All the right movies.

Now, if I've done something to you, just tell me what I've done to you.

And if I've said something to you, maybe I said something when I was drunk and I've forgotten it.

But I don't think I said something when I was drunk and I've forgotten it.

But if I did, then tell me what it was and I'd say sorry for that too.

Column Tommy Heart.

I'd say sorry, but you didn't say anything to me and you didn't do anything to me.

Well, that's what I was thinking like.

I just don't like you no more.

Friends turn into fours on the island of Anna Sharon as musician Calm serve his ties with his old friend Porrig in an attempt to leave a lasting legacy while keeping his despair at Bear.

Porrig is left bereft, bewildered and spiralled and out of control as his feelings aren't the only thing that take a battery.

Martin Mcdonough's The Banshees of Anna Sharon reunited the in bruised dream team of Colin Farrell Brendan Gleeson with devastating results.

Equal parts hilarious and heartbreaking, it became an awards darling and an instant class music.

My name is Luke and the two fellas with me who obviously don't know what ensconce means are Matt.

I'm not putting me donkey outside when I'm sad, OK?

And Westy.

We can't stand the modelling ones.

Play something dancey, call them to dance to.

All the right movies are in and they're sharing, but we haven't come for licks.

We've come for the opposite of licks.

Hi everyone, and welcome to All the Right Movies.

So podcast on classic and hit films.

That isn't trying to be nice.

We're trying to be accurate, Accurate.

Yes, that's correct, Curate.

I'm nice though.

It's nice.

Oh, well, yeah, I mean, that comes with the territory, though doesn't, of course.

We're telling the story of Hollywood one film at a time, and this is a rare modern release for us.

It's Martin Mcdonough's Magnificent The Banshees of Anna Sharon, a unanimous favorite of ours, and we're all very excited.

Oh, definitely, yeah.

But before we get at you with our small talk, it's that time where we talk about becoming an ATRM patron.

I'm sure you've heard us talking about it before.

Indeed.

What you're listening to is our flagship podcast, a brand new episode of which comes out every two weeks.

Huge deep dives into the biggest films and the most recent 20 episodes are available on all podcast platforms.

Yes.

The rest, over 100 episodes, are in our podcast archive.

Obviously there's bound to be loads of films in there that you like, including an episode of In Bruges.

Yes.

Yes, of course that is accurate.

See.

Well done.

Fit the brief.

Of course, I didn't doubt it for a second.

No, and you can listen to everything in our archive by signing up on Spotify, Apple Podcasts, YouTube, and Patreon.

Also on YouTube and Patreon you can listen to two brand new shows every month, The Watch List where we review new movie releases, and Double Feature, where we talk about films that we wouldn't necessarily get to on this show.

Just yet that's.

Exactly.

Spot on.

There are hundreds of episodes and it's not just two hours of us talking about things we found in our little donkey shite.

No, on Patreon you can also vote for the films that we talk about and ask us questions for the show.

Really become part of our movie community.

And that is patreon.com/all the right movies.

Exactly.

Yeah, go and have a look around guys, see what you think.

There's lots and lots to get into there.

Loads to get into, Yeah.

If you do like us and you can support us, we're like yesterday, today and tomorrow, of course.

Thank you everyone.

So back to the film.

And Matt, this was your choice.

So how many fingers have you got to prove you're not feckin mental?

Five.

That's all I've got left.

That's the epitome of mental.

That is the epitome.

Epitome.

That's right.

Started already.

This is going to be amazing.

How do you want to talk about fan cheese man?

Well, some names of film comes along and it just end as the ATRM lexicon immediately.

Like the amount of times we've referenced this film in other completely unrelated episodes and we just slip in lines of dialogue and moments from it and we end up riffing on this film despite all contemporary it is.

I think that speaks to its impact.

Now obviously we're all huge McDonough fans.

As he said, we've covered in Rouge.

Then he did 3 Billboards after that, but the same reunite with Fowling Gleason.

For this, the anticipation of this was ramped up even more.

But of course with anticipation comes the possibility of disappointment.

But happily, this didn't disappoint at all.

It's as different from Imbruce as he can get, while at the same time being the film that just couldn't have been made by anybody else.

That makes you of dark humor, unexpected emotion, complicated characters in the story where you really have to wrestle with it to get what it's in.

And even then it's all looked interpretation as to what you get out of it.

Absolutely.

Yeah, it's one.

I think we all saw this around the same time, and I'm pretty sure we all had the same thought of this is going on a classic sooner rather than later.

Unanimous.

Yeah.

And Westie, was you ever wild?

Oh, what do you mean?

I'm fucking angry?

Now you've got it is everything I love about cinema.

I think the dialogue is just so quotable.

I think it's just so original.

I think it's just so fresh.

It's just so exciting.

The great thing about McDonough is he never seems to double up on his ideas.

It always seems to be something fresh or you'll go back to 1923 or Real.

Do you go to win Bruges or then you'll go to, you know, Evan Missouri and do something.

But it always feels like him.

It always feels like his kind of interpretation of what's going on.

And it never really feels all hot or predictable.

And I always forget how heartfelt and how emotional it is, how hard hitting it is, how much of A journey it is.

And for anyone to say that nothing happens in this film, I think you're completely missing the point.

Everything about humanity happens in these two hours, and there's a lot to learn from it, a lot of take from it, a lot of underlying themes, incredible performances across the board, incredible direction, incredible soundtrack, incredible cinematography.

Probably spoiling me final rhythm here, to be honest.

Great film, Loved it then, love it now let's get into it.

This one's going to be great.

Yeah, Yeah.

Well, I mean, I can only echo what you fellas have said, really.

It's unlike any film that I've seen, and I think it should be treasured.

Yeah, Martin McDonough, it's such a such a talent.

His storytelling is so far up my alley, and it always draws incredible performances out of his cast.

And him teamed up with Gleason and Farrell.

It's alchemy.

It is.

It really is.

Yeah.

This is no pretension there whatsoever.

It's amazing.

But it's as much about them as it is about Barry Kogan and Curry Condon.

Yeah, they're incredible.

The cadence, specifically of their line delivery, those two performers, it's something that I just, I can't get enough of and I can't quite explain.

It does things to me that I can't quite explain.

No, I know what you mean, Yeah.

It's incredible that a film about two feuding friends, about loneliness and despair and mental illness and mutilation, can be the funniest film I've seen in a decade.

Yeah, easy.

Since In Bruges, probably, it's just beautiful and it's an absolute pleasure coming back to it.

Always will be, yeah.

Written and directed by Martin McDonough, The Banshees of Anna Sharon was produced by Graham Broadband, Peter Chernan and McDonough for Film for Productions and distributed by Searchlight Pictures.

Shot exclusively just off the mainland of Ireland, it stars Colin Farrell as Parrig Sulliwan, Brendan Gleeson as Colin Docherty and they are joined by sublime cast including Curry Condon as Siobhan.

So the one Sheila Flinton as Mrs.

McCormick, Barry Key Organ as Dominic and Gary Leiden as his abusive policeman Father Pader Kearney, a terrible person.

Disgusting.

So fellas, Are you ready for some good normal chatting?

Good normal chatting, Good normal.

Chatting, that's what.

We're head off to the Emerald Isle.

Are you just going down to the pub?

I'll meet you there.

So the beginning.

The film opens on the greenery of an assure and looking down from above before we track Porrig as he makes his way through town.

Matt, you're starting us off.

Yeah, I mean, this pushing through these clouds, big sweet shot the island.

Are we watching Banshees of an issue knows his Father Ted that we've stumbled upon here.

It's like if you're of that age where Father Ted was a big thing, you just cannot get away from the similarity to the credit sequence.

You just need the Divine Comedy playing over the top of this, and you're there.

But then you see Poric, and what a great time he's having already.

Wagner, the pub for his daily

visit, 2:00, waving at everyone he knows.

But it's that failure to get Column out of the house to come

with him, even though it's 2:00 where everything starts to unravel a little bit.

Because when he goes to the pub by himself and John Joe is serving him, is calling out with you, comes out with you.

Have you been Rowan?

He pauses.

Doesn't like we've been Rowan.

Should I try him again?

It's this realization that everything is just so wrapped in a routine, yet no one goes well, maybe he just doesn't fancy you today and leave him alone.

Maybe he'll come out tomorrow.

Everyone has a routine that they have to stick to.

And if they don't stick to it, everyone gets in everyone else's business here, which is part of the problem.

And that's what's crushing the lifeout of column, as we'll discover.

And it's very subtly set up because you think Power Weeks got such a subtle life.

He can leave his pint on the bar.

No one full.

Well, it'll still be there from when it comes back.

Normal tamper with it normal, take it normal powder where?

And that's not necessarily a good sign when your life is that predictable.

Yeah, and it's just take one element, just mess with one element of porridge life, Yeah, and everything falls apart.

And everyone picks up on it.

Yeah, yeah.

You leave at that point on the bar and then he goes to try them again and then, yeah, just has a sip and leaves it.

He's like, well, OK, just just calm down.

Just have have a drink.

So I'll go from after this one.

How you doing?

Nights?

Everything right?

We'll go in, we'll see Calm's house and there's all of these weird kind of puppets hanging around as these masks, obviously.

Has he been travelling or is he just wanting to travel from like all these different parts of the world and it's just this kind of escapism inside of his house where it's very claustrophobic.

When he puts his head up and looks at the where he sleeps, there's just nothing there, just the bed and the dog.

On it and the dog.

And it looks miserable.

It's like, surely you're.

Called, doesn't it?

Yeah, it just.

Looks like the bore in existence.

There's something that he just has to get through and I think that really plugs into the character and I think it's brilliant seeing his home before you say him.

I think it really sets up what you're going to get.

From them, yeah, it's a good point.

Because it does feel like he's, he's got interests and he's, you know, he's a very interesting person with what he's got in his house.

It's not completely playing.

And then he leaves.

Obviously when he puts that mask on, it's great.

But he leaves And he just when he looks through the window and he sees him and he gets that telescope and he's that amazing shot of him just like, and he's like, where are you after?

And he said straight back after him goes back inside his paints there and he's like, sit somewhere else.

It's at this point I always wish I just could see them as friends, like the day before or the week.

Yes.

I.

Really wish I could see them just like, oh, he's just talking about his donkey shite or something and just see how cool, how pissed off columns getting.

I mean, personally I would have just put flashbacks in there, but that's an easy way to get around it.

But I think we've done as brilliant by not doing that.

And you just have to leave it your own imagination, right?

I'll sit somewhere else, sits outside and it's just that confusion from everybody.

Have you been round?

Sounds like being round.

I'm going to.

Find Sounds like we've been round.

I love that Porrig.

He doesn't know if they've been round, but yeah, maybe we have because it does sound like.

Pissed and you can't remember that just that's all they do.

If you just go and you just drink like 8 pints every day, you're not going to remember much.

So I think that's kind of the whole point.

So he's like, look, if I said something when I was drunk, I'm sorry and I'll tell you about because that's just kind of the lifestyle that they've got.

But still, when he's like got his paintings, I want to find out what all this is fucking about.

And then we'll get one of the most heartbreaking.

I mean, there's many heartbreaking moments in the film, but this is definitely the first one that back and forth between them.

You could see the columns.

Absolutely sick.

Porrig's just so confused, doesn't have a clue what's going on.

And it's just that delivery of I just don't like you no more.

And I've counted it, and that's 10 seconds.

Now, 10 seconds on screen is a long time.

And I think Colin Farrell goes through every single emotion he goes through like fear, heartbreak, confusion, but but but you're like yesterday, he's like, he's just trying to reason with it.

And com comes back with did a did a though that I really, and he's trying to question it and it just doesn't quite know what is going on.

We don't know what's going on.

It's an incredible way to introduce this conflict, incredible way to introduce this story.

And it breaks me hard every time.

But that Farrell performance, you just you're looking at that and you're going right.

We are in for something special.

If this is the start, where is this going?

Yeah, exactly.

It's really, really unusual.

Yeah.

And this is the first scene, or well, we start off in the pub, and the pub is a mainstay of this whole narrative planning this episode.

Everything is they're in the pub.

They talk in the pub.

This happens in the pub.

Yep.

So as we're talking about the pub that was purpose built for the film on the site of a beauty spot car park.

But Donna didn't have a permit to dig into the ground so it had to be weighed down to keep it from blowing over.

Locals often stopped by during the three-week shoot and was served drinks by crew members.

Don't believe?

Amazing, love that.

Maybe that's why there's no no drafts or anything like that.

It's all from bottle, isn't?

It Yeah.

And it had to be dismantled after production wrapped.

But it was later bought by a man called Luke me who owned a Bond Kill Karen County Galway and unbeknownst to him, his brother-in-law had actually worked as security on the film and he was given the pub who then passed it to me for free.

Oh, really?

That's nice of him.

Yeah, it is.

So it's called the JJ Divine Public House.

It is in the film.

It opened in Kilcarran a few years back.

The sign in the pub says that they have a ban on cutting fingers and throw on them.

Fair enough.

But anything else goes though that's anything else.

Is that it?

That's the barometer.

And apparently you have a local donkey who stops by for a visit every now.

And then I love that.

And as we're in the pub, this leads us to our first question from an ATR M Patron.

I mentioned at the top that if you want to be part of the show, you can sign up on Patreon, ask us questions for the films that we're covering.

And our first question comes from Oliver Betts.

Hi, Oliver.

Hi, Oliver.

Oliver.

Oliver says.

How do fellas?

How do you?

Does Banshees do for Guinness what Pulp Fiction did for Cheeseburgers?

Which film gave you a craving for a particular food or beverage when watching?

Hope you still like each other after the pod and remain the nicest of them.

We love your work.

Wonderful.

Well, thank you.

Yes, thanks.

Man, an absolute pleasure, Oliver.

Yeah, and you're right, Banshees does make you crave a pint of the black stuff for certain.

Yeah, sure does.

The films that came to mind immediately for me were Sideways, right?

If you're not desperate for a glass of peanut noir after that, you have no salt.

Definitely not a fucking not.

A Malone Definitely not.

Anyone who watches Out of the Past, The noir classic from 1947, will almost certainly be a smoker by the end of it, right?

Yeah.

Roger even called it the greatest smoking movie for good reason.

If you haven't seen a big recommendation.

But you will be addicted to nicotine when the credits roll, right?

Yeah, it should come with a health warning.

It's unbelievable And and Jon Favreau's chef from 2014.

Yes.

Wonderful food looks incredible.

Cubano and grilled cheese sandwiches will never be the same again.

Never the same, yeah.

Incredible stuff.

What about you, Westie?

I mean, there's a few for me.

Cypher steak in the Matrix.

Oh, it's like the very nice.

Ever seen?

Yeah.

It's just absolutely unbelievable.

I'm torn between these two scenes.

In Goodfellas.

It's either the prison scene with this, with the tomato, with the onions and the only two, and just the garlic and slice and that.

I'm like, I just really want that kind of sauce with meatballs.

Or it's Tommy's mom's spaghetti.

I wouldn't just put that much ketchup.

It's delicious.

It's delicious.

I wouldn't be putting that much ketchup on it though.

I mean.

If one goes E, one goes West.

So what?

And I really fancy.

So I just really fancy pasta after that.

I know that's quite cliche, but I mean, it just looks so, so good.

Yeah.

And she knocks that up in record time as well.

Yes.

3:00 AM Yeah.

And the last one, literally anything in any Tarantino movie, if it's food or drink, of course, Inglourious Basterds is that wait for the cream.

You know that that looks unbelievable, but it's true.

It's the pint in Django Unchained.

And he pulls that pint and then just knocks the froth off the top of it.

Oh, it's just the way, Jim, when Jamie Foxx drinks, it's like that.

It looks unbelievable.

That's like the perfect pint of beer in any that that would do for me.

Yeah.

Them three.

Very nice rounding us up, Matt, what have you got?

Yeah, I mean, the first one that came into mind for me was those two pints and Django Unchained as well.

Just yeah, they're in a proper stained glass.

It's a probably good head on.

It looks really, really like thirst quenching.

Another Tarantino one for me though is Mini Stew in the head flares.

Looks like a little.

Nicest thing on a cold air.

