bored and just hopeless.
• 2:10:38
  I felt quite a bit like home, actually, just like, I want
• 2:10:41
  something to be creative, but it actually means means something.
• 2:10:44
  I want something to have a legacy.
• 2:10:45
  It makes sense. And then along comes Martin
• 2:10:47
  McDonald with this 2022 and kind of opens the door for people to
• 2:10:52
  say, look, yeah, it's not making billions, but there's still an
• 2:10:55
  audience for this. There's still a place for this
• 2:10:57
  kind of film, still a place for, you know, the local heroes, or
• 2:11:01
  the, you know, the whiskey galore, or you know, the still,
• 2:11:05
  still space for that kind of small film to exist, with clever
• 2:11:08
  dialogue, with clever writing, with great performances.
• 2:11:11
  This is just one of them. Where it's for the quiet guy at
• 2:11:14
  the back, it's for the little guy who wants to make a film,
• 2:11:17
  and there's still a room for you guys.
• 2:11:19
  There still is for people to come up with good ideas that
• 2:11:21
  don't have everything blown up left, right and center.
• 2:11:24
  You know, this big action set pieces.
• 2:11:26
  And it doesn't have to be a Stephen King annotation.
• 2:11:28
  It could just be, you know, you can break it down and make
• 2:11:31
  something accessible to make something easy, and McDonough is
• 2:11:33
  the king of that. Yeah, yes, wonderful.
• 2:11:35
  What about you, Matt? Legacy Influence.
• 2:11:38
  I mean, it's almost word for read the same, to be honest.
• 2:11:40
  I mean, I think it's legacy is cement.
• 2:11:42
  McDonough is just one of the best voices of his generation,
• 2:11:45
  one of the most talented film makers, one of the most
• 2:11:47
  strikingly original people out there who just makes what he
• 2:11:50
  wants to make and having the confidence that it will find
• 2:11:53
  that audience. And again, Pharrell and Gleason
• 2:11:56
  just establishing them one of just the all time great double
• 2:11:59
  acts, like I said, or watch them together and anything.
• 2:12:02
  And I think Pharrell in particular, this is the one that
• 2:12:05
  really proved what kind of range he has as an actor.
• 2:12:08
  I mean, he's amazing him in Bruges, but that was kind of in
• 2:12:11
  his wheelhouse as the the kind of firecracker unreliable person
• 2:12:15
  Hollywood had been kind of based on the films on.
• 2:12:17
  This is different for him. So I think this is when I really
• 2:12:20
  elevated him. Probably the last thing I would
• 2:12:22
  say about Lexi. I think, you know, we talked
• 2:12:23
  about going empty handed at the Oscars.
• 2:12:25
  I mean, obviously this comes down to personal opinion, but I
• 2:12:27
  think part of this film's legacy will be it's going to be one of
• 2:12:30
  those films we go this one. Nothing at all.
• 2:12:35
  Not nothing for screenplay, nothing for screenplay.
• 2:12:38
  Screenplay should have, should have been in the bag.
• 2:12:40
  Travesty. Yeah, it is.
• 2:12:42
  Well, I don't think we fully know the true legacy of
• 2:12:44
  Banshees. Yeah, that'll come after
• 2:12:46
  McDonough, Farrell and Gleason get deeper into their careers
• 2:12:48
  and well beyond that. Maybe.
• 2:12:50
  But for now, we're thrilled that these three are able to make
• 2:12:53
  these films that they do and tell these beautiful, strange
• 2:12:55
  stories. Absolutely.
• 2:13:00
  All the right movies ranking. Now it's time for the world
• 2:13:05
  famous All the Right Movies ranking.
• 2:13:07
  World famous. World famous these days.
