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Oct 06, 2023

Film Review: Tiger Within

Published on By Opening today is Tiger Within a film that came out in 2020. Here an unlikely friendship developes between Casey a homeless teen (Margot Josefsohn) and Samuel, a Holocaust survivor

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Opening today is Tiger Within a film that came out in 2020. Here an unlikely friendship developes between Casey a homeless teen (Margot Josefsohn) and Samuel, a Holocaust survivor (multiple Emmy Award-winning actor, Ed Asner), who meet in a graveyard. Casey is literally dumped by her mother, who would rather have an abusive boyfriend than a daughter. She sleeps in the Jewish cemetery because she has nowhere else. Samuel who comes to be with his wife waits for Casey to wake up and offers her the use of his home to wash up and eat, no strings attached. She complies but instead of sleeping in the bed he prepares for her, she sleeps in the bathtub, a habit she has acquired to feel safe. Her jacket bears a swastika on the back, thanks to a club goer and Samuel, asks her if she knows what it means, she thinks it means something completely different. As time goes by he teaches her about his experiences. He encourages her to return to school and meet her father. Casey in order to live has becomes an occasional sex worker at 14, though not a Nazi, before she left home somebody spray painted a swastika on her jacket, which leads to conversations about anti-Semitism, Samuel shares his story of being Jewish and fleeing Germany. As the friendship blossoms between the two of them, so does kindness, generosity and hope.

On Christmas day Casey goes to visit her father to face the tiger within, but she is rejected and hurt goes back to Samuel full of rage. She shoves him to the ground and he invites her to be part of his family, telling her he chooses her.

Towards the end the Nazi’s of today confront Samuel and a violent hate crime involving punching and shoving results in death.

The performances of both leads are outstanding. Asner is gentle and overflowing with love despite his Holocaust experiences, and Casey finally feels she has a real family and a shot at life. Major themes of forgiving, fear, humanity, healing and finding faith in yourself bring tears to your eyes.

The script is well-written by Gina Wendkos, and shows that if we have the courage to show the world love, there are possibilities to open our hearts.

The direction by Rafal Zielinski is sensitive, if just a little slow moving. A good little surprise are the drawings that appear as the film moves.

This was Ed Asner’s final performance and he shows here what an exceptional actor he was.

Film Releases for August

Midnight Moment in August: Intersections

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: [email protected]

2021 The Ones We Mourn

Ed Asner Has Moved Onto That Big Desk In The Sky

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The American Playwriting Foundation (David Bar Katz, Founding Artistic Director) and Building for the Arts NY (David J. Roberts, President; Jeffrey A. Horwitz, Board Chair) have announced a new Relentless Award for Ten-Minute Plays, created to support WGA members who are unable to work due to the current strike. Open to all current WGA members, the Award will grant each of the six winning authors $10,000. Their plays will be performed in a special benefit performance at Theatre Row by Relentless Theater Company actors including Wayne Brady, Billy Crudup, Vincent D’Onofrio, Gina Gershon, Walton Goggins, Natasha Lyonne, Sam Rockwell, Daphne Rubin-Vega, Liev Schreiber, and Yul Vazquez. Five finalists will also be named and awarded $1,000 each. Picket Play judges include Tanya Barfield, Eric Bogosian, Aleshea Harris, and Lynn Nottage.The American Playwriting Foundation believes that the survival of writers is essential to our society and that writers deserve respect and support—financially and artistically. APF is committed to offering that support, and to celebrating writers’ relentless spirit and invaluable creative contributions to American life.“Many WGA members began their careers as playwrights,” commented American Playwriting Foundation Artistic Director David Bar Katz. “The Relentless Award, the largest cash prize in theater, was created for the specific purpose of supporting playwrights so that writing for TV and film wouldn’t be their only option if they wanted to eat and pay rent. But during this time, when those avenues have been closed to them, the American Playwriting Foundation – the theater community, the first artistic home to many of these artists – is here for them and has their backs.”Submissions will be open now through September 5, 2023. Plays should be no longer than 15 pages and should be written specifically for this award. The required topic/theme of the plays is ‘Picketing/Striking.’ For full play submission guidelines, please visit https://theatrerow.submittable.com/submit/268258/the-2023-relentless-award-ten-minute-picket-plays.Submission dates for the Relentless Award for full-length plays will be announced this fall.The American Playwriting Foundation, established in honor of Philip Seymour Hoffman and his relentless pursuit of truth in the theater, has presented the Relentless Award annually to a playwright in recognition of a new work. In its mere eight years, the Relentless Award has become one of the most impactful awards in theater, launching some of theater’s brightest new artists who are revitalizing the American stage: Obie Award-winner and Pulitzer finalist Aleshea Harris, whose plays have been produced non-stop since her Relentless win; Clare Barron, whose winning play Dance Nation went on to become a Pulitzer Prize finalist and winner of the Susan Smith Blackburn Prize; Harrison David Rivers, whose play The Bandaged Place was produced at Roundabout Theatre Company; and Sarah DeLappe, whose play The Wolves, with over 500 productions, has become one of the most produced plays of the last decade.Building for the Arts NY (BFA) expands access to the performing arts by providing creative space, learning opportunities, and hubs for artistic connection. BFA’s signature programs – Theatre Row, Music and the Brain, and the American Playwriting Foundation– nurture artists, audiences, and youth with a focus on accessibility and inclusion.