I just want a big bowl of that would just stick me head in this.

Any Tarantino stuff or even that dog food looks good in Hollywood?

And then the last one, basically anything that gets made in ratatouille.

I mean, there's obviously the dish at the end, but there's the bit where the the rat squeezes like the loaf of bread and it's just got that crunch to it.

But like proper baguette should have makes me really hungry.

That film as well.

Fantastic.

I love.

Like animation can make you hungry, man.

That's effective, yeah.

He loves animation.

He loves it.

Well, that's a great question.

I'll have a great to get us started off.

Thank you very much.

And.

After those two sequences that we're talking about, we're briefly introduced to Dominic and Mrs.

McCormick before Porridge goes back to the pub on the night time and because of his estrangement from calm me, he's forced to spend time with Dominic and there are two elements to this segment that I want to talk about.

The first ones in the pub column, Megan wonderful music.

As Porridge enters, John Joe says that all the ladies love column.

They always did.

And parrots is yeah, that's not true.

Like a child.

And then Dominic comes in and we can see how much of a nightmare he is on account of him being barred from the pub till April.

But it's April now, so he's in.

He's got to leave the stick outside though.

Then the two take a table in the corner.

Dominic wants to get the women with his small talk.

It's hilarious when Porridge says he's happy enough where he is and Dominic says are you happy enough?

Yeah, but he's got Anthony's pants.

He can't stay still wriggling about all over the place and he can't stand them all in once his his behaviour is unacceptable.

In the middle of his song.

Play something dancy column to dance to and not have that more whining Dick.

How offensive.

Really offensive.

And I love it when Parrig tells him that Khan doesn't want to be his friend and Dominic just gets to the heart of the whole story and says something really sarcastic but really quite telling.

What is he, 12?

Brilliant.

His delivery is amazing.

All this silly schoolboy games, acting like a fool of a Moody school child.

Grow up, stop being a baby, love it.

Then there's that moment where they go to Dominic's house and steal the poaching from his dad, who's completely Billy Bollocks in the chair.

Horrible.

Horrible sight.

Horrible, but we'll draw a veil over that.

Yeah, discreet.

And when they're sitting outside drinking, Dominic's against wars and soap, he says.

Which is.

And.

He thinks that he and Parag are good at chat.

We're good at chatting, but this is all an in to get talking about Siobhan Porrick's sister.

It is, yeah.

Does she like to chat some of the dialogues?

Pride when Porrick says not as much as most women but she'll chat like as most women.

Where did he get his research from?

She's more more into reading and this blows Dominic away.

Reading.

Fucking hell, how am I going to have to contend with this that it all spirals out of control when he starts asking about seeing her with clothes on?

I mean, she's talking about a brother and sister here.

It's outrageous.

It's funny, but they're really disturbing.

Not even as a child.

Oh, DMA, horrible.

But in isolation, it's really weird and out there.

But it's a peek into Dominic's world considering his dad's despicable behavior that we'll find out later.

Something really tragic about that.

Yeah.

Yeah.

It's like he's trying to erase his own childhood in his mind and trying to replace it with something else.

Yeah.

Which is really tragic.

And I think the introduction of that character as well.

There's that line of dialogue which everybody misses and it's so clever.

And he's got that stick and that's the stick that basically fishes his body out of the water at the end that's so significant that he finds that and he said, well, what do you use it for?

Who can something that's the length of a stick away?

Which turns out to be him.

Which turns out to be him.

Yeah, but just that lines hook something that's a stick, like length of the stick away.

It's like, what's the length of a stick?

What are you talking about?

It's amazing.

It's so good.

There's just no intellect whatsoever.

He's just so keen.

He's really keen.

Yeah, but the part of Dominic was written for by Ricky Hogan.

McDonough hadn't worked with him in the past, but loved his work in films like The Killing of the Sacred Deer and Black 47.

He said that Kyogan brought integrity and depth to the part beyond simple Comic Relief or stereotype.

Nice.

When McDonough came knocking, Coogan said yes before he read the script, which anyone would.

I think Now he said anything that Martin McDonough does, I'd sign up to it.

Of course he's got that reputation.

Yeah, definitely now, yeah.

But only four days before filming, Kyogan was hospitalized with a flesh eaten disease.

Wow, he was even close to amputation.

McDonough visited him and later said he seemed to shrug it off.

We were only about four days from shooting and his arm was all puffed up.

But he was like, yeah, I'm going to be fine.

I'll see you on Tuesday.

Right.

It's just like Dominic, really.

That'll be fine.

That'll be fine.

It's flesh eating fat, kiddo.

But he's got a scar that goes all the way up his arm as a result of the disease.

A little serious stuff.

Yeah, right.

So an introduction to the weird and wonderful goings on in a Sharon and the unusual characters that live there.

Yeah.

The next day, Porg thinks he's got it cracked.

It was able fool's day yesterday.

More fool him.

Oh yeah.

That look on his face, he's like.

He got me good.

Parrig goes about his business as if nothing happens the next day and here he is pursuing calm again.

He goes to his house, then follows the pub.

But column is going to be an Egypt again today of.

Course.

Great.

When Parrig says there are better things that he could do with his time than calling for him, Con says yeah, Like what, Parrig?

In the least convincing tone you've ever heard in your life.

Combs like reading.

Yeah.

Not convinced.

Not convinced column showcases his new song and Parrig takes his pain outside because a shite tune anyways.

I wouldn't bother with it.

Yeah, really it.

Yeah.

But he would get more reasoning from Calm about his behavior.

He's got an enormous sense of time slipping away and doesn't have any time for aimless or good normal chatting.

And that can kind of understand where Calm is going here to be honest.

Two hours about talking about things he find in his ponies.

Shit.

I mean Can you imagine the detail he went into?

However, he says I timed it.

Why would you timed it?

He's got nothing else to do because he's not listening, is he?

I think they should do it like a sequel where it's just that for two hours.

Like my dinner with Andrea?

Yeah.

Exactly like my dinner with Andrea.

The batches of inner shitting.

And there's a beautiful shot when Column leaves him outside, he comes inside, goes back in the pub, he sits down at the table and porridge framed in the window, metaphorically and literally left out in the cold.

Yes, it's done in one of a million different beautiful compositions in the film.

That's so many, yeah.

And then following this, everyone's going to church, and Horrick and Siobhan see Dominic outside the church, and obviously his father's found out about the stolen abuse, and he's given him quite a few licks.

And obviously this is horrendous abuse and it's awful and it ends awfully.

But this scene, it also highlights Mcdonough's skill in getting a laugh out of the bleakest situations.

Because Porrick asked him, you know, what on earth was your father hitting you with?

Well, kettle was the final thing.

I wouldn't mind it, but for the spout, which, God, that's awful.

Yet somehow McDonough spins out into something you do kind of laugh at.

Yeah.

And then you're into the church and we see calm.

He's in the confession with the priest.

I mean, first of all, I think it's quite distracting just how much this priest looks like grew from Despicable Me.

That's right, you've.

Got a really pointy doors ball really looks like grew he.

Really does, yeah.

It was really distracting at first, but it becomes this wonderful back and forth between them because the priest asks, you know, how's the despair, which is a bit more of an insight and what column has gone through from his perspective because he's obviously spoken about it before.

It's obviously on his mind.

You think, oh, this is going to be quite a heart, heart between these two.

But then like the scene outside with Dominic McDonough flips this into comedy.

And I think outside of the titles which we've talked about, this is the scene that's more like an episode of Father Ted because this becomes ludicrous, this confession between them.

You know, pouring asked me to, you know, have a word.

Is pouring the one you having the impure thoughts about?

No.

Do you have impure thoughts about man?

Father, I do not have impure thoughts about men.

How dare you say that about a man of the cloth?

Well.

You started it.

So it's just another like senses argument coming out of nowhere and it escalates and it escalates until, you know, the priest says he's not going to forgive him until next time, which case comes as well.

If I die before then, I'm going to be pure fucked, won't I?

And the priest says you will be pure fucked.

And then he storms.

Out will be beautiful.

Absolutely losing.

And then it's where he just jabs his finger at the next person for confession.

Like you in now, you, your turn.

No, I'm not going in there.

Something else going first.

So Lords laughs in amongst all the blakeness which is just pure McDonough.

Yeah, brilliant.

So from there, and I think that confession is a little bit of a motivator for calm.

They just say, well, as anybody listening and Poro's gone too far getting this priest involved now he's super involved now it's like really incrungent on his life and he just needs to take it seriously.

So he gets to the pub and he tries to make things a little bit clearer.

So I'm going to, I've got some cheers at home.

Every time you bother me from now on, I'm going to cut off one of my fingers and give it to you.

That point in the film, I just, I think that's an incredible twist.

Yeah, that's that's insane.

It's a big flex, isn't it?

It's just like.

Wolf.

And it just spins you and you go actually, yeah, I totally believe this guy.

I totally believe that he's going to do this and I'm going to actually see it.

And I know I'm going to see it because Pollock's not going to stop and he just keeps going.

He's.

Does that make it clearer for you?

Not really, no.

Oh, really?

No.

Why your fingers?

The first protocol, absolutely great back and forth between them.

He's really kind of reinforcing the narrative now about where this is going to go in the seriousness of it.

And I love the way he just holds up the four fingers and then finger on lips.

He's just like.

Love it.

From now, OK and poor it goes to start again and everyone else gets involved.

Sure, she's like poor.

I think seriously, everyone else gets it apart from him.

And he's saying I can't compute this whatsoever.

This is just absolutely insane because he knows if he loses column from his life, he loses a lot because he depended on him.

And that friendship was something that was really, really important to him and something that was seems to be very one sided.

Column wasn't getting a lot from it, but poor it was.

And again, this is lovely.

Underlife throughout the whole film is calm, doing this on purpose to make power of more focused and more motivated to go and do something else to say, look, you haven't got any friends here, Go, go with your own.

Go somewhere else, make something of your life because I've wasted mine.

Is this the only way he can get to him?

And I think this scene kind of reinforces that of what he's prepared to do.

He's prepared to sacrifice his dream of writing this song and playing that fiddle to motivate Porrig.

Is that the case?

Is that what it's about?

It's one of the underlying themes, and I think it's fantastic to explore.

But then you get this line, the talk about how dull he is.

Who's talking about that?

And he's like, well, hey, what I heard of, what do you want to expect us to do?

And it's all just this back and forth.

But he says, you're one of the nice guys, You're one of the good guys.

I used to think that would be a nice thing to be 1 of life's good guys.

And now it sounds like the worst thing I've ever heard.

Yeah.

That is astonishing because you're just trying to be something and someone turns around your absolute belief system and says, yeah, you're a good guy, but that's that's that's all you've got going for you.

And that's all he wants to be.

And he thought that was enough, and now it's not Heartbreaking stuff.

It is.

But incredible writing, incredible acting, incredible team.

Yeah, that dynamic between John, Joe and Jerry behind the bar and finishing each other's sentences and just repeating the same thing over and over again.

If I cut something off my body, for every dull person that came in here, I'd only have my head left.

Which means you'd have to cut your head off.

So at what point does that make any sense?

It's amazing.

I don't want to have me.

So not just the visuals, as Matt mentioned earlier on about the opening credits, but Banshees has got a link to popular 90s Irish comedy Father Ted.

Pat Short and John Kenny play a pub landlord Giorgio Devine and pub regular Jerry respectively, who've just been talking about.

They're both absolutely fantastic entire the scenes together.

So these two actors also appeared in Father Ted.

Amazing.

They started out as a comedy duo and you can kind of see that.

Right.

Yeah, yeah, the jewel's name was the Unbelievables.

Love it.

So Cole has drawn a line in the sand.

One more word and it's snip snip.

Indeed, the director.

We're returning back to Martin McDonough as director after we discussed his work on our In Bruges podcast.

He takes his sweet, sweet time when making a film.

But it was all worth it, right Westie?

Absolutely worth it.

Yeah.

He's just a fantastic director.

There's just no pretension with him.

He does kind of what he wants to do, but at the same time he doesn't belittle an audience.

He entertains.

He kind of keeps things fresh.

He keeps things exciting.

He works with actors who we think we've seen it all from them, and we'll see more.

Barry Kogan, you to score?

Yeah, he's fantastic in Killing of a Sacred Deer, but where else do you go?

And never saw this coming from a mile off.

Just incredible work.

And he's just got patience.

I think that's what I get from his work.

It is very theatrical.

I think he shot choices are incredible.

I think especially this, to have these, like, sweeping vistas.

And a lot of it is postcard esque.

A lot of the lens choices are quite wide.

Everything's a landscape.

But I just think he's just got such patience and such humor.

And that is really, really refreshing.

And yeah, it can be dour and it can be and it is.

I mean, if you think about this story on the page is incredibly, incredibly depressing.

It's like Constantine script if you just kind of look at it that way.

It's just honestly one thing after the other.

But you still feel uplifted by the end of this.

And I think that's that's down to McDonough and I think that's down to his outlook.

And it's very refreshing and very honest.

And I think that's why because he makes it very human and he is a very honest filmmaker.

And I don't think there's many of them left.

And sometimes he goes a little bit too far with his dialogue.

And sometimes you go that was just kind of on the line.

But it's his characters that he writes that dialogue for.

It's not for him.

It's to betray the character really.

Well, yes.

And I think that's what he does.

He stays true to his characters.

If they're going to say something, then he sticks with it.

If they're going to see something then sort of way.

And at the same time, he doesn't make it shocking.

He doesn't do on purpose, so I'm really excited to see what he's going to do next because what he's done with this is astonishing.

This film should either be incredibly miserable or incredibly boring, and it's neither of those things.

It really is, yeah.

I mean, he doesn't shy away from the darkness of humanity, does he?

No, as we said, you know, he's the writer on this film, so he'll have had it in his mind for years how these lines were going to be delivered.

But for me, it's often what's not said during dialogue scenes that hit the hardest.

Like you said at the top, Westie, he's got the courage to hold the static, locked off shots on a tripod of of Column Farrell's faces.

He processes that information that column has just told him about not liking him anymore.

And it's the flickering in his eyes, the furrow one of his brow in the silence for a roundabout like you said was a 10 seconds.

Exactly 10 seconds, yeah.

And it's absolutely gripping.

Yeah, this isn't the only time he does that, either.

He does the same thing with Chiffon when she gets increasingly more exasperated at Barrick's choices and comments.

Do you think, Do I think?

And it's Dominic's reaction when Siobhan lets him down gently by the side of the lake.

Silence, which just speaks 1000 words.

It's devastating.

It's.

Unbelievable.

And I think he just breathes air into these moments by giving them their space that they really, really need.

Yeah.

And secondly, it's his use of the landscape.

It opens up, and it's beautiful from up above.

Who wouldn't want to live there?

But as the film progresses, there's a wonderful juxtaposition between how it looks from afar and the reality of carrying out your entire existence on this remote place.

Yeah, yeah, it's beautiful, but it's bleak.

Rule, rule and remote.

There's an irony in the column is desperate to leave a lasting impression on the world, but he still chooses a place that limits his reach and inspiration.

That's where he's chosen to live.

It doesn't necessarily encourage creativity, by the looks of things, something that he's desperately striving for.

And to reinforce that, Siobhan chooses to move to a place where war is raging rather than stay where she's been all her life.

Yeah, yeah, yeah.

And I think that's just classic McDonough beauty and bleakness.

Living seamlessly side by side, he sees the strangeness and soulfulness of his subjects and creates this incredible world for them to live in.

He's fast becoming my favorite one of my favorite film makers.

Oh yeah, yeah, yeah.

I mean, same.

I cannot wait to see what's next.

Yeah.

No, I'm very excited, Yeah.

And in the Sharon isn't actually a real place.

It's a fictional island, which McDonough created and he explained.

I didn't want it to be specifically one place, I wanted it to be more mythical.

So they ended up scalping the Aaron Islands.

And he said that Inishma ticks most of the boxes.

Yeah, it's the biggest of the Iron Islands, and it's flat terrain was perfect for key scenes in the film.

Like Oregon Chauvelins Cottage.

Yeah.

Yeah, the house was built from scratch and employed local stone Masons to build it.

Incredible.

At around 100 miles north is Akl Island, which is more rugged and an old whaling cottage was converted for Combs House.