• 2:13:09
  Over to you Matt. Your score and summary for The
• 2:13:11
  Banshees of Anisharan. It is divisive and I get that,
• 2:13:14
  and I can't see why, but if you're on its wavelength,
• 2:13:18
  there's nothing else like it. As I said in the right, now take
• 2:13:21
  the simple premise, one guy stop stalking to another and just
• 2:13:24
  spin it off in the way that McDonald does is an achievement
• 2:13:27
  I can't see anyone else doing and it has so much to unpack
• 2:13:30
  within it. In terms of talking about
• 2:13:32
  depression, in terms of talking about artistic achievement, You
• 2:13:35
  have to be an asshole to achieve great art.
• 2:13:38
  How? Small communities can be really
• 2:13:40
  suffocating, but at least these small communities are out of the
• 2:13:42
  way of greater conflicts on the mainland.
• 2:13:45
  You can watch this over and over again and get something
• 2:13:47
  different outfit each time. No, it's not the knock about
• 2:13:50
  humor of him Bruce. But I'm really glad it's not
• 2:13:52
  actually, because I would have been such a lazy way to go with
• 2:13:54
  it and I'm glad they did something different instead.
• 2:13:56
  And these 4 main performances are as good as any performances
• 2:14:00
  I've ever seen. Complex characters, complicated
• 2:14:02
  motivations, all of them go from making you laugh and then
• 2:14:06
  breaking your heart in the very next scene.
• 2:14:08
  Yeah, ultimately people might remember if we did do a YouTube
• 2:14:11
  episode in this couple of years ago now, I didn't go back and
• 2:14:14
  watch that because I wanted all my thoughts to be as fresh as
• 2:14:16
  possible, not repeat myself. The one thing I remember saying
• 2:14:19
  though at the time was my rate and forward on that.
• 2:14:22
  It came with a caveat that it was a very new film and I didn't
• 2:14:24
  want to give a top marks because I didn't want to get too caught
• 2:14:27
  up in that. I needed it to sit with me like
• 2:14:29
  in British, sat with me over the years and see how I felt about
• 2:14:32
  it after a few more viewings. Well, I've watched multiple
• 2:14:35
  Times Now. It's the other side of the coin
• 2:14:37
  of ambush in terms of torn terms of what's talking about.
• 2:14:40
  But it's just as distinctive, just as entertainer, just as
• 2:14:44
  brilliant sorts of 10 for me. Oh.
• 2:14:46
  Nice. There you go.
• 2:14:48
  I mean, I'd be surprised if you gave anything other.
• 2:14:50
  It just can't be. It's what about USD, your score
• 2:14:54
  and summary for Vanchis? Yeah, I mean, we've waxed
• 2:14:57
  lyrical about this for hours now.
• 2:15:00
  And I think what I've come to realize from this is I've have
• 2:15:03
  have notes. I have pages of notes, and I'm
• 2:15:05
  writing stuff down and thinking that everything I'm getting from
• 2:15:08
  the scenes that I'm talking about is just me.
• 2:15:10
  It's just personal. Like, that's the way I see it,
• 2:15:14
  but that's the way you guys see it.
• 2:15:16
  That's the way everyone sees it. And I didn't realize that
• 2:15:18
  everyone kind of feels the same. And that's what this film does.
• 2:15:21
  It kind of highlights all of the stuff that's hard to deal with,
• 2:15:25
  puts humor in front of it, makes it accessible, and then you talk
• 2:15:27
  about it with your friends and then you realize that actually,
• 2:15:29
  we're all closer than we think we are.
• 2:15:31
  Yeah, nice. I went back and I did watch the
• 2:15:33
  YouTube episode for the reason that I didn't want to repeat
• 2:15:37
  yourself, so I wanted to know what my stance on that was.
• 2:15:41
  And it hasn't changed that much if I'm honest.
• 2:15:43
  I still get exactly the same from it, but I'm not bored of
• 2:15:45
  that. I don't find that to be a pain.
• 2:15:48
  I find that to be a welcoming thing and something I want to go
• 2:15:51
  back to. And what I get from this as well
• 2:15:53
  as if you talked about from a technical point of view, from
• 2:15:55
  the filmmaking point of view and from a human point of view.