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G.H. Harding

GOT TO GO DISCO — (Via Deadline) Ian Bonhôte, director of 2018 doc McQueen and co-founder of Pulse Films, is heading to the dance floor for his latest documentary.

Bonhôte, who now runs Misfits Entertainment, has teamed with Queer Eye producer Scout Productions for docuseries Teardrops On The Dancefloor.

The series will take a look at the evolution of dance music from its early roots in 20th-century club culture through today’s pop culture.

It will offer a deep dive into the work of some of today’s most successful DJs and an exploration of their influences over fifty years of music, dancing and raving. Inspired by club culture stories curated by remix and dance music marketing executive Brad Mason LeBeau, the series will take a look at the cultural and historical context in which dance music was born and then grew.

Bonhôte also directed 2020’s Rising Phoenix and is working on an upcoming film about Christopher Reeve. Scout, meanwhile, has recently made docuseries Mer People for Netflix and The Secrets of Hillsong for FX and Hulu.

Rob Eric, Joel Chiodi, David Collins and Michael Williams serve as executive producers for Scout Productions; Dee Ryder serves as EP for Misfits Entertainment working alongside Bonhôte and Lizzie Gillett along with independent producer Brad Mason LeBeau.

“Scout Productions has a strong track record of producing quality documentary series,” said Bonhôte. “By marrying our creative styles to bring this history to life, I am confident that together we will bring forth a docuseries that not only highlights the importance of this story but also showcases the profound influence of dance culture on our collective consciousness.”

“There’s no better partner at this moment than Ian Bonhôte and the Misfits team to tell this decades-spanning saga as Scout Productions continues to expand our documentary division with critical, thought-provoking and diverse stories. Our commitment to storytelling with heart matched with Ian’s outstanding direction creates a match made on the dance floor. From Donna Summer to Daft Punk, we’re excited to dive into the cultural, social, and political impact dance music has made on our world,” added Joel Chiodi.

A long-overdue concept for sure. We’ve been aware of this for awhile but held back news on it.

Brad LeBeau

Brad LeBeau is mentioned in the press release but from what we know, he’s been the pivotal force behind this project. His Pro Motion marketing/promotion firm just celebrated their 40th anniversary (July 5) and LeBeau -who’s been a DJ himself at both Xenon and Magique- knows his stuff and his history. He’s promoted projects from the likes of Shakira; Diana Ross; Janet Jackson; Depeche Mode; Christina Aguilera and many more and has curated many of the recent remixes of classic records.

It’s always struck me as odd that the name-DJs from the 70’s and 80’s – who did exemplary remix work – have largely been ignored. Names like Shep Pettibone; Larry Levan; David Morales; Tom Moulton; Sharon White; Steve Thompson; John Robie; Arthur Baker; and Glenn Friscia, among others, have sadly been forgotten. Marquee-name like The Rolling Stones; Phil Collins and Philip Bailey; Rod Stewart ; U2; Bruce Springsteen; Smashing Pumpkins; Debbie Gibson; and INXS have utilized their talents.

Check out this article from Vehlinggo on the evolution of the remix: https://vehlinggo.com/2021/03/23/the-evolution-of-the-remix/

More on this story as it develops.

SHORT TAKES — Big new from Tulsa re Mark Bego’s forthcoming Joe Cocker bio – With a Lot of Help from His Friends (Yorkshire Publishing). Stay tuned … 42 years ago from this week, “Video Killed the Radio Star” by The Buggles was the first music video to play on MTV. The channel debuted August 1, 1981 … Whatever happened to Crimshaw? …

Scott Shannon; Jim Kerr; and Tom Cuddy

30 years ago this week Z100 began their infamous worst-to-first climb to the top – in just 74 days no less with Scott Shannon driving the train. Check out this story from Inside Radio: https://www.insideradio.com/free/exclusive-radio-icons-scott-shannon-and-elvis-duran-talk-z100-morning-drive-and-taking-risks/article_01750496-49f7-11ed-8a72-970f73c8780a.html …

Lizzo

Was never a Lizzo fan; something always seemed a bit off to me. This week’s revelations were indeed a huge surprise for certain. Also, the comments from doc filmmaker Sophie Nahli Allison, about stepping away from her camp, certainly didn’t help either. Check out the story from Deadline: https://deadline.com/2023/08/sophia-nahli-allison-lizzo-documentary-exit-bad-behavior-1235453802/ …