Of that, a shell was built around the entire building so they could burn it down for the scene at the end, but still protect the original structure.

Incredible.

Yeah, Apparently the owner of the house was nervous.

I wouldn't.

Be worried about that.

Yeah, just just about to say no.

We'll just build something around it.

Really.

Right.

No, that's not.

That's not how fire works.

But your thoughts on McDonough as director?

I mean, first and foremost, he always feels like a writer first I think.

But the reason he obviously direct his own material is obviously you understand it more than anyone else will in terms.

Of nobody can.

Nobody can because there's such a tonal balance.

He's got 1/2 here, and that's one of his trademarks, very specific brand of humor, the story where you can peel back layer after layer, but at the same night, if you don't appeal those layers back, you can still enjoy it just as much.

Just as a comedy with elements of tragedy.

So it needs that delicacy of church that he has.

And at the same time, with this one, he knows what he's doing by casting Firewall and Gleason.

Again, he knows there'll be an expectation on that custom because of what they were like and In Rouge together.

But he plays on that by giving them a completely different relationship.

And that works just fine if this is your first McDonough film.

But if you bring the baggage of In Bruce with you, it adds another element to it.

And he knows that.

You know, it could be so tender for a lesser film maker to just score.

Well, I'll do In Rouge, too.

You know, a lot of them, you know, hit men again.

But he doesn't.

And with his theatrical background, this could so easily translate to the stage and it would be amazing.

But at the same time, it doesn't feel stagy.

It still feels cinematic.

I mean, obviously, the seven helps.

We'll talk about what Ben Davis brings as DP.

But they all serve in his vision.

And he definitely has a distinctive vision for this material.

So even if it's not necessarily, like, hitting you over the head on a visual or technical level, he knows exactly what he wants.

He knows how to put it on screen, he knows how to blend taunts.

He really knows how to direct actors.

I imagine if you're an actor, he's at the top of your list of people you want to work with, without doubt, because he just gets magic on screen.

And what you end up with, it's just undiluted Martin McDonough.

And that's a wonderful thing indeed.

It certainly is.

Certainly is.

He made his name as a theatre director, as you said, Matt, making his move to features with Imprusion 2008, also starring Gleason and Farrell.

I'm sure you all are aware of that.

They were always his first choice for Banshees and with them in place, he got financial back and quite quickly from Film Four and Searchlight Pictures.

Yeah, he said in a matter of weeks we had it all set up to go once that screenplay was finalized.

Amazing.

And production for the film was due to start in early 2020, but was delayed for over a year after COVID hit and everything came to a halt.

But he did use this time productively by working with DP Ben Davis and his production designer Mark Tildesley.

They worked together for a year to create detailed storyboards and extensively scattered locations, McDonough said.

It's almost like the ideal way to make a film.

Planned it out all year and then delayed for a year.

Yeah, yeah.

Effect.

Yeah.

And despite it being a unique vision, McDonough went back to the classics for inspiration for this film.

Films like The Searches, Night of the Hunter, Terrence Molix, Days of Heaven, and More Modern and one of my very, very favorites, The Assassination of Jesse James by the Coward Robert Ford were all drawn upon.

Yes, indeed, Yeah.

You can see that even just kind of like thematically and feel those kind of films in the in the DNA of this.

It's got a very it's very much that tone to it.

Yeah, and that iconic shot of John Wayne framed in the doorway at the end of the searches, with the Monument Valley backdrop behind him that inspired Mark Tilesley to build Paul Wiggins house at a certain angle in this was to maximize the splendor of the landscape of the island.

That shots in the end as well, much of only as well.

It's not the end, but the end of the their relationship.

I guess in teams framed and the end of a lot of things, yeah.

Is there any silhouetted shot in a doorway that is not the searchers?

No, don't think so.

Completely owned by John Ford, that shot.

Isn't it incredible?

It was imperative for consistency that all shooting locations were on these two islands in Ishmore and Echo, as interior and exterior should to use extensively from scene to scene.

Interiors couldn't be shot on a set in London or somewhere like that.

Yeah.

So for example, the pub has to be a real location for them to have those exterior shots of the characters talking outside the pub and coming into the pub and vice versa.

Or when Com throws his fingers that it always actually thrown them at a real location.

And I think that just gives a heightened sense of place, doesn't it?

It does, yeah.

An identity and authenticity.

I think them two things are very important.

Very much so a one off film from a one off director.

Beautifully understated stuff from McDonough, which may well turn out to be his masterpiece.

It's definitely.

Going to be up there the.

Cast.

As explained, the Pharaoh Gleason dream team was always what McDonough had in mind for Banshees.

Haven't worked with him on In Bruges.

The two actors are firm friends, and before shooting began, they each asked the other one if they should keep some distance to maintain the friction between porridge and column.

The response from both was an overwhelming.

No, we don't need to do that.

That's what they said.

We don't need to do that.

No, no, wonderful.

We're talking about the two of those guys and the incredible Curry Condon in the cast, starting off with Matt's cousin twice removed.

Is that right, Matt?

Pretty much, yeah.

That's how it is.

OK, Wesley.

Colin Barrow.

Yeah, you just made me sound like Matt's cousin twice removed, but that's fine.

Are you not?

Matt's cousin twice removed.

Wesley, do you want to talk about Colin Barrow?

I'd love to, yeah.

He's just the heart and soul of this film, I think.

Or it doesn't work.

The film doesn't work.

I think you need a starting point.

You've you've got incredible performances and you've got incredible characters, but you need one character that kind of lead the audience through it.

And that is Colin Farrell's performance in this, and he knows it.

But at the same time, it's so refreshing because I feel like he's playing catch up with everybody else.

I don't feel like he's the lead in this and I don't feel like he wants to be.

There's so much room that he's given everybody else to work with that it just feels so selfless.

It just feels like an ensemble piece where he is the main character, but he is so selfless in his performance and he's so childlike and so innocent and so lovely and so nice.

But there's that arc where he starts off with a rainbow behind him but ends with a thunderstorm.

You know what I mean?

That's that's, that's his arc.

And he's horrible at the end.

It's really horrible.

Completely.

I'm really sorry about your donkey.

I don't give a fuck.

Yeah, love that.

McDonough, as well, knows how to use Colin Farrell better than any other director I've seen.

Yeah, and he really, really does.

He can pull outline deliveries in this and In Bruges.

I can't see him doing that in any other film.

There's so much importance.

I think that everybody is putting on this material and it has to start somewhere and it starts with Colin Farrell.

It's really is devastating to see him go through that arc of stripping away all of the good guy, one of life's good guys, and that's all taken away by the end.

An astonishing performance.

I'd watch him in anything because of this, yeah.

Absolutely.

Yeah.

During filming, Barry Gorgon and Colin Farrell room together at a cottage on Anish More.

Farrell did the rounds talking about this when he found the film was released on different talk shows and still.

Yeah, he.

Said you'd come home in the morning, then it was like a raccoon, he said.

It was like a piss take with empty milk cartoons turned upside down, dripping off the kitchen bench.

Amazing.

I can fully understand that with Kyogan you can believe that.

Obviously not house trained.

No, not at all.

What's the matter?

Call it happy?

Are you?

You're.

Mop whining.

You're a miserable host, people.

There's a miserable house.

Men, we've mentioned Jenny and you have an Wilson fowl of working with them, but the feeling wasn't necessarily reciprocated.

He said that all had to go at me at some point.

He needed a tetanus shot after most the dog bit him.

His car nearly got reversed off a Cliff into the Atlantic by many the horse and Jenny, his beloved donkey kicked him in the knee when he stroked a nose.

Front kick as well from a donkey when it's.

Get off.

Bruce Lee.

Farrell said it was her first film, which she acted like it was her 100th.

But that was my fault.

I got too close to her.

Pretentious donkey.

Jenny used cast after McDonough picked her out from a parade of miniature donkeys.

He said that she stood out because her eyes were perfectly awful.

Like she's got eyeliner on.

Nice.

Amazing.

Coincidentally, she's called Jenny in the original script.

The donkey's name was actually Jenny, and Jenny is the official name given to a female donkey.

Oh, right.

OK.

Which speaks volumes about Porrig's imagination that he's just chosen the word Jenny for a She's a Jenny.

Let's just call her Jenny.

There.

Yeah, that's fine.

Let's do that.

Like called his gord Billy.

Well, it's Billy Gordon, so.

Yeah, yeah.

She wasn't trained and didn't respond to direction of but to Donkey, but just go up that mountain, come down, that's about it.

So scenes were shot as dictated by Jenny.

She would get up mid scene and just wander around, meaning that Condom and Farrell had to respond to this for the scene and change the performances accordingly.

That's great because it is just trotting around sniffing the table and stuff like that and Condom just kind of acts around it, yeah.

But you can see some of that's actually in the film, yeah.

You can to help Jenny.

She was accompanied by an emotional support donkey called Rosie.

Rosie was always on set, just our camera for Jenny's scenes.

The attention paid to Jenny even continued in a post production when a lot of care and time was put into choosing the sound of the bell around her neck to signify her presence as she moves.

Looked on and said that they went through a lot of shit bells before making the final choice.

It's a shit bell.

Jeddy's movie career was a one and done.

McDonough appeared to send her to a donkey pasture in Ireland, he said.

We all fell in love with her and it was the least we could do.

We just didn't wanted to do any more shit films.

Amazing, lovely ending.

One and done.

And if the other animals Minnie the horse was cast after a local gave Mark Tilsey A lifting his cart, which was pulled by Minnie until he sent a picture to McDonough, who cast the horse immediately as a Porrick's trusty steed.

And most the dog was a border collie owned by Rita Maloney.

The donkey handler is actually her dog.

And most the dog is one of the most beautiful dogs I've ever seen.

Lovely.

And Gleason said that dog was very well trained, while Farrell Farrell said that the donkey had never had a day's training in its life.

Spent all of our time on the dog.

That's great and an incredible performance by Colin Farrell, a career high here for certain.

I think so.

He's amazing.

The Ying to Podrig's Yang.

Well, at least he was yesterday.

It is Brendan Gleeson as Colin Doherty now.

Such a conundrum, The character of calm.

We know nothing of his past, so all we've got to go on is his present and his future.

And they both look pretty bleak.

Yeah.

Yeah.

He's considering his mortality.

He's wrestling with severe depression and despair.

Maybe he's made-up this whole tortured artist thing in an effort to stave off the depression.

He says as much later on in the film as well, doesn't he?

He maybe doesn't want to come to terms with the fact that he isn't all that he thinks that he is.

I mean, he's effectively putting himself in the same bracket as Mozart, for goodness sake.

I don't think he'd be on this island if he was as good as he makes out to be, no.

No.

You know, maybe that's the reason why he's resorted to mutilating himself as an excuse for him not fulfilling his perceived potential as a musician.

And I think that's just beautiful writing by McDonough because it can be interpreted a number of different ways.

That's the way I see it.

People listening may have different opinions.

You may have different opinions.

But that's what's great about his writing and his character, and that wrestling with conscience and will weary despair is perfectly judged by Gleason.

A lot of his performances, in his reactions and in his eyes, which feel like they're an endless well of sadness, Yeah, I think he's judged this character just right.

And I do think it's such a shame that Colin can't see the wood for the trees here, because Pollock is a good man and he would back come to the hilt to his dying day.

But he can't see it because he's got such highfalutin aspirations for himself.

But there are flickers when he sees the reason why he was friends with Porrig in the first place.

But you can see is that is happiest when he's playing music and when he's in the pub and when he's talking to other people.

He looks genuinely happy.

Even though the the feller is an absolute prick.

He's genuinely happy speaking to the policeman because he's got a world view, he's got experiences seeing things or it doesn't have any of that.

Yeah, again, it's a film full of contradictions.

Most things have Shades of Grey and Gleason displays those shades in columns so beautifully here.

I think Farrell gets all the plaudits and rightly saw, but Gleason is understanding, understated and fantastic here.

Yeah.

Oh.

Totally understated, Yeah.

Perfect.

Yeah.

On the self mutilation motif, MacDonald told Gleason that it's quite common for writers to have nightmares about their hands being incapable of writing.

It's a fear of losing something that allows us to express ourselves the most, Gleason said.

So I think my rationale was that Calm had made a commitment to risk everything in order to facilitate this space that he felt he needed to create properly.

Right.

And Gleason defended Columns actions in the film, he said.

I really do feel he was in the pits of despair.

I don't think he's an unkind person of nature.

I think he's drowning.

Yeah, maybe the mutilation is a substitute for suicide, or a precursor to it.

Very possibly.

Yep, and Gleason not only plays the fiddle first character, he plays it for real too.

He insisted on playing all of Columns music himself and took an active part in composing the tunes his character plays.

The shite new song that column plays, The Poric, was also composed by Gleason.

He suggested to compose a cart of Burwell, that they both come up with a song and the best one would win.

But Burwell didn't end up submitting a song.

He wanted Gleason to have creative control over his character.

Yeah, and Gleason had to compose and perform the song playing with only three fingers after calm self mutilation.

Gleason wore green finger prosthetics during filming so VFX could be completed and post and remove it.

You wouldn't think a film like this needs visual effect, no?

No.

You think you just cut your finger off?

Yeah.

Really committed to it, yeah.

Yeah.

Really.

Method The actors went through a two week rehearsal period before filming started.

Gleeson and Farrell developed detailed back stories about their characters, friendship, formation and Curry.

Condon work with them on a back story about their parents drowning in a lake, one of suicide and one drowned in trying to save the other one.

Right.

That same was film, but ultimately cut, though the psychological depth that provided remains in the actors work for certain.

Yeah, yeah, yeah.

So another high watermark and an A standing career from Ben Gleason who completes one of Modern Cinemas great double acts with Corin Farrow.

Yes, indeed.

Finally, another spellbinding performance from an actress who we haven't talked about on the podcast so far.

Hope get to again in the future very soon.

Over to you, Matt.

Carrie Condon, Siobhan Sullivan.

Carrie Condon, man, we had a little bacon recording W, he said.

Like my life would be complete if she turned up at my door.

And it's the truest thing W he's ever said in his life.

I said I was Every time I watch outside that that is Matt's perfect woman.

Yeah.

Harry Condon in this life, she knocked on your door.

You just wouldn't even speak to us anymore.

No, you never even meet again.

Hang up the podcast boots.

Matt's gone.

He's absolute perfect woman.

In this film though, I mean, she's incredible.

I think Siobhan, she might be the most tragic character in the film because she is so much better than anyone else on this island and there's so much more to offer than anything that Ireland can offer her in return.

Like that scene where Parag is going out of the pub and she's reading and he asks her how the book is and she just goes sad sad in his replies.

Well maybe not read the sad one.

OK so you'll get sad and you just think you're completely missing the point.

Like she's got an emotional depth and an artistic understanding which is completely lost some power because he only thinks in binary.

Happy is better than sad, so don't be sad.

Well, happy might be better than sad, but Chiffon still understands sadness has a place, and you're not a complete person if you can't feel both emotions.

That's why she says, do you never get lonely?

Paul Rig.

And he doesn't because all he needs is his little routine of going to the pub at 2:00 every day with column.

But she needs so much more than that.

And it's really starting to like, manifest itself, like the expression on the face from Paul.

Rick says, oh, you should come to the pub for Sherry because back then she'd have to be invited.

And she's delighted this little small.

She's overjoyed, overjoyed by this little small offer to get out of the house.

And that just tells you how little her life has been fulfilled here.

And one of the great ironies of the film is she understands art probably more than column does, but she doesn't complain about it.

She actually does something about it.

She gets out of in the sharing and makes something of a life.

And it's the one great victory the film has, the one happy ending.

She gets off the island and makes something of a life.

And you feel really sad for Paul Rick.

That's just gone.

Be delighted her at the same time.

Yeah.

Yeah.

And we're not even touching on how funny she is in this as well though, like when Paula tries to catch her out by asking to see the dimmest man on the island after Dominic and then he claims he's as clever sense she just mudders and rebirth.

Yeah, don't be fucking stupid.

Hilarious.

Most of the scenes with Dominic.

I mean, I'll talk about a couple of them.

Absolutely hilarious as well.