• 2:15:58
  In Bruges, their performances are brilliant, but they're very
• 2:16:01
  much on the page now. This is Gleeson, Farrell and
• 2:16:04
  McDonough learning who each other is, meeting each other and
• 2:16:07
  hitting it off. That's like how our Friday
• 2:16:10
  nights we used to have and Banshees is like the Sundays
• 2:16:14
  that we have now doing the podcast.
• 2:16:16
  It's how well they know each other and how intricate they
• 2:16:18
  are. Sort of watch them two films
• 2:16:20
  back-to-back is a beautiful thing because you realize
• 2:16:23
  watching this, how much trust and how much love exists in this
• 2:16:27
  film. Yeah, it's solely as it's so
• 2:16:29
  beautiful. It's just like zooming into a
• 2:16:31
  Rembrandt. That's what it is, and we're
• 2:16:33
  analyzing every brush stroke. You just realize that every
• 2:16:36
  brush stroke makes this work, and then you zoom out from it
• 2:16:38
  and it's a beautiful thing. Again, it's an easy 10.
• 2:16:41
  It's an easy 10. Lovely.
• 2:16:43
  Of course it is so. Of course, yeah, I've said this
• 2:16:46
  word a few Times Now, but this is so unique and I can't quite
• 2:16:49
  believe it exists for a few reasons.
• 2:16:52
  Like, how did McDonough come up with something like this?
• 2:16:54
  Why did a major studio so say yes to something like this?
• 2:16:59
  But I really couldn't be more grateful that those things
• 2:17:01
  happen because it's a standout. Incredible performances by the
• 2:17:04
  four leads, impeccable writing and direction, the setting, the
• 2:17:07
  sadness, the gut punches, the hilarity of it.
• 2:17:10
  I can't get enough of all of that, no matter how it affects
• 2:17:13
  me. Yeah, Every time it finishes,
• 2:17:15
  I'm so tempted to run it back. And that really doesn't happen
• 2:17:18
  that often to me. No it.
• 2:17:19
  Happens all the time to me, I know.
• 2:17:20
  It does. Trying to kill us, Dad.
• 2:17:23
  It's a new experience to me. Happens to me all the time to.
• 2:17:25
  Me all the time. I want to be friends with all of
• 2:17:28
  the cast mad. I'm sure you've got the hook up
• 2:17:30
  for that. Yes, I've gotten.
• 2:17:32
  Take care of that. I will take care of that, Yep.
• 2:17:34
  Hook it up if it's a stick, like the way, yeah.
• 2:17:39
  I mentioned the cadence of the line delivery, particularly from
• 2:17:42
  Condo and Keyogan. I've never known anything like
• 2:17:44
  that. It just strikes a chord with me,
• 2:17:46
  both funny and sad. It's beautiful, lyrical.
• 2:17:49
  It really is. It's lyrical.
• 2:17:51
  It couldn't be further up my alley if it was next door
• 2:17:53
  neighbor. Yeah, it's perfect filmmaking.
• 2:17:56
  It's a perfect 10. Wonderful.
• 2:17:57
  Beautiful. Undoubted.
• 2:17:59
  We said on that episode, because I know you guys haven't
• 2:18:00
  revisited the Cutting Room episode, but we said in the
• 2:18:03
  future, this is the 30, Yeah. I.
• 2:18:06
  Remember, it's now. That now, yeah.
• 2:18:07
  It is now a 30. I'll give it now.
• 2:18:10
  I'll give it 9. I think might give it 9 1/2.
• 2:18:12
  Right. You give it a 10, Luke.
• 2:18:13
  Yeah. And then you said so with the
• 2:18:15
  scores combined in the future, that is 30 out of 30 here.
• 2:18:19
  Here we are. There you go.
• 2:18:21
  Excellent. Nice continuation.
• 2:18:22
  It's worked out. Well, our 4th and final score
• 2:18:25
  for Banshees comes from our Patreon community.
• 2:18:27
  OK, And before I give you their score, I've got some comments.