Kjersti Lon

Talk about an overlooked classic. Kjertsi Long’s “Boys In Jersey.” Listen here: https://www.youtube.com/watch?v=HxuHJ2wlnuI … Heavy metal mania on the Today Show Thursday. I honestly don’t recall another heavy metal outfit performing on the Today Show, although the Foo Fighters come to mind. Thursday was Wolfgang Van Halen’s Mammoth performing. The song was great, but certainly not as memorable as several Van Halen tracks. Standing by was Wolfgang’s fiancee and his mom Valerie Bertinelli. Hey, it helps to have friends in high places … The recent news of Taylor Swift giving her tour-support personnel bonuses was terrific and mind-blowing at the same time. Truth be told, this is something that rarely happens in today’s world let alone the music-industry. Good for her. Bravo! .. We’re back mid-week, next week.

NAMES IN THE NEWS — Jodi Ritzen; Tom & Lisa Cuddy; Larry Flick; Steve Leeds; Liam Davenport; Jordan Runtaugh; Joe Lynch; Deb Caponetta; Randy Klein; Steve Walter; Donnie Kehr; Terry Jastrow; Mark Bego; Kent and Laura Denmark; Mary Ruth; Alexis Petridis; Melinda Newman; Daryl Estrea; Roy Trakin; Melissa Davis; Jane Blunkell; Amealia Jo; and ZIGGY!

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G.H. Harding

LADY M UPDATE — (Via Ultimate Classic Rock) After Madonna‘s planned Celebration world tour was halted following a stint in the ICU in late June, the singer/entertainer/pop culture icon later updated fans with a social media post regarding her “road to recovery” from a bacterial infection.

Madonna has since now shared another update, and this one weighs especially heavy given what she’s been through since the initial issue. In a lengthy message posted to Instagram on Sunday, Madonna expresses appreciation for her children and their role in helping her during this rough stretch:

“Love from family and friends is the best Medicine. One month out of the hospital and I can reflect. As a Mother you can really get caught up In the needs Of your children and the seemingly endless giving……….. But when the chips were down my children really showed up for me. I saw a side to them I had never seen before. It made all the difference.

So did the love and support from my friends. If you zoom into this Picture I am holding You will see A Polaroid taken by Andy Warhol of Keith Haring wearing a jacket with Michael Jackson’s face painted on it. A perfect triangle of Brilliance.

Artist who touched so many lives including my own.

I sobbed when I opened this gift because I realized how lucky I am to be alive. And how fortunate I am to have known these people and so many others who are also gone.Thank you @guyoseary for this gift!And Thank you to all my angels who protected me and let me Stay to finish doing my work!”

Officially detailed back in January, the Celebration tour was supposed to start on July 15 in Vancouver and run for several months, moving overseas in early 2024, with the goal of celebrating Madonna’s 40th anniversary as an artist — but now, those plans are on hold.

Stay tuned for any further news on the Celebration tour.

Shep Pettibione

Literally days after she returned to her 81st street home in NYC, she was seen walking the streets of Manhattan, so who knows? I’ve known her, respect her and wish to hell she’d get back with producer Shep Pettibone or Patrick Leonard and produce some more classic music! Cheers Madonna!

BURTON ON PEE WEE — (Via Deadline) Tim Burton will never forget Paul Reubens. Burton has shared a tribute to Reubens, who starred in and co-wrote Burton’s feature directorial debut Pee-wee’s Big Adventure, following Reuben’s death Sunday following a years-long battle with cancer at age 70.

“Shocked and saddened,” Burton wrote in a post on Instagram alongside a photo of the two on the set of Pee-wee’s Big Adventure. “I’ll never forget how Paul helped me at the beginning of my career. It would not have happened without his support. He was a great artist. I’ll miss him.”

Pee-wee’s Big Adventure‘s Pee-wee Herman character became known following the 1981 The Pee-wee Herman Show comedy special on HBO. The film character was a quirky man who dressed in his trademark gray suit, red bow tie and white loafers, and in the film went on an adventure as he hunted down his stolen bike.

Reubens appeared in three of Burton’s films. In addition to Pee-wee’s Big Adventure, Reubens voiced Lock in The Nightmare Before Christmas, for which Burton wrote the story and co-produced. He also appeared as the father of Danny DeVito’s Oswald Cobblepot/Penguin character in 1992’s Batman Returns.

In a 2016 interview in Collider, Reubens praised Burton when asked why he selected Burton to direct Pee-wee’s Big Adventure.

I think it was the wallpaper in Frankenweenie, in the second shot of the movie. From the first minute of his film, I could tell that he was somebody who was very interested in style,” Reubens said. “He brought style to something, and a lot of young directors aren’t there yet. A lot of people who have directed for long careers still don’t have much style. So, I could tell that he had a style, and that he understood production design and art direction. There was a lot of stuff about that first film that felt perfect to me.”