The back and forth they've got going.

So the summer step to this character and I think Condon brings every little bit in nuance out of it.

A complete scene stealer of a performance.

The one bit of light on the island for anyone.

And in terms of female performances, this would easily be my top five if like the last 10 years.

Yeah, it's definitely up there.

Like her.

When she goes in and confronts Colin, all this starts.

Yeah.

You can't just stop being friends with a fella.

Yeah.

Is that why?

Because it's not nice.

It's just brilliant.

Do you want to share his Siobhan?

No, no, twice says that.

Twice, OK.

She is the heartbeat of this film.

She's just a magnificent performance, exasperation, really funny.

Every time she comes in the house and the donkeys in there, it's hilarious.

Yeah.

Oh, for God's sake.

She had been a regular collaborator and friend of McDonough since 2001, when she made her debut at 17 years old and the first production of his stage player, the Lieutenant of Inish More.

And they were having dinner when he was revisiting his Banshee script because he'd abandoned it for a few years.

But she encouraged him to persevere with her because she had a love for his Irish players.

McDonough wrote the role of Siobhan specifically for Condon, he said.

I'd always wanted to write something that would allow her to show just how brilliant she is.

Yeah, and boy does he do it.

Yeah, it's what he does, yeah.

Condon also appeared in a 2009 production of Mcdonough's player The Cripple of Finishment.

This means that she's the only person to have started in Mcdonough's so-called Aaron Islands trilogy, named after the real Aaron Islands Inishmore, Inishman and Inishi.

Oh, OK.

Right.

Nice grip, brilliant.

I mean, we're running out of superlatives already about this film, but it's an incredible cast.

Not forgetting Barry Kyog and his Dominic, another one who was first choice for.

I mean, imagine having if all four of your first choice actors to play doesn't.

Get better.

Doesn't get better.

Yeah, one of the best 4 lead performances in modern cinema for me.

Incredible performances completely.

Agreeable.

Yeah.

Before we continue with Banshees, just want to give a quick shout out to comic book legend Rob Liefeld and his podcast Robs Evasions with Rob Liefeld.

Now if you're into comic books at all, you'll know Rob's work.

Of course, the man Co created Deadpool for goodness sake.

But beyond being a legend in the industry, he's also a genuinely wonderful man.

We've connected with him online recently and he gave us a glorious shout out on his podcast, so we want to return the favour.

We particularly love your attempt at our accents, Rob.

Hilarious stuff.

What makes Robservations so good is that Rob pulls the curtain back on the entire comic book industry.

He discusses the history of comics from someone who is actually there on the front lines, creating some of the most iconic characters and storylines of the past few decades.

There's a lot of love for the show because Rob explains so much about how the comic book industry actually works.

Like the creative process, the business side of things, the stories behind the stories.

If you've ever wondered what it's really like inside that world, then this is definitely the podcast for you.

So go check out Observations with Rob Liefeld wherever you get your podcasts.

Tell him the ATRM crew sent you.

The middle.

With Dominic left without a home, he's graciously invited to Porygon Siobhan's but does nothing to show his gratitude.

No.

Over to you, Matt.

I mean this super St.

This is a not perfect comic performance from Kiogan.

He blows the roof off the scene because he starts off ranting about column B Morpie just calling him a fat ginger man is one of the most childless insults you can have, but it's so funny.

Column Dougherty and his fat, feckin fingers.

All the blubber on them and Siobhan has already had enough of his shit already and tells him to start eating with his mouth close and his response?

Where are we France like decks?

Me every.

Time that might might be the funniest sign in the film because that's his go to reference for Eden with your mouth closed.

The French is it.

And then really.

Posh.

Really posh.

Well, he France.

Oh, it's so funny.

And then he's still ranting about column but pour it and Siobhan are just not in the mood for it.

So he goes, Jesus is a depressing house.

And then Siobhan responds.

Would you prefer you once?

Or I've heard it's a barrel of feckin laughs like she's slow.

Yes, at this point.

And then his response, well, touché.

And it's when he has to explain or what touché means to Poric, because you get this amazing reaction shot from Javon where she looks from Dominic to Poric as if to say, Oh my God, if even Dominic has to explain French to him, the most basic French phrase, maybe he is the dimmest man on the island.

Yeah, if Dominic knows this and he doesn't.

Yeah, all of that with no dialogue.

No dialogue.

It's just that one incredible.

Just that one from you.

Like oh God.

Yeah, exactly.

And it's weird, like Dominic gets that from in the 1st place, which is heartbreaking.

Yeah.

Yeah, there's a deleted scene from the film, which is horrific.

His dad says it to him in a scene where he says that Dominic cried more at the beating he's just taken from him than anyone did at the execution that he'd just been to on the mainland.

Yeah, yeah, yeah.

Oh.

It's awful.

Horrible.

Yeah, But then in this scene, it's the way that Dominic just keeps needling Siobhan and he won't let go.

How come you're never married?

None of your freaking business.

Why he was never married.

We never wild Siobhan.

Wild, wild.

You've been angry.

And The thing is.

Just so angry, but he looks like he's quite into that, like the more angry she like he's like really into this and she's.

Getting the attention.

That's why he's like you.

Just keep on saying wild wild.

And then she yells him that Paul told him not act stupid to water.

He said creepy, not stupid.

Well, you failed on both counts, haven't you?

And the absolute carpet of this scene is she's human.

Tells Poric she's going to bed.

Dominic's not staying another night, she'd rather have the donkey in the house.

Slams her bedroom door shut.

And that's this beautiful comic pause.

And Dominic just goes foiled again.

But faint heart and all that.

Oiled again just.

If if you had any chance.

I know, I know.

He's still so hopeful that he is.

Really is he's going to give it another goal later.

He just knows that that's not the road to go down.

That's not that one.

Don't ask her about married and being wild, right?

Let's take a different route.

Foil again, But I could try it and all that.

That's unbelievable.

And how come is it, Siobhan, that you were never married?

Outrageous is.

Especially back then in an Irish community, an Irish Catholic community, yeah.

Well, this is a great opportunity to slip in our second Patreon question.

This one is from Burke Swenson.

Hi, Burke.

Hi, Burke.

Hello back.

Burke says this was my introduction to Barry Kiogan.

His performance, even in such a small role, was so well done that it made me want to see his next film.

What performances from new or unknown actors, media actors to see their next role?

And as always, thanks for all you do to enhance our love of films.

As well.

Thank you, Burke.

Yes, Thanks man.

Thanks back.

Westie first.

I had a real think about this, and there's quite a few female actors for me, which I didn't realize at the time.

Florence Pugh, when I saw her in Midsummer.

Oh.

Yeah, excellent.

She's absolutely incredible in that.

Anya Taylor Joy when I watched The Witch, yes.

And then later The Queen's Gambit, which I know is in the films, but I come kind of, you know, skirting the line there.

See a Sharonan when she was in Lady Bird.

Oh yeah, yeah, yeah.

She's absolutely fantastic and brilliant.

Hailee Steinfeld and True Grit, one of the greatest.

What?

When I see you again and then she comes up, she pops up in Sinners and it's like, wow, yeah.

That bridges the gap.

Anyone who wants upon a time in Hollywood.

Let's be honest, everyone, Austin Butler, like everyone.

Tarantino, absolutely.

Not that out of the park, but the one that sat with me and I really saw a spark in this.

And it wasn't Breaking Bad, but it was when I saw Jesse Plemons in Game Night.

Oh yeah.

To see more of this guy, he's.

So funny.

Believable in game night.

If you haven't seen that, that is such a fun film.

But Jesse Plemons nails that to the wall.

But he's just stroking that dog.

He's just said you've got 3 bags of chips there.

Yeah.

How is that profitable for the free to lay people?

Yeah, he's so, so good.

Enough so all of them for me, I was excited to see what's coming and I haven't been disappointed by anything, to be honest.

They've all, they've all kind of raised the game a little bit, yeah.

And what about you, Matt?

I think Michael B Jordan, when I saw him in Creed, I've not seen him anything else.

And to think that this guy has taken over the Rocky franchise and got to carry it on and he does it effortlessly.

That's such a brilliant performance.

And then the last one I mentioned, I had seen Once Upon a Time in Hollywood and I'd seen the screen film she was in, but even saw I wouldn't have been able to tell you who Mikey Madison was, but then seen her in an aura which is just this volcanic charisma which just explodes on the screen.

I was like, and she just carries that film so much and incredible performance and very, very excited to see what she's going to do with her career.

Firecracker of a performance.

She's an absolute firecracker.

Yeah, yeah.

Yeah, yeah.

Oh, well, I don't have any crossover here and I'm stunned, particularly with my second one.

Matt, I would have thought that you would have come up with it, but I'll go through it.

And I'm choosing films here with multiple performances from actors and actresses that I've never seen before, going a little deeper.

Oh.

Very nice.

OK, so the first one is get out.

Yep.

And that's Daniel Kaluya.

Yeah, pure screen presence, something he's continued since.

Yep.

Yes.

The second is little Royal Harry, who steals every scene, that is.

In so much.

I love that police station scene is one of the funniest ever for me.

It's hilarious.

Just a bit of a shame that he hasn't really had the material to follow that.

The second is a more recent film and this is the one I thought you were going to see.

A matte licorice pizza.

All right.

Yeah.

Alana, him, Cooper Hoffman.

This is a debut for both of those.

Yeah.

Yeah, it's ridiculous over the up.

And the film stirred up some controversy because of the relationship between their characters, But they handle the material so deftly and tenderly and humorously.

The irresistible.

Yeah.

Yeah.

And the third film, it's gone back.

All favorite Toledo's Way and this contains not one, not 2, but three first time performers for me.

Viggo Mortensen as Lalimiaso, we all know what I think about him.

You've also got John Leguizamo as Benny Blanco from the Bronx and of course Luis Guzman as Pachanga.

I've followed the career of those guys for over 3 decades.

Yes, of course, just because of that film, right?

Brilliant.

Great and a great question.

Thank you very much, Burke.

Yeah, that was great.

Thanks man.

And Westie, it's over to you.

Back to Banshees.

Yes, back to branches and back to Podrick kind of getting his way through this trial and tribulation that he's part of just about.

So anyways, just, you know, they're talking about the news.

He doesn't quite know what news is.

And he lets it slip that, you know, Dominic's been beat up by his dad and he's a policeman.

He's just standing right next to him.

Yeah, that's fine.

But that's.

Not news, no reason.

That's not news.

So it hasn't even made the impact that he wanted to make because you can see in his head this is going to be like this big revelation and nobody gives a shit and nobody's bothered.

And he comes out of there and you're blindsided by it because if you watch it again, it's brilliant because he comes out and then they've got Keeny in the background and he totally out of focus, but he just leaves the frame.

Yeah, he does, yeah.

There's a cut and you see calm coming in and then your attention is totally shifted with like, what's going to happen here?

This is the confrontation.

And then all of a sudden there's just a hand comes in.

So believe it or not, I have actually been punched in the face.

With that sweet mouth of yours.

With that sweet mouth of mine.

Can you imagine me after a couple of drinks, just wax a lyrical about nothing.

What do you mean you don't like Stanley Kubrick?

You fucking bang.

So anyway, this to me is like, it's just so realistic, so well played out and just there's two hits.

It's not over the top.

He doesn't get stamped on and kicked and pushed around.

It's just the impact of that, but it's the way Farrell players that shock and he plays it and it it reverberates throughout the whole scene.

And Carl knows this and he knows this and he picks them up and he puts them on that cart.

And there's just silence between them up until that point where it just, you've got the crossroads and you have that Virgin Mary statue in the middle of just kind of signify and just harmony and peace and look, all your separate ways get this over with because there's just going to be conflict if this continues.

Just going several ways now.

And it'll be OK because she's in the middle of it.

And there's just this genuine heartfelt emotion.

If Farrell and Gleason weren't as close, this wouldn't work as well.

Because you can absolutely tell when Pharaoh's looking at him, he's obviously thinking his motivation for the scene.

I think with Donald Wetman, imagine if Brendan Gleeson didn't want to speak to you anymore and this is the last time you're going to be the last time you're going to see him.

You.

I get that genuine sense of like despair from this.

When he cries, that's not just acting.

That's like genuinely ugly crying.

And then when he gets his hand and he just, you know, he puts the robe in there and he's like, you know, just have to that's.

Done.

That's enough.

Like I care about you.

That's me saying I care about you.

Please fucking leave us alone.

Just leave it.

That's it, Done.

And it's silent all the way through.

Incredible seen this.

But he's there for him when it's exciting, when there's something to do, when Podrick's in in a shit state, he's there to pick it up and go out.

I've got something to talk about now.

Is he doing that on per?

Is he taking advantage of Podrick to say like, oh, but I'll help them And I now I've got a story.

This breaks up me day.

It breaks up the monotony.

Or is he actually emotionally involved?

Is he actually care about actually saying this?

Is it?

It's all done.

It's just so, so well played out.

It is.

Even if McDonald ended the film there, ludicrous.

But if he'd let ended the film there, you'd still think that could go either way.

The same as it does.

It ends that way, but we've got a few more things to go through.

So you're never going to get a sequel to this film because after this scene, we've got a sequel.

Yeah, well, the start of that sequel, Power Exit is lowest AB.

Yeah, lowest AB so far.

He gets worse and he goes to the pub where his ex best mates and the policeman who's just beaten him up by having a grand old time and he very unwisely goes at it at a fair old lick and gets tanked up.

Yeah.

Just before that, we see the dynamic between Dominic and his dad, which goes a long way to explain Dominic's unusual behavior.

Yeah, he's, he's kind of like under the grey sky of his dad and he does everything that he says.

Just one drink.

Yeah.

OK, Daddy.

Yeah.

Really, really.

It's it's awful to say.

It's awful.

But it's the moment that when drunk, Parid goes over to confront the two, he's obviously been concocted in his comments for the last couple of hours in his head.

And he's finally picked up the nerve after he's picked up a couple of whiskeys to go over and tell them the three things that he hates the most about in the sharing 1.

Policeman 2 pudgy fiddle players and three.

I had some funny thing for three.

What was it?

Amazing.

Then he runs it back but he can't remember #2 and he gets help from the copper.

Pudgy fiddle players point to his left.

Great.

Brilliant.

It's all hilarious until it erupts into pure anger for Porrig when he shouts.

Are you talking to me?

Yeah.

Scary.

Scary.

Yeah.

He's been pushed completely over the edge by the booze and by columns behavior.

And then it's heartbreaking to hear him seeing that column used to be nice and now he's not so nice.

We're talking about nicest.

He goes on about his how his parents used to be nice.

It's a word he uses a lot.

It shows that he's limited vocabulary, but that doesn't matter.

He's a good man and he's protective of the people he loves.

Siobhan's nice, I'll remember my sister.

And it's devastating that column has has thrown that right in his face when he's talking about so you know what people do remember what?

And don't say anything about music, music and you it.

This is just what Donna does best.

The heartbreak and hilarity and equal measure.

That realization from Porrig when he says he used to be nice and maybe you never used to be.

And then he goes, oh, God, maybe he never used to be.

A devastating night, a realization.

And there's a wonderful sense of slight smugness.

Siobhan just very understatedly tells Column that Mozart was 18th century, not 17th.

Yeah.

And just leaves.

Yeah, yes, yeah.

It's like Prix's pomposity.

Yeah, he's brilliant.

I do, yeah.

Yeah, I love it.

And Kyogen describe watching the three actors work in the magic in this scene, he said.

I was watching all of them go back and forth.

It was that moment of you are witnessing a master class here.

I'm always learning.

Wow.

Oh, but it's when Porrig drops it in him as well.

I didn't tell him that Daddy like about fiddling with him.

So.

Oh God, yeah.

Yeah, because we know that he once he gets home, that's another beat.

Yep.

Yep, with the cuddle again, yeah.

Awful.

So we're a breaking point now.

With Porrig spilling out of control, one more interaction could tip column over the edge.

The next day, Siobhan gets a job offer from the mainland, but nobody's leaving.

Not yet, anywhere, no, And I'm talking about a small scene on the beach.

Porrig approaches column to apologize about whatever he said in his junk and stupa last night, and he holds his hand out for a hand shake and calms, dumbfounded.

