Transcript: Dublin International Film Festival Q&A

published March 2009
written by

Moderator: …and also, and we also have the young stars Kimberley Nixon and Rob Sheehan. So guys, you’re almost hot off the carpet in Berlin and you’d been nominated for a Crystal Bear and another first feature award and another of the many, many categories in Berlin. How did that go? Did they, did that go down well?

Lisa Barros D’Sa: Yeah, I think, it seemed to go down really well. We were at the first screening obviously, and it was in a section called Generation, which mainly features films for young people, so, what was really nice was that it was an audience that was an audience the film was intended for, and they seemed to really enjoy it, I think it was great, the reactions, like laughing in the right places and they were really interested. We got really good responses afterwards, actually.

Moderator: And Robert, you get to be pretty naughty for most of this film…

CB Dublin 1Robert Sheehan: I do.

Moderator: … and you get to kill James Nesbitt – poor James Nesbitt –

Robert Sheehan: Well, he’s not here to defend himself. He didn’t have a chance.

Moderator: Was it fine, was it comparative…?

Robert Sheehan: It was fun, but it was also kind of dangerous, because even though it was a foam pole that I was battering him over the head – sorry but it’s an illusion – but I still hit him one! I gave him a proper whack across the back of the head, and it really hurt him, I don’t know, he went quiet for a while after that. But it was tough, because, obviously, it was pretty graphic, you know, so it was… We were in there for a long amount of time and it was working up that bizarre kind of panic energy, and, you know, to have to *grmph*… It was difficult, you know.

Moderator: And Kimberley, you’re used to working on like much bigger-scale films, you’ve done a film with Jessica Biel and Colin Firth and people like that. What was it like to shoot in Belfast compared to that?

Kimberley Nixon: No, I mean, it was brilliant, there was no, you know, well, obviously it was a smaller budget, that a lot of movies have, but there was absolutely no difference in everybody’s committment to it. Everybody, I think everybody worked harder, because we had less time everywhere, you know, and we knew if we didn’t finish shooting what we did in a certain location, we probably wouldn’t be able to go back there, so yeah, everyone really pulled together, because it was important we got things done.

Moderator: Well, it does really have that kinetic, kind of off-the-hook quality and it’s not a static we’re used to associate with Belfast. Was that an important thing for you guys to do?

Glenn Leyburn: Yeah, it actually was very important, we didn’t want to show the grey streets of Belfast, which everybody’s seen a lot, so colour was very important, and we thought about static a lot and tried to show that side of Belfast.

Moderator: And Robert, a brilliant cheer to Robert Sheehan, cause you got to do a movie with Nicholas Cage and you’re doing the 1974 trilogy and stuff…

Robert Sheehan: Yeah. Oh, you’ve done your homework!

Moderator: Is this the year we should all sit and be waiting for you to come to our screens?

Robert Sheehan: Errrr, you all own televisions. In that case, yes. No, the Red Riding trilogy, as you’ve mentioned, is on in March, I believe, and so we’re going over to another premiere next week, you know… so many premieres this month… But yeah, it’s an Appson, and then we’ll get a small cinema release from what we know, and the Nicholas Cage work is a film called Season of the Witch, which we just finished, and but that’s not out til 2010. Season of the Witch, 2010, you’ll probably be able to see it here, come along, spend money, all that stuff… But no, it’s good, it’s a nice little role to tap in, so long may it continue, yeah.

Moderator: I would like to ask if anybody has any questions here?

Robert Sheehan: The shame of self-promotion…

Moderator: Yeah, the shame of self-promotion.

CB Dublin Hello, great film. Brilliant. A question for the directors. So, obviously we’ve seen that Rupert and Kim and Robert have done their part very well, but were they your original choices for these roles? And did they have to audition, or was it always them?

Lisa Barros D’Sa: No, for this film it was always important that the dynamic between the three leads was going to work very well, so it was important to get three young actors who we felt would create that kind of dynamic and have that energy between them, so it really was casting them at the same time, and they were absolutely the actors we wanted to play the parts. And we were very delighted that they were able to do the parts, and delighted with the way they did.

Moderator: Does anybody else have a question to break the tension up here? I’ve got more…

Moderator: Oh, you go ahead, you should just stand up here instead. Thank you. Another question for the directors: Obviously water is very important in this movie. Was that because Belfast is such a big port, or is there another symbolism? And also, we asked Rupert in Berlin, and he had no idea whether there was something behind the fact that one of them is wearing the locket and the other the key, and Rupert had no idea whether it meant something, so perhaps you know…

Lisa Barros D’Sa: Maybe he just thought that was to hard to observe. The water thing, yes, it’s obviously very prominent as a cinematic thing in the film. I think the first… where that came from was a little bit, certainly the notion of Belfast being, the idea of a different Belfast than everyone is used to, and definitely the ???? is a part of Northern Irish history, and I think it’s also that people who aren’t from Northern Ireland find it very amusing that we have a Titanic theatre hall, called after one of the most famous disasters that ever happened. So there’s a bit of playing with that with the Titanic Leisureplex and it also seemed very fitting with everything that happened. But it’s something that works on a lot of different levels, the idea of flooding and changing each characters life and I’m sure that we could explain, but that would be too much.

Glenn Leyburn: I know Kimberley’s necklace was actually a little throne, and that was… …she’s a princess?

Glenn Leyburn: Yeah, that’s exactly why she has the throne, as a little princess, and it was the idea of Hazel Webb-Crozier, our costume designer. That was great.

Moderator: Anyone else?

Audience: Great film, great performances, but I have a sixteen-year old daughter. Is that really what is going on behind my back?

Lisa Barros D’Sa: I’m not sure you really wish an answer to that.

Moderator: And on that terrifying thought, thank you very much!

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