SHORT TAKES — Remember that skit on Saturday Night Live with Alec Baldwin as Tony Bennett? He hosted the make-believe Tony Bennett Show with Tony Bennett as a guest. Priceless. Check it out here:

Danny Tedesco, who did the brilliant doc on The Wrecking Crew is back with a new one on focusing on several key session musicians. Check it out here: https://www.deltaplexnews.com/don-henley-keith-richards-more-featured-in-new-doc-about-1970s-session-musicians/ … Monday’s Today Show had the hosts feature their summer playlists – and Al Roker’s list was the only one to feature all classic artists like Stevie Wonder; The Spinners; Whitney Houston; The O’Jays and Elton John. Face it: say what you will, but today’s artists just don’t have the stay …

Booking-agent Craig Newman, recently at APA, looks to join Bruce Solar at the newly-minted Paladin Artists with our old friend Wayne Forte. Congrats … Happy Bday Eva Mueller; David Sanborn and Steve Leeds!

NAMES IN THE NEWS — Benny Harrison; Danny Fried; Donnie Kehr; Cori Gardner; Tom & Lisa Cuddy;Jeremy Long; Zach Martin; Jim Kerr; Scott Muni; Peter Shendell; Barry Fisch; Thomas Silverman; Cory Robbins; Steve Plotnicki; Jules Peimer; James Edstrom; Barry Z; Joe Franklin; Glenn Friscia; Mark Bego; Matt Lauer; and BELLA!

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Yesterday we told you about Julien’s Auctions and Turner Classic Movies (TCM) Hollywood memorabilia auctions. The list of items was so long and fabulous we decided to do a part 2.

A Captain America shield used by Chris Evans in Captain America – The First Avenger ($20,000 – $30,000). This prop seen while Captain America is performing on stage as “The Star-Spangled Man” is composed of resin and fiberglass, with faux leather straps adhered on the back side for securing the wearer’s arm.

A “Wonderboy” baseball bat ($20,000 – $30,000) as used by Robert Redford as “Roy Hobbs” in The Natural. The thirty-three-inch bat is offered together with a crew T-shirt and a collection of small props and production ephemera from an assistant prop maker (whose hands can be seen applying the lettering to the bat in the shots included in the final film).

Jack Nicholson signed Joker glove from Batman ($3,000 – $5,000). This iconic purple glove is the style that Joker wears in multiple scenes of the 1989 film, that has been inscribed, “Jack “Joker” Nicholson.”

An Amazon Mother Box from Justice League ($10,000 – $20,000). This prop appears guarded by the Amazons as one of three Mother Boxes that Steppenwolf (Ciaran Hinds) intended to use to take control of Earth.

An axe prop from Stranger Things($4,000 – $6,000). The axe is used by Winona Ryder as Joyce Byers in season one, chapter four titled “The Body.”

Jamie Lee Curtis’s fully-beaded ivory 1983 Academy Awards evening gown ($1,000 – $2,000).Marlene Dietrich originally owned the gown and wore a similar version in the 1942 film, The Lady Is Willing. Jamie Lee Curtis would wear the dress to present the Oscar for Best Sound Effects Editing alongside Carl Weathers.

Janet Leigh’s 1960 Academy Award gown attributed to Edith Head ($2,000 – $4,000). This silver-tone beaded gown features glass bugle beads that are sewn vertically throughout. Janet Leigh, and her husband at the time, Tony Curtis were both presenters at the ceremony.

An Officer Alex Murphy Robocop 2 stunt costume ($2,000- $3,000). Worn by Peter Weller and/or his stunt double in the reprisal of the title role from Irvin Kershner’s sequel film. The costume comprises a fiberglass helmet with latex face, urethane armor, and an undersuit and gloves made of foam and spandex. The helmet and armor pieces bear “OCP” markings and are painted an iridescent blue, with the helmet created specifically for the production and the armor pieces believed to have originated from the production of the first film, RoboCop.

And from Terminator 2 – Judgment Day“Future War” Skynet Hunter Killer “HK” Tank ($10,000 – $20,000). A massive SkyNet “Hunter Killer” or “HK” tank created by Gene Warren Jr. and his crew at Fantasy II Film Effects for the production of James Cameron’s sequel film.