You can hear it in his voice when it cracks and he says why can't you just leave me alone, Dumbfounded.

What you doing?

And Porrig's behaviours?

Excruciating, the classic McDonough silence before he nervously reaches out to give him a pat on the arm and column, stunned further still.

What are you doing?

For fuck's sake, like I.

Don't.

Know.

And then the moment I think I think it's the moment that sales at column when Porrig turns around and asks how the new tune's gone.

A final attempt at an olive branch which falls flat on its ass.

Yeah.

Yeah.

And I think.

And this is where Colin's thinking.

Polling's just not listening to word I'm seeing here and his despair.

Drastic measures.

The only solution.

Yeah, in that moment for me, I think, yeah, I get.

From that moment, he just thought I'd never actually thought I'd have to go through with this one.

Yeah.

And I'm going to have to do it now.

Is it?

I don't believe this stubborn.

Well, yes, now he is going to have to go through with it because for so long we'll be thinking, well, this is just an empty threat.

Like you can't threaten to chop your own fingers off, particularly if you musician and expect people to take you seriously.

So when it happens and it's that bang on the door and you see the little like dribble of blood going down and then pour it picks it up, right.

This is real how he's going through with it and he can barely explain it to Javon.

Was the bang the door?

The what?

The bang the door was the bird.

No, hard to say.

Can't lie.

It was a finger and then her shriek and horror and scream, scream and then tell the thought out, I'm not throwing this finger out.

They'll get dirt on it like all the things to be worried about.

Don't worry about getting dirt on the finger.

So.

Severed finger.

Severed finger, yeah, it's the way he says it, really reluctantly says it, the Siobhan.

And it's kind of like a reluctance, acceptance that this thing is actually happening, he says.

Finger, finger.

Yeah, because it's because it's his fault.

In his head, almost like I've pushed him to this.

But obviously Chiffon's had enough of all this shit between the two of them, so there's that most full juggling of tones again from McDonough.

It is shotgun.

It's dark.

Be funny when she goes up to Column's cottage and he says, will you have a cup of tea?

No, if only came to give you your finger back in a box.

In a box.

Yeah, great.

Because she says it was such a straight face as well, like, like if she's returning out or like a cake tin or something, maybe to give you a finger back.

No irony whatsoever, no.

No the shock's gone but I think it's got something to say about like masculinity and ego as well.

Because Siobhan just cuts through all of columns bullshit when he calls pouring boring one boring man.

You are feckin boring with your piddling grievances over nothing.

His behaviour is so OTT.

Just write your song.

Stay away from the pub if that's where Pori goes all the time.

Grow.

Because The thing is, it's not as if anyone else he is any less boring than Poric really.

But Colin wants someone to blame his problems on instead of taking responsibility for his own decisions in life, which is led to this point.

And Javon just has no time for any of it.

But I think the same is also the push she needs to make something of her life where Colin says I do worry that I'm entertaining myself while Steve off the inevitable don't.

Yes.

And she says, no, I don't.

But there's the uncertainty and her voice, which he's very, very close to that very.

Yeah.

Because he goes, yeah, you do.

And deep down, I think she's starting to realize just a little bit, just a little bit where Column is coming from.

And this is the push she needs to look at her future.

I need to leave this island because it's madness here.

Yeah.

So from then we'll have Dominic and Podrick meeting up again, but we haven't mentioned the fact of this disgusting behavior on Podrick side sending this guy away.

It's.

Really funny.

If that's the same bread man I'm as.

If that pits important.

I mean that, I mean, just the chances of that, the writing of that, yeah, that on the page you just think is that a little bit too far?

Is that taking it a little bit too far, like the irony of it and just taking the piss out of itself now?

No, that is just right on the bracket.

Who it is that scene is?

Right on the edge.

And he knows.

And that's why I think these guys are like sitting on a Cliff edge talking about that sequence.

They're just basically like, that could have gone a little bit too far.

Now we're going to get the human reaction to that.

As an audience, you go, that was ludicrous.

That makes absolutely no sense.

But now you know why he's done it because he brings it back.

And it's the conversation that they have together.

And this is very, very important.

I think this is just absolutely instrumental to both the character and the narrative, especially of Dominic.

And he apologizes for spilling the beans on that.

Dominic says you are funny up to that point.

Yeah.

And he gives them praise still, still finds the the positive.

And he's going to be.

He's going to kill you for what?

You've said.

What like killers are beat us up killers because I'd speak, he'll kill you.

This is where you get that.

What I was talking about before is, is this actually designed to motivate Podrick?

Is this designed to make him a better person, to push him away from what's happening, to push him away from his dullness and to stop being such a whiny doll ass.

And it just kind of be something that's exciting, be something that's engaged and be something that's worth talking about.

And then he tries to prove it back by telling Dominic about this situation that we've just discussed where we're like, there's that too far.

Is that 2 tongue in cheek?

And Dominic hears that what's happening in his life now, he's dad's abusive.

He's lost kind of all faith in everything.

He's still got Podrick.

And he's just thinking, I've still got my friend.

I've still got a shot of Siobhan.

This is that's the last two things I've got in my life.

Yes, this he loses Podrick here.

Yeah.

He loses him and he goes, I thought you were one of the nicest.

That's one of the meanest things I've ever heard in Cuban's performance here, when he's just trying to wrap himself up and protect himself.

Just if that emotional hit that that was with that physical and emotional hit that was worse than any beaten he's got off his dad.

I think he was banking on Porrig to be a beacon of hope.

For him, exactly, he was, he was a blueprint of like or it could do it, then I can do it.

If he could maybe get somewhere and be a nice person, then so can I.

And now he's done something that's just so diabolical.

This is a step towards his death.

He's got no choice.

He's just on a crumble and bridge and he can't go backwards.

There's nobody help him when he goes backwards.

Yeah, horrific stuff.

So with Dominic thoroughly disappointed by Porrig's behaviour, he's quickly running out of friends.

At least he's got his sister by his side for now.

For now, yeah.

The crew.

A very small crew worked on Banshees.

We're talking about the visuals, the music, but first, Martin Mcdonough's outstanding writing.

Matt, it's over to you first.

Like I said earlier, I always think of him as a writer first because I don't think he's prepared to shoot one single frame of film until he's 100% happy with his script.

And he he has mapped out every single nuance and character decision and whether it's in the page or in the Ted, he knows his stories better than anyone.

And I think he has this ability to take the simplest but most intriguing of conceits and then spin it off so her mother puts up signs because her daughter's murder has been forgotten about.

Where do you go with that?

He knows where you can go with that.

Two hit men lie in law after a hit goes wrong.

Sounds like the most generic film ever, but not in his hands.

And it's the same with this one man abruptly ends a friendship because he says he doesn't like the other fella anymore.

How do you develop that into a story?

But I think that's this great skill to see the potential for story and themes and characters and to go from that simple setup and develop this into a story which includes self mutilation and child abuse and dead donkeys, but at the same time make it really funny.

And also at the same time, I have that thematic depth where it's talking about loneliness and toxic masculinity and artistic integrity, all very deliberately set to the backdrop of the Irish Civil War.

How on earth do you corral all that into a story that makes any kind of sense?

Yeah, but that's the brilliance of his writing.

He can't do that.

And you can tell he's gone over this again and again and again until he's got it exactly where he wants it, where he's got enough answers in there if you want them.

But he leaves enough space for the actors to play with it and for the audience to fill in the blanks themselves if they want to.

It's a masterpiece of writing, really is.

It is.

It is the imagine saying that as somebody to get them around to your wavelength is this great film about two friends.

One of them doesn't doesn't want to be friends with either 1.

So he threatens to cut off his fingers.

Yeah.

Sorry.

Yeah.

Martin McDonald is directing this.

OK, that's fine.

Yeah, yeah, yeah, yeah.

I just can't get enough of the balance of tones in the writing.

It's at once the greatest comedy ever and the worst kind of tragedy.

Now, a lot of that is credited the cast and their dialogue and delivery, but McDonald's writing?

So unique.

Said it many times that he's, he feels is very much in spirit of the coins, but he's not doing an impersonation of them.

Maybe it's just because he flies in the face of convention like they do.

Yeah, He.

You've got incredible funny moments sitting side by side in the same scene with desperate, dark sadness.

Consider what we talked about that scene where Poirot picks up the student fella and gives him a lift, but comes up with that horrific story to show him off the island.

Yeah.

In the vain hope that he can get his friend back.

I mean, it's school ground stuff, isn't it?

He tells him that his dad's been run over by a bread van and he should go home so that his dad doesn't die alone.

That's how his mommy dad.

Especially yeah, especially considering his mother went the same way.

But that reaction is priceless.

If it's same fucking bread fan I'll kill them.

Who's he going to kill?

The bread fan Porrig's face when he shuffles off?

He can't believe what he's just said.

He can't believe that what he's been reduced to.

Yeah, yeah.

And there are more laughs at the start of the film, but McDonough still gently weaves funny moments in as things turn for the worst near the end.

You've got that grotesque image of a fingerless column in the pub conducting the music with the blood splattering.

Everywhere.

Yeah, that's lovely laugh.

That's lovely.

It shouldn't work, but it's hilarious.

And it really shows how far Column has fallen into his own despair as well.

What's he doing?

Yeah.

McDonald writing is so idiosyncratic, so unique that you can never predict where his storytelling will go.

He did the same thing on him, Bruges.

Absolutely hilarious moments next to complete sadness and hopelessness.

Long may it continue for me.

Yeah.

Great writing.

I mean, I totally agree.

And I agree with Matt as well.

I think he is a writer before he is a director.

And the thing that he does really well is he, you don't know who's the lead in any of his films.

Everyone is important.

Yeah.

So if you look at the Woody Harrelson character of the Sam Rockwell character or the fancy McDonald character just in billboards, like who's it about?

Yeah, everyone is just as important as the last.

And I think that's the genius of he's right.

He doesn't really have any kind of sub characters.

Everyone is important.

Everyone has his time.

Everyone has his attention and that's really, really brilliant, but it's the things that he writes about that have these underlying motives and not underlying good punches.

I mean, if you look at Dominique, that is just an absolute exploration of the tragedy of ignored youth, the view of women in society.

The fact that Siobhan is the only one leaving with ambition, the only one taking a chance, the only one escaping and getting out there and doing something and working for a living and doing something necessary and having the guts to do that.

And that's the female character doing that.

That's normally the male characters doing that.

So it's he subverts a lot of tropes and subverts a lot of expectations.

And he's writing.

And another thing he does really, really well is showing the sacrifices you have to make to be an artist, the sacrifices you have to make to be creative.

You can't be a nice person to make your own art.

You have to let somebody down because you have to believe in yourself.

You have to create something for you.

Therefore you have to be selfish.

Therefore, selfishness is viewed as derogatory in this society.

Therefore, you're a bastard.

That's what you have to do.

You have to put up boundaries and you have to cut your own fingers off to make something.

All of his writing is extraordinary across the board, and this is no exception.

Yeah, too true.

McDonough started writing the screenplay for Banshees around 10 years before making it.

The film shares a similar title to an unpublished early play of his called The Banshees of Inishia, which was never performed.

And by his own admission, it wasn't that good either.

That play was meant to be the third entry in his aforementioned Aaron Ireland's trilogy, following the crippling of Vinishment and The Lieutenant of Vinishmore.

And the original Banshee script was a lot more plot driven.

Caught in the Farrell, he said there were shootouts and there were more characters, and Pharrell loved it, but McDonough didn't.

Gleeson also had reservations, mostly about his character not having an awful lot to explain his words, so McDonough discarded the project for a number of years.

Yeah, again, that sounds very similar to the coins.

They write something to put it down and then return back after a few years.

Yeah.

Yeah, he picked it up again at the end of 2019, thinking that was the first few pages were pretty good, he said.

But then it goes to shit, so I took all of the crap out and just wrote it from scratch.

The original version had too much position Civil War characters from the main number introduced, and it was too simplistic, according to McDonough.

He's got a really interesting writing style.

He doesn't do treatments for his films, so he doesn't know where the story's going to go into lease actually in the middle of rightness, which is incredible.

When he was writing the pub scene, for example, where Colin threatens to cut off his fingers, he had no idea where the story would go until that ID came to him in the moment.

Wow, It just evolves like that.

Yeah, right.

And Gleason said he throws all the cards in the air in his writing.

He saw me before, for he likes to put a roadblock in the way he gives himself a situation that is almost impossible.

That's a huge inspiration for me because I feel like if I'm going to write something, then I need to have it fleshed out from start to exactly, yeah.

It's not the traditional way to write a screenplay is that's you'd need a treatment for the treatment or the narrative.

Beats, it's the start, middle and end.

That's how I'm going to flesh it all out.

So I mean, that's just huge.

Any creators out there listening to this who want to write something, just write it.

These guys did.

Yeah, as we said in a Sharon is official island.

The word itself translates to the island of Ireland.

Yes, right.

And a banshee is an ancient female evil spirit from Irish folklore which when encountered, serves as an omen of death for a loved one by screeching at them in extremely loud volume portends to death, as Column says.

Yeah, but right in the carrot of Podrick, McDonough drew upon his own personal experiences of emotional pain, like a relationship breakup, he said.

I really try to be truthful to that sadness as much as I could on Podrick's behalf.

That's lovely.

Yeah, incredible.

And for column, he drew upon professional experiences when facing doubts in his Gray, he said, should I be making more than one film every five years?

Should I speed it up?

And I think that's sort of imbued Brendan side of the story.

Yeah.

I love it.

You can tell that even though it's way out there, it comes from a personal place.

Yeah.

Absolutely.

As clarified by a calendar scene on screen early in the film, More Fool Me, Banshees is set in April 1923, during the latter half of the Irish Civil War.

And the Irish Civil War lasted from June 1922 to May in 1923.

It was fought between the government of Ireland, supported by the United Kingdom, and the Irish Republican Army of the Sovereignty of Ireland following their previous war for independence.

Yeah.

And the results were people who previously fought together now fighting against one another.

Something particularly relevant to Banshees, Yeah.

Friend against friend, brother against brother.

McDonough used the war theme as a backdrop which reflects the narrative, seeing that it's not necessary to know the insurance and outs of the war and the reasons for it, he said.

All you need to know is that it was over a hairline difference of beliefs which had been shared up until the year before, and it led to horrific violence.

Yeah.

Yes.

An unusual basis for a screenplay, but one which gets so much gold from.

Yeah.

And here is our third and final Patreon question from Michael Smith.

Hello, Michael.

Hello, Michael.

Michael says that's always great work.

A recent unexpected hospital stay was made easy going through the back catalog.

I discovered the apartment after your alternative Christmas movie pod.

Well, that's very nice, Michael.

Wonderful.

I hope you're on the mend as well.

Yes, indeed.

Yes, best.

Wishes, Michael.

Yep.

Michael's question is The Banshees of an Assurance seems to be a classic Marmite film.

Do we need to explain Marmite for overseas listeners?

You love it, I hate it.

Yeah, you either love it or hate it.

Yes, it is a yeast based spread yeast.

Extract isn't it?

Yeast extract.

You love it on crumpets now?

I love it on crumpets, yeah.

Delicious, yes, Try it out.

So it's a classic Marmite film.

Either you love it or hear this.

Audiences are either completely enchanted by its bleak humour and philosophical depth, or totally put off by its person and sudden jar and violence.

In your opinion, what specific elements of the movie do you think is the primary reason it divides audiences so sharply?

And as a follow up question, what other films can you think of that have a similarly polarized and love it or hear the reputation among film fans?

Right.

Oh, it's a tongue twister.

Matt, you first.

The specific element I think is the fact that Columns threat isn't a standard movie threat.

It isn't leave me alone or I'll come after your animals, I'll come after your sister and then I'll come after you.

It's the threat of self mutilation, which is so hard to understand him then going through with that.

Yeah.

And it's fundamentally extremely disturbing because it doesn't make any kind of sense and the film doesn't explain it.

I think that's tied together with the fact of how much of A resolution do you actually get here.

There's a lot of ambiguity still at the end, what's going to happen to these characters.

And that just doesn't always work for people who, like, need their happy renders.