• 2:18:30
  We mentioned how polarized in the film is, and that is
• 2:18:32
  reflected in certain comments, with at least one person scoring
• 2:18:35
  it one out of 10. Wow, this is going to be
• 2:18:38
  interesting. Interesting.
• 2:18:39
  Come on then. OK so firstly Ryan Douglas, he
• 2:18:42
  said a brilliant film that makes you question morality and
• 2:18:44
  getting old, but also that fear of being forgotten and having no
• 2:18:47
  legacy after we've gone. The Acton is top notch and it's
• 2:18:50
  superbly written, endlessly quotable, never boring.
• 2:18:54
  There goes that dream. 10 out of 10.
• 2:18:55
  Beautiful. Yeah, Matthew Williams said
• 2:18:57
  great acting but I did not really enjoy the story and not
• 2:19:01
  one that I would be in a rush to rewatch.
• 2:19:03
  Unfortunately. Only A7.
• 2:19:05
  OK OK Barry Cotter said pretty cringe worthy stuff.
• 2:19:10
  I'll rewatch after the podcast. Wow.
• 2:19:13
  OK. And finally, a palate cleanser
• 2:19:15
  from Kim Jackson. Simply, she says, like
• 2:19:18
  literature come to life 10. Beautiful noise.
• 2:19:21
  Rely on. Kim Absolutely lovely stuff.
• 2:19:24
  So there's a cross section of comments.
• 2:19:25
  What do you think Banshees averaged out of 10 on Patreon
• 2:19:28
  chat? For it to get A7 and A1, it's
• 2:19:30
  not going to be, it's not going to be up there, is it?
• 2:19:32
  I would say yeah, I'll probably say 8.
• 2:19:35
  I'll go 8. 8 pop it up. Not that disappointing.
• 2:19:38
  It's 9 out of 10. Oh, wonderful, right?
• 2:19:41
  Yes, that's great. So yes, a big 9 out of 10.
• 2:19:44
  And this time 9 isn't the epitome of mental, thankfully.
• 2:19:48
  So that means that combined, Banshees has a score of 39 out
• 2:19:51
  of 40. A huge score justified for us, I
• 2:19:54
  think. Oh yeah, yeah.
• 2:19:55
  Join us again in all the right movies in two weeks.
• 2:19:57
  John, Westie and Matt are judge, jury and executioner as they go,
• 2:20:01
  all the way back to 1957. Sydney Lumet's debut on one of
• 2:20:05
  the greatest films ever made? Yeah, 12 Angry Men.
• 2:20:08
  You'll have your eyeglasses on for that one, I'm sure, fellas.
• 2:20:10
  Oh yeah, yeah. Gonna buy a knife, the knife
• 2:20:12
  before really dramatically into the table.
• 2:20:16
  Yeah, yeah. Our double feature this month is
• 2:20:19
  on 2 modern Post 9/11 classics from Katherine Bigelow, The Hurt
• 2:20:24
  Locker in Zero Dark 30. We had a great time discussing
• 2:20:27
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• 2:20:29
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• 2:20:32
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• 2:20:34
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• 2:20:42
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• 2:20:53
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• 2:20:59
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• 2:21:01
  there. We're all involved as well.
• 2:21:02
  Lovely. Indeed, there's no Rowan.
• 2:21:05
  There's no Rowan, no, our YouTube channel is
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• 2:21:09
  More new videos going up there regularly.
• 2:21:10
  So again, don't forget to check that out.
• 2:21:13
  And our website is All the right movies.com and that is a wrap
• 2:21:17
  everyone within enjoyed some good normal chatting.
• 2:21:20
  Normal chat. Normal chatting.
• 2:21:22
  Normal chat, yeah. And now it's time to go to the
• 2:21:24
  pub for a pint. So.
• 2:21:25
  Yeah, I'll meet you down there, so. 2:00.
• 2:21:29
  More fool me. Thanks for listening everyone.
• 2:21:35
  Come back for 12 Angry Men in Two.
• 2:21:37
  Weeks, thank you so much guys. Take care.