Other sensational highlights announced today include:

JULIEN’S AUCTIONS LIVE AND ONLINE AUCTIONSJULIEN’S AUCTIONS AND TCM PRESENT “LEGENDS: HOLLYWOOD & ROYALTY”Wednesday, September 6th, 2023Session I: 10:00 a.m. Pacific TimeJULIEN’S AUCTIONS AND TCM PRESENT “LEGENDS: HOLLYWOOD & ROYALTY”Thursday, September 7th, 2023Session II: 10:00 a.m. Pacific TimeJULIEN’S AUCTIONS AND TCM PRESENT “LEGENDS: HOLLYWOOD & ROYALTY”Friday, September 8th, 2023Session III: 10:00 a.m. Pacific Time

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Luke McManusPhoto: Killian Broderick

Film: “North Circular”Director: Luke McManusOpens: Friday, July 28th, 2023At: DCTV FirehouseWhere: 87 Lafayette St.

Having been to Dublin before, my image of the city is filtered through one idealized version or another. I’ve met buskers on Grafton Street and seen hipster haunts in Temple Bar. I’ve traipsed over to the scene north of the Liffey, and hit the bars there. But I’ve never found myself on the North Circular, meeting the characters and musicians who populate this much talked-about new hybrid doc. “North Circular” makes its New York debut this Friday at DCTV Firehouse with director Luke McManus in attendance.

This film maker has not only traveled the length of Dublin’s North Circular Road — exploring the area’s history, music and streetscapes — he is now bringing his documentary musical to the States, presenting it by making its NYC theatrical premiere.

Told in a black and white 4:3 Academy ratio, the film evokes many narratives from the history of the city and nation to its musical styles and mores. Topics range from colonialism to mental health to the struggle for women’s liberation, all while considering urgent issues of the day. The film addresses the battle to save the center of Dublin’s recent folk revival — the legendary Cobblestone Pub — and looks into its destruction at the hands of cynical property developers. The movie also includes musical performances from artists local to the North Circular, including John Francis Flynn, Séan Ó Túama, Eoghan O’Ceannabháin, Ian Lynch and Gemma Dunleavy.

Numerous themes, characters, and issues bubble up from underneath the surface of this windy thoroughfare when you walk it. It’s couched in darkness at some times while exuding a celebratory energy at others. This single road encompasses so much diversity of human experience. While McManus’s film only offers a glimpse of local life through a couple of moments, audiences also get a taste of the complex history of this multifaceted place. And It’s actually traveling the world now while being linked to some of the Emerald Isle’s most beloved and infamous places.

Music is used as a specific storytelling technique both aesthetically and editorially. The result combines the musical and the factual in a way that makes this neither a simple music documentary nor a road movie. What emerges is a musical-as-documentary. According to the information provided, “This narrative form reflects the tradition of musical storytelling and narrative in Dublin that began with Peader Kearney and Dominic Behan and continues with Lankum, John Francis Flynn, and Gemma Dunleavy today.

“The use of black & white imagery reiterates the connection between the values and culture of the past and those of today. There is a timeless quality to the challenges that face our characters with yesterday reflecting in their eyes as they live their present lives.”

The film had its world premiere at Dublin IFF (Special Mention for Best Doc), screened at Sheffield DocFest and won the American Cinematographer Magazine Award at Salem Film Fest as well as the Grand Prix in Music Documentary Competition at FIPADOC. In Irish cinemas, it has had a very successful theatrical run starting last December — and is still selling out screenings.

Based in Dublin, filmmaker McManus has produced and directed award-winning projects for NBC, Netflix, RTÉ, Virgin Media Television, TG4, NDR/ARD, Al Jazeera and Channel 4. He’s won four IFTAs, a Celtic Media Award, and the Radharc Award in the process. McManus’ debut feature as a producer was “The Lonely Battle of Thomas Reid,” which premiered in the Main Competition at IDFA in 2018, won the George Morrison Award for Best Feature Documentary at the Irish Film & Television Awards and the Best Irish Film Award at the Dublin International Film Festival. All of this positive feedback led him to finally direct “North Circular” —his debut feature documentary.

There will be Q&As with McManus and musician Annie Hughes at select showtimes — and maybe a performance or two as well.

T2C: This is a pretty dark film. Did you make it with the idea that it was going to be dark? Or did it become that as you were in the process of making it?

Luke McManus: You kind of follow your instincts a bit. I did know that it was a place that had a bit of a troubled history and I thought that maybe that would be an interesting thing to investigate. I think Irish folk music is quite dark in its tone. Its subject matter typically is dark as well. I was following that path, but I like to think that the end of the film is uplifting enough to give you a sense of the light at the end of the tunnel. I think it’s ok to bring people into the darkness as long as you leave them in the light.

T2C: From your experience on the road, were there some dark moments that aren’t in the movie?

LM: Making any movie is a challenge and the creative process tends to lead you into a lot of self-doubt and difficulties. This was no different. In fact, it was difficult. But in my experience, the hard ones are the good ones. You know, the easy ones are mediocre. So even though this was a very hard thing to make, it certainly gave me immense satisfaction to see how it turned out. The success has been incredible.