And then in terms of other examples, I'll just go back to the one we covered last year, The Blair Witch Project, I think one of the most divisive films ever.

You, like us, think it's absolutely terrifying.

Or you think it's just three annoying people in the woods screaming and pointing cameras to rocks.

In which case you're wrong.

Yeah, brilliant.

Yeah.

Yeah.

I'll start off with the second question.

The films that divide opinion for me are often ones that defy convention.

The films that came to mind were things like Mother, Blue Velvet, the attack on subjects that most people don't want to confront and make you pay for sitting down and watching them.

Yeah, I think Banshees is very similar.

I've never seen a film about so little that there's so much to see in such a strange, sweet, sad, violent and funny way.

It's a challenging film in more ways than one.

You've got to go through this heartbreak and journey with these characters and really, for what reason or to what end?

Is all of this business worth it?

Is it worth your time?

It absolutely is, of course, but I can understand why people might not take to it.

Bleak and beautiful it.

Sometimes people just don't want to suffer for two hours.

They want to switch off and not have to come to terms with the loneliness of this film because it is entrenched in loneliness.

But it is also very beautiful and soulful.

If you're not a huge fan, give it another go because there is so much to get your teeth into, yeah.

Oh, absolutely.

I mean, if you're listening to this this far, you're going to be a fan of the film.

Yeah, but do you not think that people just TuneIn for us Westie and not the film?

Not for me, maybe for you guys.

Modesty.

There he goes.

OK, see Michael's question.

Those questions a good one for me because this is something I really, really enjoy about cinema and about art in general.

And I think anything that has a strong passion and a singular vision is polarizing.

And anything that's polarizing is real art because you're not making anything for an audience, you're making it for yourself.

And if you find an audience, that is a bonus.

And if you don't find an audience, then you've lost nothing.

If you're polarizing artists, that's what you need to be.

Otherwise, you're not pushing anything.

You're making something for everybody and that is a failure as far as I'm concerned.

So Marmite films as we're putting them, love it.

I hated films as we're putting them on my favorite.

That's what I buy into and I want to take that risk.

I want to take that chance.

I want to go into something and I want somebody to make us hate something or make us love something.

Either way, I've won because I know where I stand on that.

And I'm not going to name films, but I'm going to name film makers who I believe have this stance and have had this stance throughout most of the career.

That is good because that means we have discussion, that means we have opinion, that means we know who we are, and that means we'll have a podcast.

So that's all a good thing.

So the film makers for me that do this, notably Wes Anderson has always been that divisive.

Charlie Kaufman, another one straight down the line.

Bellator for me.

I'll bring it up again.

Absolutely incredible.

Might not be for you, but absolutely worth it because that is just for me, pure cinema, Kubrick.

We can turn around and say 2001 is one of the best films ever made, but I'll turn around, you look and I'll say Barry Linden.

Get it out of my face.

Exactly.

And we've got a podcast on films.

Aronofsky, like you've just mentioned.

I'll bring him up last, Very polarized and very much down the middle.

But if you haven't got film makers like that, if you've got Michael Bay all day, or if you've got these people who are just making films, you don't even know who's made it and it's just generic, you're wasting your time.

Yeah, Amen.

Strong views.

Obviously.

West we were talking about.

Exactly.

Somebody first BBQ.

So McDonough had his idiosyncratic best on Banshee screenplay, given us one of the most refreshing, strange and simple scripts of the 21st century.

Indeed, I love it.

Part of Burwell returned as composer, having previously worked with Martin McDonagh on In Bruise, 7, Psychopaths and Three Billboards.

Regular collaborator.

And there's something again, very corn esque about the music.

That song at the start that wouldn't be out of place in an inner brother or something like that.

You know.

Yeah, it would fit.

The score is built around traditional Irish melodies, but it's not like like the tourist board version of Ireland.

No, it's anything but isn't.

It No, it's not.

It's not Boston with the Dropkick Murphy's playing.

Instead, there's a lot of melancholy running through every note that captures the film's themes.

The main fiddle theme has got this haunting quality that stays with you.

It's really simple.

It's almost like it's fragile, so fragile it's going to break, but it carries the emotional weight of of everything that we're seeing.

Burwell knows exactly when to let the music breathe and when to pull back completely, allowing the silence of that desolate island to speak for itself, just like McDonald does with his visuals.

I don't think there's any manipulation here with the music.

Nothing heavy-handed to tell you how to feel or anything like that.

No, I think he just trusts the story and the performance that they do all the heavy lifting.

He just gives you enough musical texture to enhance what's already there.

And I really think you could be forgiven for thinking that there isn't much music in the film, which is quite amazing, considering a lot of it is about music.

Yeah.

Understated work.

Classic Burwell.

Yeah.

Yes, it is.

Yeah.

What about UST?

Yeah, very much the same.

I think the fact that he's used three main instruments, which one's a cellist, which is a keyboard that makes bell sounds, essentially, one's a harp and one's a flute.

So for me, them three instruments are quite hopeful and quite positive, where he turns everything.

It's almost like a fairy tale.

And I've watched an interview with him and he said he was reading Grimm Fairy Tales with his daughter, thought why don't I turn this into like a fairy tale kind of field?

You get that from the start.

Yeah, it's.

And there's a mystery to this.

There's a mystery to the score.

It keeps everything quite chromatic.

And everything sits between major and minor.

There's no majors and there's no minors in this score.

It sits right in the middle.

And they like McDonough.

I think he's worked with him so long where he goes.

I'll tell you what, I'm going to show you where the line is.

And you've got to decide which part of the line you want to step on.

And it's very much like an old music box that you just turning and it just pops open and you kind of stop it.

It's just going to play over no matter what emotions on the screen.

That's what you've got to hear.

And it doesn't matter if it fits or not.

It's just part of it's, it's like you found it on the island and that's the soundtrack of the island.

It's a beautiful score.

It is.

It's amazing.

Yeah.

What about you, Mass?

Kind of where Worlds music.

Well, they've clearly got a hormonious relationship.

Yeah.

Burwell McDonough.

And it is like In Bruges.

He doesn't layer it over the top of every scene.

I think he lets the dialogue in the action tell the story of the scenes.

And I think the music is just about tying the very scenes together.

Like if you look at this soundtrack on Spotify, it's only about half an hour long.

Most tracks are only about a minute long.

I think the longest is 4.

So it's one of those where I think you have to take yourself out of the film a bit to really deliberately listen to it and appreciate it.

But you should do because what is there is great.

It's got this melancholic Lil to it.

It could be very cliched considering the setting in time period, but it's not.

It's just about creating this somber torn and this somber mood.

Very gentle, plucked strings, woodwind cycle fawn.

So it's not a soundtrack that hits you over the head, but McDonough doesn't want it to.

You wanted layered in with those shots.

The landscape and the characters aren't talking, and that's what it does.

Yeah, Mcdonough's brief to Burwell was simple.

He didn't want any cliche Irish folk music in the school.

Yeah, Burwell said that McDonough told him.

I heard that DDD, old World Irish film music.

He clearly touched a nerve of some sort, so I never brought that up again.

But McDonough didn't give him any more notes, so Burwell didn't think about it again until he saw some actual footage.

Yeah, for Parrig, he conceived of childlike music, as he coined it.

Disney character music, right?

While he employed a more traditional sound for Colin Fitten, considering his musical obsession.

Yeah, the opener piece of music isn't Irish at all.

It's a Bulgarian folk song performed by the Bulgarian State Radio and Television Female Vocal Choir.

McDonough just loved the song and thought it fit the opening the film perfectly.

It's great.

It's so, it's wonderful, so uplifted, so simple, understated beauty from Carter Burwell's music pitch perfect for this story.

Yes indeed, Ben Davis returned as Martin McDonald, cinematographer.

Haven't previously shot 7 Psychopaths and Three Billboards?

Westie, over to you main man.

It's incredible work.

This is shot on the RA Alexa Mini LF, which will go into later RA Signature Primes.

And the beautiful thing about Signature primes, I'm not going to bore anybody with him, but if he's directly in the light, it's not going to blow out.

It's not going to affect the frame that much.

And he shoots a lot into the light here, shoot a lot in the sunlight, shoots a lot in the candlelight, shoots a lot in the firelight and it doesn't distort the frame at all.

He also uses a black magic Ursa mini pro 12 Ki think, which is what's on the drone.

So he's shooting out an AK and then cropping it back down to 4K.

That's why you get that incredible quality, that incredible sharpness that's across all of it and the thing that I get from this, this is a landscape film for me, all of it is, and even the close-ups are landscapes.

The close-ups are landscapes of faces because he's has such a contrast where you say every line, every minute that somebody's laughed, every minute that somebody's cried.

He's got that in that face because he uses something called negative fill, but if you have positive fill, it's white, so you're bouncing light in.

If you have negative fill, it's black, so you're taking light away.

So you've got shadow and you've got contrast and that's what gives this really nice rounded look.

The difference between candlelight, which is in Columns house and it's in Podrick's house because they're poorer.

But then you go to the oil light, which is in the post office, there's oil light in the pub.

That's all beautifully done.

It's backs all of that up and it makes it really, really accessible.

There's nothing that really screams cinematography, but it all screams cinema, and I think that's the best thing that Ben Davis does.

It's a really, really excellent master class in cinematography because it's so subtle you don't even know how good it is.

Subtle is the word.

I had written down 1st as well, actually, and very important in the way that, as I said about McDonough when talking about him as director, it bridges that gap between being a very theatrical film in a very cinematic one of a thing.

That's the challenge the film has, I think, and that's where Davis really excels.

But what's crazy to me is I was looking at his filmography and he's done about four or five Marvel films.

Yeah, you just wouldn't think the DP on Guardians of the Galaxy would be the same guy doing this.

But I think that's just tribute to his versatility and probably his experience on something massive like that several times over means he could take something like this very stagey on the page and work in harmony with McDonough to give it the visual oomph that it does have.

Yeah, But like, say, it is subtle, a great Wesley, again, trying to, like, think of an actual camera moves.

It's very hard.

And if it does, it's very deliberate.

And I think the other thing he does is he just knits together all the outside scenes, which I imagine was shot in very changeable weather.

Yeah, considering where it was show, which be a massive challenge.

Knit knows with the interiors, which never feel overlit.

The OS feel like the only light you're getting is through the windows or the candles or the gas lamps, as we've been seeing.

And the result is something that it leaps off the screen when a lesser DP I think would have struggled to make any of this work in that way.

Another thing as well that this was done with the DFD, which is a digital film, the digital process, which basically means they're shooting on digital, which is shot on the Alexa Mini, which is large format.

It's beautiful, yeah.

So what they do is then they take this process and they'll take the digital image, they'll put it under actual film, yes, run that through process that and then put it back on digital and then just make any changes that they want to start.

Therefore, you have natural green, you can choose your film stock.

It's quite an expensive process just to do that.

So for this would have been 50 grand just for that process.

Wow, right.

Just to run 2 hours through that DFD and get it back and get that field with.

But I think it really really makes a difference.

Yeah, Davis said he saw that ID the studio execs by saying it was like the difference between listening to an album on vinyl versus A1 on CD.

Yeah.

Right, right.

Definitely.

Yeah, I think the visuals just reinforce the theme.

They they all work together like all good films do.

This place looks a dilek that has something lurking underneath that doesn't really get spoken about.

I really do think that the film may well be unpalatable, too unpalatable.

Or at least cross the line a few times.

If it weren't for those incredible visuals they keep, you would be, I think, yes.

How could Column be on the precipice of suicide with the view that he has from his house?

He lives on the beach, for goodness sake.

Yeah, he's got a streamline past his house and no neighbors to bother him.

Idyllic.

Or maybe that's the reason for his malaise.

And it might be.

He's been isolated and cut off.

The ocean is unforgiven.

He sings his song to the ocean and it gives him nothing back.

Yeah, I like Davis's interior work as well.

Those pub scenes, they offer kind of like a respite for what's going on outside.

And he uses natural light amazingly well, particularly when it's bleeding into Columns Cottage.

It's almost like he surround himself in darkness.

And Poric is that natural light that's trying to breakthrough but can't.

There's just a slither of it there you can see.

Yeah.

Obviously Columns preoccupied with his own mortality.

And I think the visuals lean into that.

There's an obsession with nature and wildlife.

And it feels to me that there's a feeling of, of like return back to worth in this film.

Like when I was said and done, nobody will remember any of this.

Just like Column says in the pub, we're all insignificant in the grand scheme of things, but nature, wildlife, the sand, the sea will all remain.

And I think that's really emphasized with the visuals.

Yeah, Mcdonough's brief to Davis was that the visual should not perpetuate the cliched cinematic view of Ireland, overcast and dull.

He wanted to capture the island of his youth, drawn inspiration from John Hendy postcards, which depicted rural Ireland, sunshine, lush greens and colors that pop.

David said McDonough aimed to play the tragedy against the beauty of nature.

Yeah, during prep, McDonough Davidson first assistant director Peter Corn mapped out the weather that they wanted for each scene.

And the weather obviously plays a big part in the narrative.

For example, when Siobhan leaves, they wanted to be sunny to represent New Horizons.

Yeah, Similarly they wanted the opening scene of Porridge and the town to be sunny as well before turning grey when he gets that horrendous news from column at the pub.

And Davis?

He has painted meetings by artists like Rembrandt and Bruegel is inspiration for the lightning choices in the film.

They created pockets of light using candles and oil lamps, and you can see both of those would work in the film.

Yeah, but naturally, an oil lamp in the middle of a table and a pub doesn't do all of the work.

No.

So Davis had lights hidden in the rafters of the ceilings.

Yeah.

Yeah, right.

When column is playing the fiddle around the table, everyone around that table has a light above their head.

They do?

Yeah.

And Davis was specific of his camera placement.

As the narrative progresses, his column is emotionally closed off.

He gave some distance between the camera and the character, but this moves closer in as the film goes on, like in the confession scene.

For similar reasons, Davis didn't put an eye light in column in certain scenes.

He said that you gain access to a character if you put a pinprick of light in their eye, so omitting this close the character off from the audience.

Yeah, right.

Nice.

Great during prepping after work on shooting days, Davis would head out across Inish more and filmed the local wildlife.

A lot of this footage is used in the film as transitions between scenes, as that incredible kind of granite floor with a bird landing on it and kind of.

Oh, yeah, yeah, yeah.

Those two goats, you can only see one, but then it moves to the side and then there's one behind.

It's almost like the two main characters.

Oh.

It is, yeah.

Yeah.

The editor on the film was Oscar winner One for Sound of Metal, Mikhail Nielsen.

Yeah, nice.

One of his main goals was to make both the location of Anna Sharon and it's animals to be characters in the film just as much as the cast are.

He edited that wildlife footage in his transitions to give us as an audience, in his words, a chance to contemplate.

Yes, to get your breath back.

Really.

Yeah, but Nicholson was only brought in at the 11th hour after Mcdonough's usual editor, John Gregory, sadly passed away just before filming started.

McDonough said.

John loved westerns and he loved the West of Ireland, so it's a real shame he didn't get to see it in the film, as he might have noticed, is dedicated to Gregory.

Yes, yeah, it's right at the end, isn't it?

In the credits, Yeah.

Nielsen said that he knew it was a delicate situation and visited.

The said only wants to meet with McDonough, otherwise he worked from his edit in Sweden Copenhagen.

Oh right, nicely judged.

Yeah, very nice.

Yeah.

So a super talented crew on Banshees and Hanson.

Mcdonough's bleak, beautiful writing with outstanding music and visuals.

Definitely the end.

With Dominic disappointed with the new Porrig, he takes one final crack at Yvonne before everything falls apart.

Yep, and Matt, it's over to you to pick that battle on up.

Oh, good luck here mate.

I need to Donna, I mean, this scene was just the most memorable scene on first few and.

You know it's without that.

Certainly one I think that's gone in a popular culture the most it's become a main and considering it's not even the two main characters, it's the two sport characters.

I think that says a lot about how this is written, how it's played out.

Dominic and reformed by the lake and the beautiful thing is how well the players in condos to that early scene between the two of them where they're having the argument or for supper, which is just pure hilarity throughout and this fully of times.

But then just another example of how McDonough can thread a scene from complete hilarity to put a heartbreak without listen to step.