I suppose I didn’t want to make a film that pulled its punches. And this area of Dublin has a notorious reputation for criminality, poverty, addiction and suffering of various kinds. It’s a humorous place and a cultured place. So I wanted to make sure all that came through in the film.

T2C: If you had just lived in a nice, sweet suburban area without any of these elements to it, could you have made this film?

LM: I probably could have, but it might have been somewhat bland and an uninteresting one. I think hard times make good art as a rule. Suffering is like the Irish way of dealing with trauma and suffering: to crack a joke, tell a story or sing a song. I think something that came out of the film as a kind of learning is that it’s not about whether you suffer, It’s about how you deal with and channel that. I was lucky to meet a lot of people that channel that suffering into their art.

T2C: You concentrate on a couple of people whose life experience was dark. I wasn’t sure that there was anything else redeeming about them. But in a funny way, like the one fellow who went on a bit, they were intriguing. He had the really cluttered apartment. That was the way he lived. I was trying to say that to myself since I have had issues with clutter myself. I was worried to see if I was being reflected in him and maybe that’s why I was reacting.

LM: They say that clutter and hoarding is sort of a response to loss and bereavement. I mean, we’ve all suffered a loss. I hope you haven’t suffered a too-traumatizing loss. But that sort of thing is a catalyst. I mean, you’re talking about the tin whistle player. He did have a very tough life, but in a way I find him a very inspiring character because he’s managed to find a way, despite being homeless at times, incarcerated in the mental hospital and witnessing some dreadful events. He still might start playing his whistle, cracking his jokes, giving his speeches, talking to people in the community. And he’s managed to go out into the world and make a life for himself which has a bit of meaning. So even though in many ways, in many ways, he’s a tragic person, he also sort of also inspires me.

T2C: I really was being a little bit tongue in cheek when I was asking this. But in any case, I don’t think Tourism Ireland will be promoting this film because I thought of it as the dark side to the tourist vision of Ireland. We’re getting a sense that living in Ireland is not quite what we see when we’re on the tourist bus.

LM: Well, that’s for sure. I think this community has had a very bad press and it’s been in some people’s eyes, too dangerous place to go to. But ultimately, I think it reflects the spirit of the city and of the country very well. We’re not a fancy country, we’re not a blandly bourgeois place. If you want that, France is there. But if you want somewhere where, as I say, hard times are met with the raise of a glass and the cracking of a joke, then Ireland’s the place. I think that as a reality, it reflects a rich, cultural, diverse, always interesting place.

T2C: You didn’t try to offer any social solutions. In other words, in some ways, I didn’t get the feeling that any of this could be corrected in one sense or another. Wrong or right? Do you have solutions that are you just going to do in the next film?

LM: You’re both wrong and right. I didn’t offer solutions. I don’t really feel that the role of a documentary maker is to offer us allegiance necessarily with a filmmaker. Well, what I like to think I did do is as we were going down the road in the film during the making of it, I realized that not only was it a journey through the city. It was also a journey through the history of the city. We start with the 19th century imperialism, soldiers, the British army and you move through revolution and land war and incarceration and institutionalization. But when you get to the end, you find that these young women are very 21st century characters, very independent, very high achieving, very positive. You have Jennifer Levy the singer who’s a wonderful kind of spokesperson for her area as well as a creative force. You have Kelly Harrington, the boxer who’s a gay woman who’s you know, celebrated her gold medal return with her wife and her family. And it isn’t even a thing that she’s a gay person. It’s not even a, a remarked upon thing. It’s not even that it’s accepted in Ireland. That’s not even remarkable. You have these people at the end who represent contemporary life very powerfully and, I think, are quite inspiring. Part of the thing in the film is that Ireland, even though it has problems around housing and accommodation, it’s also in a good place. I think as a country, maybe, a better place than it’s ever been in.

T2C: It’s the women of Ireland who have really been saving the country. in fact, when you show those scenes of the soccer lads, it’s almost like, “I’m really embarrassed to be a guy.” Thankfully, I’m not a sports fan so I’ve never been in that kind of a rally, like a neo-fascist environment — it really did come off like a Hitler rally.

LM: It’s an interesting point because there’s a reason those rallies were so popular. And the reason is that they tap into a very human need or just the need to belong and to escape your own ego by being subsumed into the crowd. That’s interesting for me and has always been a subject I’ve been fascinated with from my own time as an Ireland fan and experiencing the good-natured euphoria of being an Ireland fan. It was something I wanted to capture in the film. But what I find about that scene particularly is that it’s very strongly connected to the start of the film where we have some people talking about the reason young men join armies. You’re looking for excitement, for adventure, for brotherhood and camaraderie. You’re looking for an enemy to focus your aggression on — your masculine energy. It feels to me when I look at that bohemian crowd that I think there’s the same cause that made young Irish men join the army and go to die in the fields. In the first World War or even to join the IRA. There’s a sense of purpose and a mission that’s very seductive.

T2C: Do you think that the experience of joining… because women had a more equal position in the NRA, in the IRA, excuse me? Sorry f had a Freudian slip there. But in any case. And I think that in a way part of being involved with the IRA elevated women in many ways, like look at who the leader of Sinn Fein is now.

LM: It’s very true. I mean, the left in Ireland has had a lot of successful women politicians. We’ve had Mary Robinson and Mary McAleese as presidents, obviously. And we’ve got a woman Sinn Fein leader now and there’s a female Labor party leader now. Having said that, I don’t think the IRA by any means had a monopoly on feminist feminism or progression of women. And there has been a lot of very questionable stuff that’s come out about abuse — sexual abuse inside thr organization that was covered up by Gerry Adams and a few other people. So it’s a tricky one. But, generally speaking, I think the story of Ireland now is very much a positive one as regards the quality of gender equality.

T2C: One thing I thought about while I was watching the film was how you evolve the songs. You start out with the old kind of sessun type song, where it’s got that ambling sort of melodic quality. Then you start to get into pop music at the end and there’s still a strong lyrical sense there as well. But it’s now connected through a much more up-tempo pulsing experience.

LM: Well, that part of the journey through time was also reflected in the music. The very first song you hear is about Charles Stewart Parnell, the great nationalist leader of the 19th century — “The Sweet Blackbird of Avondale,” that was his nickname: The Blackbird of Sweet Avondale. And that last song with the Flat, which is kind of like a garage R&B type sound of Gemma O’Riordan, very modern sounding. But having said that, when you look at her band, she has a harpist, which is the most traditional Irish instrument of all. And not only is it on our money, it’s also on our pints. and she even has a fiddler as well. So even within that very 21st century slick kind of construct that she has, that heartbeat of folk music is still there. The penultimate songs, “Rock the Machine” is sung by Lisa O’neill and written by O’neill as well. So the performer wrote that song. It’s very much in the folk and traditional idiom, but it’s written in the 21st century. So again, that journey into the present and the past.

T2C: I think there’s an Italian film that I saw at a festival that had a similar feeling of the road about Rome. It’s kind of like the circular road around Rome.

LM: That’s Gianfranco Rosi’s “Sacro GRA,” which is a magnificent film and very much an influence in my film. There were also some writers in the UK, in the ’90s, called the Psycho Geographers. A lot of what they did was about journeys and places and wandering about. Iain Sinclair, Will Self and a few others even back in the ’70s. There was a wonderful French film about the road in Paris. So, it’s certainly been done before, this idea of traveling through a place and meeting people on the way. But I don’t think there’s been a film in Ireland like this, in this way. I think every film is built on the shoulders of giants that came before, and there’s very few original projects in this world now.

T2C: This is an unusual way to make an American debut. In any sense, it’s a pretty unconventional film, number one. And number two, it’s very Irish-centric. Are you worried about it having a reach a more general audience? Or do you feel it’s going to at least reach Irish audiences who would come out to see it because it’s a portrait of Ireland that they don’t often see.

LM: It’s an interesting question. When I was making the film, I didn’t think people outside of Ireland would be that interested. But what I’ve discovered is, in fact, [there’s an audience beyond Ireland.] I think we’ve done 40 festivals now around the world. I’ve had amazing feedback from Melbourne to Istanbul, to Buenos Aires to Vancouver. We got nominated for an award in Shanghai, and it’s surprising how much global purchase the narratives have, the stories have and the music has. I’ve been doing a lot of Q & As and had a lot of discussions about the film. My favorite question of all was from an Italian man who said, “I don’t have a question, but I’m from Napoli and I’d like to thank you for making a film about Napoli,” which really stopped me in my tracks. I then knew exactly what he meant. There’s a certain type of a place that’s chaotic, dirty, energetic, funny and frightening in nearly every city in the world. I think it is universal.

T2C: One thing that’s interesting about the film is that you feel like you walk into it in a way without it starting with a more traditional kickoff of a film. Did you back into that idea of doing it that way or was that always in your mind?

LM: You mean the song at the very start or at the park?

T2C: Well, there’s just elements to the film — it doesn’t start like a typical documentary which sets you up in a certain way and says this is a film about this experience or that idea. The idea kind of evolves as you watch it.

LM: Well, a huge thing for me was the fact that this was a cinema film. I’ve done a lot of TV. I’ve done jobs for streamers. And when you make those films, you’re always under huge pressure to get your cards on the table very early on, to try and hook people in. I knew that if you’re in the cinema, you paid your 16 bucks, and you’re sitting in the middle of aisle four… You’re not going to get up and leave after five minutes. You have the luxury of time with people. I thought, “Well, why not just make it experiential and bring people into a world?” The journey begins and you’ve established the grammar of that world, the atmosphere and the tone of that world. It was a rare privilege to do that. I was very fortunate to have the opportunity to make a film exactly as I wanted to in a very old commercial way. But the irony of that is the most commercial film I tried to make has been the most successful as well.