You get Dominic scaring the life out of Siobhan by creeping up in it as she's piercing out over the leg.

Would you ever stop creeping up on people?

I wasn't creeping up on you.

I was sidling up on you like.

There's a difference.

And then he sources spiel to try and win over Siobhan after she calls Mrs.

McCormick a Google.

I always call her a go to because she is a ghoul.

Jeez, you have a lot in common.

Don't what you mean you call an old people ghouls and that it's so awkward and it's it's what you said Luke about McDonough.

He's happy with silence, like awkward silence.

And like when Dominique calls it a great or lake and then just pointed out where like.

Yeah, yeah, yeah.

He doesn't know what he's doing.

Yeah.

She knows where the Lakers Dominic can try in front of her.

And like, I don't think we've talked about how great the physical performance is from Kyogen, and this because it's a result of the abuse from his father.

Is he maybe on the spectrum somewhere?

But it's all these physical tics he's got, like, touching his face.

And in this scene, he's wriggling around on the spot, like trying to get these words out.

And he's so tight.

But it is still funny at first because he starts winding up the speech to ask her out.

And he says they've got a lot in common and she just goes, we don't have anything in common.

And then he just goes, don't skip ahead.

Because.

He's still got this all to come, but then you just get to share your heartbreak of it all.

Stumbling over his words.

He's so nervous.

And I think Condon plays it so well because Siobhan has barely tolerated Dominic throughout the film, but when she realizes what he's asking and he's trying his best to be normal, which has also been asked him to do, her face just softens and she lets him down as gently as she can.

Like, I don't think so, love.

Yeah, that's hard.

She's so compassionate.

She's so compassionate in this scene.

And then he's just no, yeah, no.

I was thinking no.

I was thinking no, I.

Was thinking, I mean, I'm watching through me fingers here.

It's so painful.

He tries to sell it out a bit.

You know, faint hearts and all that.

And then you just get one of the best delivered lines I've ever heard in any film.

Just that pause.

Well, there goes that dream, and just your heart shatters into a million pieces.

For him, Niagara Falls.

Every time and just tries to sell it out once more.

Well, I'd best go over there and do whatever that thing over there I was going to do was, which you think is funny at first, but then when you realize what he does after he's.

Going to do, yeah.

Exactly, it makes it even more heartbreak and be a.

Just.

Yeah, just that.

Well, there goes that dream.

That was his final shot, wasn't it?

Yeah, wow.

It's his final line.

Yeah, yeah.

Incredible.

Heartbreaking.

He like so many layers.

Incredible performance.

Yeah, it's unbelievable.

That slip when he nearly slipped into the water, that wasn't scripted.

He almost went in.

Takes condom with him as well.

He nearly does, yeah.

Well, after this Porrig takes it upon himself to give Calm some tough love.

Haven't talked it through with Dominic on the Cliff side.

Obviously.

2 brilliant brains working it out there.

The meeting of minds.

And he busts in there like it's a saloon in the Wild West.

Yeah.

How you doing, fatty?

Dancing with your dog, is it?

How's that for an old hello?

Amazing.

And it's this dialogue is incredible.

Have you gone feck and mental?

No, I haven't gone feck and mental.

But I've got 10 fingers to prove I haven't gone feck and metal.

How many fingers do you have to prove you've not gone fucking mental?

9 and 9 is the epitome of mental.

Yeah, Epitome.

It's amazing when that dog comes over and forgets where he is or what he's doing there for a moment and just loves the interaction with this dog.

Yeah, the dog.

That's enough of that.

But he comes in with so much bluster and bravado.

And then once he sits down, you see the real Porrig.

He's stumbling over his words.

He's being nice, talking about Calm's tune and all of that kind of stuff.

And it's devastating to hear Calm say, we were doing so well.

And Product says I wasn't doing well, I was doing terrible.

As his voice breaks, yeah, it's like he's been bereaved.

It is he's.

Absolutely devastated he doesn't know how to process all of this information, no.

It's just it's just heartbreaking from this is just too much for me.

I'm sorry.

But it really is, isn't it?

It does get worse, but Porridge thinks he's got it cracked.

And he asks him as the clock strikes 2 if he wants to go to the pub to celebrate his new tune.

And Column sees his opportunity and tells him to go to the pub, leaving him with the opportunity to fulfill his promise.

Yeah.

And there's a really funny gag when the dog drags the.

She's out of the garage.

That's.

Great, that's fun.

That's.

Really funny.

Obviously it all goes horribly wrong at the pub.

The clock strikes 4 and Porridge had 4 pints in two hours just sitting there waiting.

Yeah.

And then Siobhan shows up and heaps more misery on top by telling him that she's leaving.

This is a desperate situation.

Column hasn't showed up to the pub, Siobhan's leaving and to top it off comes lost all his fingers off.

Yeah, this has gone terribly wrong for Pori.

How did it end up like this?

There's incredible drone shot after Column throws his fingers at the door, and that image of them coming around the corner in slow, more like a specter of death in the long black court, blood driven from his stumps.

A really everlasting image which strikes fear in the porridge.

And Siobhan who that that's her signal.

She can't wait any longer.

Yeah.

She's gone, yeah.

And surprisingly, we've talked about it in this film.

Visual effects player, A key part, specifically with the snipment off of columns, fingers and his subsequent stumps.

Simon Hughes of Union in VFX oversaw the work and said the biggest challenge was creating CG stumps of Brendan's fingers alongside the intricate movement and animation required.

Yeah, yeah.

And there were other VFX that go on notice like Column's House being a Blaze, the Lightning Storm, and Mark Payton's that he is for the opening scenes.

Or pretty seamlessly done.

Yeah.

I mean, there's that incredible drone shot that you've mentioned.

They will see calm in the foreground and then it comes over and you see Porridge and Siobhan walking up as well.

And you kind of know that there's going to be an interaction, but what kind of interaction is it going to be?

And you see calm come in between them two.

So he's actually caused them to separate.

It's because of him comes between them.

Very nice.

And Siobhan is now leaving, and it's the way that she leaves.

She is unbelievably, because she is so fragile here.

She can't take me books and that's all I've got.

That's heartbreak, and that can.

You look delivery to them.

For us, it's just she's like, I can't carry everything.

That's all I've got.

She's got literally nothing else but the clothes on her back.

But it's his line delivery year and he's like, oh, don't say all Poric.

See, yeah, yeah.

You leave and say, yeah, God, when it comes to that board as well.

These are some of the most beautiful shots in the film.

The way that board is framed.

And then when she's on that board, just the way that she's framed against the sale.

And yeah, there's people in the background out of focus, but she looks like she's heading towards the sunrise.

She looks like she's heading towards something free and colourful and bright and new and exciting.

And it's that chord that she's got on as well, like little course and everybody's in Brown.

Yeah, it's real splash of colour, isn't it?

As we're talking about the costumes, costume designer Imani Maldonna, she wanted to ensure that they didn't look or feel like, in her words, a pastiche of the Arran Islands.

Yeah.

So she used entirely homespun and only Irish walls, linens and over dyed fabrics.

Unbelievable.

All the sweaters in the film are hand knit by an 8 year old local lady, Delia Barry.

Gleason loved his so much that he kept regular contact with Barry, sending her cards in return for more knitwear.

I loved it.

Need some of that clubber.

Wow.

It's incredible.

It looks unbelievable.

For Porrig's red sweater, Maldana conceived it as being made by Siobhan, his sister, she said.

I can imagine Siobhan thinking, Oh my God, the winter is coming in and it's very cold.

I'm going to knit Porriga jumper.

Yeah, Been making the little color as a kind of personal touch.

Yeah, yeah, lovely.

And for Comes, she said there had to be something of the poet in the way he dressed, but without it being very ostentatious.

She said that his clothes reflect that of someone who has travelled to the outside world and has brought back ideas of what an artist should dress like.

Corduroy and linens are part of his ensemble.

Yeah, great.

Yeah.

It just shows like the My New Detail that the production goes to.

Yeah, we don't see that.

We don't see it, but we don't think that.

But that reinforces the story, doesn't it?

And the characters really does.

I think subsequently from this scene, it gets darker, it gets overcast.

Yeah, not the weather, but the tone just seems to shift to a shadow.

Have I even got to go into this bit?

And then he comes home and then we'll get that, that horrible push to the corner of the house which reminds me of like Mulholland Dr.

You know what it's like.

Good things are just around the corner, the corner of this Mulholland Drive in this corner.

I don't like it.

I don't like it at all.

I don't like it at all.

I don't like it.

I don't like it so.

And it would come around and then Jenny's dead.

That's just pull the Band-Aid off and it is absolutely devastating.

It's devastating for Porrig, It's devastating for us.

He's only glimmer of hope.

He's only friend, the only one keeping him from being sad.

His levels of grief, the way he deals with it, that side and that, that realization of there's nothing I can do about this.

And it's then he finds the finger and pulls it out of her mouth and he's gone.

Actually, I can't do anything about this, but I can do something about this.

I can now.

I've got someone to blame.

I've got somewhere to put me anger.

And then it comes to the point where he's burying Jenny and everyone knows that he buries that in his quilt from his bed.

Yeah.

So that's him not comfortable anymore.

He's obviously just going to.

He's not going to have a quilt.

He's just.

Hadn't noticed.

He doesn't want comfort, he doesn't want warmth.

He's given that all to Jenny, and now he's just cold and his heart's gone.

Yeah, his heart's gone, and it's on the sign that says Jenny with a little black heart.

There you go.

Hot.

It's too much.

It's too The more the more I talk about this film, the more I realize it's an absolute masterpiece.

Just a master.

Masterpiece.

And he goes into the pub and we'll have that wonderful moment where he's finally written the track, he's composing it and everywhere just doesn't give a shit.

Everybody's looking John Joe behind the bar.

What the fuck is going on?

Just give him like a towel or something.

But they're like no, there's no stopping him.

He's absolutely in the zone now.

He's going for it and he's just punching that violin and people.

That's lovely lads.

And Paul comes in and he goes.

He thinks that's it.

He's done his side.

He's got all these fingers off.

That's it.

And I feel better.

I feel great.

Let's just cut it there.

Let's just call it a day.

I've written me music, you know me legacy is now there.

I can't be remembered for something.

Empire comes in and that's it's anything but the truth.

Yeah, me little donkey died today.

So no, we'll not call it the end.

We'll call it the fucking start.

That line will not call this the end.

We'll call this the start.

That's just so powerful.

Yeah, that's amazing.

And so to our graves, we're taking this.

Yeah.

One of our graves, anyway.

Yeah, Amazing.

2:00 tomorrow, God's Day Sunday, I'm going to put in your house now.

Make sure the dog's not there.

I've got nothing against that gun, and I'm not going to check if you're in or not.

But before that, we'll have Kearney coming in, grabbing his hair.

Ask him where Dominic is and when.

You know on the second viewing that he's obviously killed himself by now.

Yes.

You don't know where he is, but that's so satisfying when Colin gives him a smack.

Yeah, leave him alone.

He's.

Done.

Yeah, that little tap on the face just.

Before he leaves 22.

Yeah, so the die is cast, and we're headed for a showdown of epic proportions.

Showdown, All right, Yeah.

After Colin goes to another confession and confirms the despair is back a bit, Porridge gets a heartfelt letter from his sister as he plans his revenge.

It's over to you.

Every scene, every scene is met with a chorus of.

Yeah, because I mean everyone is spiraling here, but you can't see it Pouring isn't a man of his word.

He is going to arrive at 2:00 to burn that house down, but he will absolutely make sure that columns dog is going to be unharmed and all of this here like he takes care of that dog and no he.

Needs to scoop some.

Which is a lovely thing to see in amongst all this darkness it.

Is, yeah.

But I think the same way he's getting the firewood together and it's with Siobhan's letter and voiceover.

I think this is McDonough just knitting together everything he wants to see in this film because because this situation has escalated to the point of attempted murder, because people just can't communicate with each other or they can't leave things alone or they do things without thinking of the consequences.

And while all this is going on, the Civil War is still raging on in the mainland and no one on here understands that either.

It's just a headline.

And I think McDonough, he doesn't have a lot of animals in this film by accident or just because of the on an island.

I think they are the innocence here.

They are the innocent bystanders to all of this.

They can't affect any of this madness that's going on.

They decide the mute witnesses or the end of this collateral damage from Columns dog to Jenny.

And I think this is obviously contrasted to everything Siobhan is talking about in her letter.

She sounds so happy and set up straight away.

And again, that's the point McDonald was making.

She's not the other side of the world, she's only over there on the mainland channel.

Which might as well be the other side of the.

World it might as well be Australia.

That's just going to do all the difference makes to Poric.

That's how small the dividing line between peace and war is here.

There's that visual contrast of all this really logical, thoughtful argument that she's putting forward as to why Poric should follow her lead.

But while it's been read out, he's loading up his card with firewood because he's going to burn his best friend's house to the ground, possibly with him in it.

But then, in classic Madonna style, there's always an unexpected laugh.

And it comes when Siobhan makes this really heartfelt plea for Poric to leave in the Sharon.

Because, as she says, all it is from there is bleakness and grudges and loneliness and spite and the slow passing of time until death.

I'm sure you can do that anywhere.

Yeah, great.

He may as well leave.

Yeah, everybody's a lot less mental over here, but I think that's because they're Spanish.

Yeah, they're all from Spain.

Yeah.

Yeah.

Really good that.

Yeah, I love that.

I've talked about the balance of comedy and tragedy, and I think it's best realized in this moment afterwards, when Porg is at the lowest he could possibly be.

Yeah, his sister's gone.

Columns lopped off all of his fingers.

His donkey is dead.

He's committed arson and possibly murder.

As far as he's concerned, absolute despair.

But he starts off his letter back with the Siobhan.

Obviously.

I don't know what ensconce means.

That will never fail to get me, obviously.

I mean, obviously I don't know what it's got anything.

You could.

You could sum up as a McDonough moment.

That's it.

Yeah.

100%.

This is the most sad situation I've ever seen put on film and I'm getting this kind of laugh from.

Yeah, you're laughing from yeah, in the middle of it, though.

Yeah, McDonough up the result tricks, just finding the most idiosyncratic way to showcase his talents.

Yeah.

That balance of absolute hilarity and devastating drama.

Yeah.

But the rest of the letter is equally as heartbreaking.

Yeah.

When he's talking about Jenny being there with him.

Get off me, Jenny.

Oh yeah, yeah.

This is a man who is gone.

The real Porrig isn't there Now it's a different person.

And he ends his letter with more devastation, with the reveal of Dominic being dead.

I mean, come on.

What are you doing to us?

My goodness.

How much more can we take of this?

And I truly believe that before this revealed Keeney, who's the copper, he's coming up to Porrig's house, presumably because Columns House is on fire.

Yeah, I wouldn't be surprised if he he's coming to kill him and not arrest him.

Yeah.

Possibly.

He looks like with that intent in his eyes, but the scene ends with fire licking around columns feet as his possessions are incinerated.

Porrig ends his letter with I hope I see you again someday if you ever come back home.

And that's interwoven with Porrig in bed crying, saying come back home, Siobhan.

I've got I've got chills just saying I.

Know, I know.

So after everything that's happened that you guys have just spoken about.

I wish it didn't, yeah.

To wish I didn't.

We see his dog running onto the beach, we see Calm standing on the beach and we see Porrick's disappointment that his best friend is still alive.

That's what I get from his look.

He looks on the beach and he's like, right, well, this goes on.

And the disappointment that Calm had, he thought it was over, Boric thought it was over.

And they come down and have this discussion and the dialogue here is just absolutely fantastic because I think the both at that point where they've done things that there's no coming back from, and I think he puts that on his, I think that's a good thing.

Are they going to recover from this?

Is one of them going to die soon?

If so, which one?

Don't know.

He actually says, I think that, you know, the fighting's calmed down a little bit over there and he's like, there's always going to be something to fight about.

There's always going to be something.

There's always going to be a confrontation.

Nothing's ever going to be peaceful.

Nothing's ever going to be easy.

Even on an island with just a few people on it, There's always confrontation between human beings.

And I think that's the point.

And I think honestly, at this point, Colin just wants all this over with.

It's backfired.

It's backfired massively.

Massively.

Yeah.

Yeah.

Maybe this film is telling you just a welcome change.

Let go of things you can't control.

Let go over the people.

Let go of trying to control other people.

Calm then says to Parekh, Thank you for looking after me, dog.

And it's any time.

Yeah.

So there's still a side of each of them that love each other, but there's no room for that anymore.

Only if something innocent, if there's an innocence in between them, they'll look after that innocence.

Much like when Calm takes him home after he's been smacked.

Yes.

You need me help there, right?

I'll look after your dog.

You need me help there?

They're not monsters, no lovely people who are just depressed and down and confused and angry and that walk away where we see Mrs.

McCormack sitting between two of them.

She is always foreshadowed death throughout the whole film.

Either one of them is going to die or ultimately this is the death of their friendship and she's watching that happen.

A wonderful, wonderful moment between two wonderful actors who are obviously very, very close and obviously very connected to this material.

It is.

It's incredible.

This last scene was shot on the last day of filming.

McDonough said that he didn't know at the beginning of the script whether the film would have a happier ending or a sadder ending.

It could have gone either way.

Yeah, it goes back to what we were saying before.

It was only after the rest of the film was shot and elements of the script were incorporated that the story gained kind of like its own tone.

And he knew where it was going.

And only then he decided on the end.

And which is an incredible way to write.

Yeah.

Well, yeah, terrifying if you ask me.

How is this going to end?

I don't know until I get there what.

And interestingly, it's mentioned in the film that the war might end soon.

And when the film begins on April 1st, 1923, the 11th month long civil war was less than two months away from ending.

Yeah, Shevon makes reference to it in her letter, and so does column on the beach down here as well.

And I think a shout out should go to Sheila Flinton, who plays Mrs.

McCormick.

Oh, yeah.

Is she the titular banshee?

Is she just a busy body or a nut bag?

Yeah.

Don't know.

But she's incredible.

Yeah.

She is incredible, Yeah.

Was it 7 or 8 years because your parents died or was it 7 years since they died?

Oh, so there you have it.

A simple tale of despair and loneliness which has done irreparable damage to fingers, families and friends.

Indeed, yes.

Reception and awards.

When the film premiered at the Venice Film Festival, it received a 15 minute standard ovation, which seemed to set the tone for how banshees would be generally received.

It did get overwhelm and positive reviews.

Empire gave it 4 out of five and said another great feel bad treat from Martin McDonagh, featuring one of Colin Farrell's best performances yet is a guy trying and failing to deal with the fallout of a falling out.

Yeah, I think that's a little bit of an understatement from Empire.

Yeah, it is a bit understated, isn't it?

Yeah, The Telegraph gave it 5 out of five seeing an often shoulder shudderingly funny film.

It was comic dialogue.

It's dazzlingly designed and performed.

Which?

It is sticking, but it's missing the point a little.

Bit that's a bit over the other side isn't?

It.

Yeah, Regrettably, Roger Ebert didn't get to see this film, and I think he would have loved it, I think.

He would have loved it, yeah.

But writing for rogerebert.com, what do you think?

Reviewer Glenn Kenny gave it out of four fellas.

I'm going to give it the full back.

Yeah, full.

Yeah, I think so.

Any self respecting film critics will give this for.

Out of four?

Well, actually, Glenn Kenny rogerebert.com gave it 3.5 out of four just missing.

That top OK.

That's very close.

OK, he said.

Farrell does some of his best act in with his furrowed brows.

Gleason has a glare that's both a death ray and an enigma.

The pauses these guys in act are at times even funnier than the verbal comebacks McDonough has written for them.

Yeah, that's more rounded.

That's spot on, Yeah, their performances match the dialogue.

On Rotten Tomatoes now, it has 96% from critics, 75% from audiences, reinforcing the point that Michael said earlier about it being a polarizing experience.

Indeed, yeah.

And on IMDb it has 7.7 out of 10.

Right.

OK, still.

Still pretty high and on a $20 million budget.

Banshee's returned just over 50 million, which considering the limited plot, a period piece set outside America, I think that's pretty astounding.

It is pretty astounding.

And that's what I said.

It's a hard sell to get people like it.

Really is.

Well, well.

Well.

Well, I don't fancy that.

Then.

Have you seen In Bruges?

No.

Well, there's nothing here for you there.

There's nothing.

It also featured extensively on the awards circuit.

Didn't it matter?

It did.

At the Golden Globes.

It was nominated in eight categories, which was the most nominated film since Cold Mountain in 2004, and it took home 3 awards, Best Motion Picture in Musical or Comedy, Best Actor for Farrell in Musical or Comedy, and Best Screenplay.

It got the same number of Oscar nominations 8.

Those were for Best Picture, director, actor, Farrell, supporting actor Gleason Piogan, supporting actress Condon, screenplay, editing and score.

Unfortunately, it didn't get a sausage.

Lost out on all 8 counts.

Such a shame.

And no nomination for production design I think is criminal.

That is, yeah.

It was more successful on British shows.

At the Baftas, it got 10 nominations, winning 4 Outstanding British Film, Screenplay and Supporting Actress and Actor for Condon and Kiogan Very.

Well deserved.

Absolutely.

Yeah.

Hometown vote.

Yeah, definitely.

So understated success at the box office, unanimous praise from critics, and a decent hold during awards season for this film.

Incredible stuff.

Yes, unbelievable sequels and influence.

No sequel has been made to Banshees, and I think we'd be all stunned if one did materialize.

It has been called one of the best films of the twenty 20s and one of the saddest films ever made.

But what about our thoughts on its influence and its legacy?

And it's quite difficult to say because there hasn't been too much time since its release.

So that just hasn't settled really.

But for me, it's to do with Martin McDonough.

He confirmed his place as a unique film maker with this one.

Want to be cherished and nurtured.

And whatever idea he comes up with, no matter how strange, studios who just throw money at him.

Yeah.

Original ideas have become a less and less in popular culture.

So having somebody like him making these kind of movies are so important to a creative industry just like this.

Yeah.

And secondly, just Gleason and Farrell together on screen is a joyous experience of.

Course it is.

Yeah, they could read the form book and I'd be enthralled.

Yeah, I'm certain we'll get a few more films with the two of them in.

I would love to have endless films, but no matter how many more they give us, that won't be anywhere near enough.

Yeah, they confirm their legacy is a great double act.

Yeah, definitely.

What do you think, Westie?

Like I said, there was just these films that are coming out.

Avatar came out at the same time, Marvel films are coming out the same time.

And I just felt completely disconnected and just bored and just hopeless.

I felt quite a bit like home, actually, just like, I want something to be creative, but it actually means means something.

I want something to have a legacy.

It makes sense.

And then along comes Martin McDonald with this 2022 and kind of opens the door for people to say, look, yeah, it's not making billions, but there's still an audience for this.

There's still a place for this kind of film, still a place for, you know, the local heroes, or the, you know, the whiskey galore, or you know, the still, still space for that kind of small film to exist, with clever dialogue, with clever writing, with great performances.

This is just one of them.

Where it's for the quiet guy at the back, it's for the little guy who wants to make a film, and there's still a room for you guys.

There still is for people to come up with good ideas that don't have everything blown up left, right and center.

You know, this big action set pieces.

And it doesn't have to be a Stephen King annotation.

It could just be, you know, you can break it down and make something accessible to make something easy, and McDonough is the king of that.

Yeah, yes, wonderful.

What about you, Matt?

Legacy Influence.

I mean, it's almost word for read the same, to be honest.

I mean, I think it's legacy is cement.

McDonough is just one of the best voices of his generation, one of the most talented film makers, one of the most strikingly original people out there who just makes what he wants to make and having the confidence that it will find that audience.

And again, Pharrell and Gleason just establishing them one of just the all time great double acts, like I said, or watch them together and anything.

And I think Pharrell in particular, this is the one that really proved what kind of range he has as an actor.

I mean, he's amazing him in Bruges, but that was kind of in his wheelhouse as the the kind of firecracker unreliable person Hollywood had been kind of based on the films on.

This is different for him.

So I think this is when I really elevated him.

Probably the last thing I would say about Lexi.

I think, you know, we talked about going empty handed at the Oscars.

I mean, obviously this comes down to personal opinion, but I think part of this film's legacy will be it's going to be one of those films we go this one.

Nothing at all.

Not nothing for screenplay, nothing for screenplay.

Screenplay should have, should have been in the bag.

Travesty.

Yeah, it is.

Well, I don't think we fully know the true legacy of Banshees.

Yeah, that'll come after McDonough, Farrell and Gleason get deeper into their careers and well beyond that.

Maybe.

But for now, we're thrilled that these three are able to make these films that they do and tell these beautiful, strange stories.

Absolutely.

All the right movies ranking.

Now it's time for the world famous All the Right Movies ranking.

World famous.

World famous these days.

Over to you Matt.

Your score and summary for The Banshees of Anisharan.

It is divisive and I get that, and I can't see why, but if you're on its wavelength, there's nothing else like it.

As I said in the right, now take the simple premise, one guy stop stalking to another and just spin it off in the way that McDonald does is an achievement I can't see anyone else doing and it has so much to unpack within it.

In terms of talking about depression, in terms of talking about artistic achievement, You have to be an asshole to achieve great art.

How?

Small communities can be really suffocating, but at least these small communities are out of the way of greater conflicts on the mainland.

You can watch this over and over again and get something different outfit each time.

No, it's not the knock about humor of him Bruce.

But I'm really glad it's not actually, because I would have been such a lazy way to go with it and I'm glad they did something different instead.

And these 4 main performances are as good as any performances I've ever seen.

Complex characters, complicated motivations, all of them go from making you laugh and then breaking your heart in the very next scene.

Yeah, ultimately people might remember if we did do a YouTube episode in this couple of years ago now, I didn't go back and watch that because I wanted all my thoughts to be as fresh as possible, not repeat myself.

The one thing I remember saying though at the time was my rate and forward on that.

It came with a caveat that it was a very new film and I didn't want to give a top marks because I didn't want to get too caught up in that.

I needed it to sit with me like in British, sat with me over the years and see how I felt about it after a few more viewings.

Well, I've watched multiple Times Now.

It's the other side of the coin of ambush in terms of torn terms of what's talking about.

But it's just as distinctive, just as entertainer, just as brilliant sorts of 10 for me.

Oh.

Nice.

There you go.

I mean, I'd be surprised if you gave anything other.

It just can't be.

It's what about USD, your score and summary for Vanchis?

Yeah, I mean, we've waxed lyrical about this for hours now.

And I think what I've come to realize from this is I've have have notes.

I have pages of notes, and I'm writing stuff down and thinking that everything I'm getting from the scenes that I'm talking about is just me.

It's just personal.

Like, that's the way I see it, but that's the way you guys see it.

That's the way everyone sees it.

And I didn't realize that everyone kind of feels the same.

And that's what this film does.

It kind of highlights all of the stuff that's hard to deal with, puts humor in front of it, makes it accessible, and then you talk about it with your friends and then you realize that actually, we're all closer than we think we are.

Yeah, nice.

I went back and I did watch the YouTube episode for the reason that I didn't want to repeat yourself, so I wanted to know what my stance on that was.

And it hasn't changed that much if I'm honest.

I still get exactly the same from it, but I'm not bored of that.

I don't find that to be a pain.

I find that to be a welcoming thing and something I want to go back to.

And what I get from this as well as if you talked about from a technical point of view, from the filmmaking point of view and from a human point of view.

In Bruges, their performances are brilliant, but they're very much on the page now.

This is Gleeson, Farrell and McDonough learning who each other is, meeting each other and hitting it off.

That's like how our Friday nights we used to have and Banshees is like the Sundays that we have now doing the podcast.

It's how well they know each other and how intricate they are.

Sort of watch them two films back-to-back is a beautiful thing because you realize watching this, how much trust and how much love exists in this film.

Yeah, it's solely as it's so beautiful.

It's just like zooming into a Rembrandt.

That's what it is, and we're analyzing every brush stroke.

You just realize that every brush stroke makes this work, and then you zoom out from it and it's a beautiful thing.

Again, it's an easy 10.

It's an easy 10.

Lovely.

Of course it is so.

Of course, yeah, I've said this word a few Times Now, but this is so unique and I can't quite believe it exists for a few reasons.

Like, how did McDonough come up with something like this?

Why did a major studio so say yes to something like this?

But I really couldn't be more grateful that those things happen because it's a standout.

Incredible performances by the four leads, impeccable writing and direction, the setting, the sadness, the gut punches, the hilarity of it.

I can't get enough of all of that, no matter how it affects me.

Yeah, Every time it finishes, I'm so tempted to run it back.

And that really doesn't happen that often to me.

No it.

Happens all the time to me, I know.

It does.

Trying to kill us, Dad.

It's a new experience to me.

Happens to me all the time to.

Me all the time.

I want to be friends with all of the cast mad.

I'm sure you've got the hook up for that.

Yes, I've gotten.

Take care of that.

I will take care of that, Yep.

Hook it up if it's a stick, like the way, yeah.

I mentioned the cadence of the line delivery, particularly from Condo and Keyogan.

I've never known anything like that.

It just strikes a chord with me, both funny and sad.

It's beautiful, lyrical.

It really is.

It's lyrical.

It couldn't be further up my alley if it was next door neighbor.

Yeah, it's perfect filmmaking.

It's a perfect 10.

Wonderful.

Beautiful.

Undoubted.

We said on that episode, because I know you guys haven't revisited the Cutting Room episode, but we said in the future, this is the 30, Yeah.

I.

Remember, it's now.

That now, yeah.

It is now a 30.

I'll give it now.

I'll give it 9.

I think might give it 9 1/2.

Right.

You give it a 10, Luke.

Yeah.

And then you said so with the scores combined in the future, that is 30 out of 30 here.

Here we are.

There you go.

Excellent.

Nice continuation.

It's worked out.

Well, our 4th and final score for Banshees comes from our Patreon community.

OK, And before I give you their score, I've got some comments.

We mentioned how polarized in the film is, and that is reflected in certain comments, with at least one person scoring it one out of 10.

Wow, this is going to be interesting.

Interesting.

Come on then.

OK so firstly Ryan Douglas, he said a brilliant film that makes you question morality and getting old, but also that fear of being forgotten and having no legacy after we've gone.

The Acton is top notch and it's superbly written, endlessly quotable, never boring.

There goes that dream.

10 out of 10.

Beautiful.

Yeah, Matthew Williams said great acting but I did not really enjoy the story and not one that I would be in a rush to rewatch.

Unfortunately.

Only A7.

OK OK Barry Cotter said pretty cringe worthy stuff.

I'll rewatch after the podcast.

Wow.

OK.

And finally, a palate cleanser from Kim Jackson.

Simply, she says, like literature come to life 10.

Beautiful noise.

Rely on.

Kim Absolutely lovely stuff.

So there's a cross section of comments.

What do you think Banshees averaged out of 10 on Patreon chat?

For it to get A7 and A1, it's not going to be, it's not going to be up there, is it?

I would say yeah, I'll probably say 8.

I'll go 8.

8 pop it up.

Not that disappointing.

It's 9 out of 10.

Oh, wonderful, right?

Yes, that's great.

So yes, a big 9 out of 10.

And this time 9 isn't the epitome of mental, thankfully.

So that means that combined, Banshees has a score of 39 out of 40.

A huge score justified for us, I think.

Oh yeah, yeah.

Join us again in all the right movies in two weeks.

John, Westie and Matt are judge, jury and executioner as they go, all the way back to 1957.

Sydney Lumet's debut on one of the greatest films ever made?

Yeah, 12 Angry Men.

You'll have your eyeglasses on for that one, I'm sure, fellas.

Oh yeah, yeah.

Gonna buy a knife, the knife before really dramatically into the table.

Yeah, yeah.

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And our website is All the right movies.com and that is a wrap everyone within enjoyed some good normal chatting.

Normal chat.

Normal chatting.

Normal chat, yeah.

And now it's time to go to the pub for a pint.

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Yeah, I'll meet you down there, so.

2:00.

More fool me.

Thanks for listening everyone.

Come back for 12 Angry Men in Two.

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Take care.