T2C: You’re from Dublin. You grew up there or you are from a suburb?

LM: I grew up in a little town called Bray, which is somewhere in the county island of Dublin. It’s right on the edge of the city where there’s fun fairs. When I grew up there, there were the movie studios like Ardmore. There were film makers like Neil Jordan and John Boorman making movies there. Bono and Sinead O’Connor lived there and it was quite a creative place. But I moved to the North Circular in the ’90s. And during the making of this film, I discovered my grandmother grew up on North Circular, literally around the corner from where I live now. And her life experience actually informed a lot about this film.

T2C: When did you know you wanted to make movies? And when did you have the idea that you’re going to make documentaries? Some people make documentaries, but don’t necessarily move to narratives. But do you want to move to narratives after you’ve done a few or more — or not?

LM: I’ve done a few. I’ve done a web series. I did a TV movie for Channel 4 in the UK and in Ireland. I did a few shorts and I love narrative filmmaking. But I think documentary is sort of my [thing]. Narrative is hard, man. You get one thing wrong and it destroys the entire illusion. You mess up a costume choice or you cast one bad actor and your film is wholly below the water line straight away. The margin for error is miniscule. Whereas with documentaries, there’s always a different way to tell the story and you always have reality there. It’s sort of the wind beneath your wings, carrying you along a bit and just providing a foundation. And in a weird sort of a way. I think documentary now is just as creative, if not more creative than narrative filmmaking because of the freedom it gives.

T2C: You have a better opportunity to blame people if it goes awry with a narrative production rather than a documentary. With a doc, you can only blame your editor, maybe your DP, and yourself. Whereas on a fiction feature, you have a lot more people to blame.

LM: That’s very true. In fact, ultimately, I had no one to blame but myself on this project because, for the first time ever, the Arts Council of Ireland gave me a grant to have complete creative freedom. I hired everyone in this job. I didn’t have anyone to tell me what to do. It was a wonderful gift, but it was also terrifying because of exactly that thing. It was only going to be my fault and I bloody lived there. I’d be reminded of how shit it was, every morning when I opened the door. So I’d have to move my house if it hadn’t worked out well. I’m totally relieved and thrilled that it has.

T2C: I saw that somebody had …. There was an “in memoriam” for someone there. I don’t know if anyone else died during the process, but yes, you’d better get it right because some of these people are still on the street. Right.

LM: I meet them all the time and they come to see the film, some of them numerous times. It’s been one of the most enjoyable and fulfilling aspects of the whole process … seeing their pride, happiness and joy in what I’ve done. Even though sometimes it’s maybe not the most flattering portrait of people either, you know. But they accepted my values and approach and the deal I’d done with them. Yeah, it’s been wonderful.

T2C: Do some of them join you for Q&A’s?

LM: In New York, I’m being joined by Annie Hughes, who’s the extraordinary singer at the very start of the film, and who’s in the trailer singing “The Blackbird of Sweet Avondale.” She’s going to be in the Q&As and might even sing a few verses of a song or two if you’re very lucky. And we’re also being joined by Maeve Mulligan from the cobblestone who has that very emotional moment when she’s given the speech on the steps of the city hall to the protest. And she’s joining me in New York, too. So I’m really lucky that we’ve got such a high-caliber of talented and interesting people coming over to join us.

T2C: How did you pick this time to be the time when you’re putting this film out and bringing it to an American and particularly New York Irish audience.

LM: To be honest with you, it’s probably not the ideal time because it’s the middle of the bloody summer. I’d say half of the people are going to be on the beach. But I was offered the slot by the cinema and they programmed it. They said they wanted a program for a week which is going to qualify us for the Academy Awards, which is incredibly exciting for such a left field film to be on that list. I didn’t want to say no to that. And my wife is very pregnant. I couldn’t wait for the autumn. I won’t be leaving Ireland then, that’s for sure. I’m doing well to leave next weekend, to be honest with you. Its world premiere was in March of last year and it has traveled all around the place. We’re still on at the cinema in Dublin 33 weeks after we released the film, which is mind-blowing. But I think New York is going to be a high point on the end of the journey probably.

T2C: Has it changed your ideas of what you want to do next? Or have you an idea of what’s going to be the next project?

LM: It’s been incredibly fulfilling. I feel almost unburdened, as if at the age of 50 I’ve finally fulfilled my potential as a filmmaker. You know, it’s a wonderful sense of satisfaction and sort of calm I have now, and I just did a TV series about homeless people in Dublin. Since I made this film, I did a three-part TV series. I’m now in development on a few more projects. I have a range of things on the development slate, but I think my next project is going to be a baby girl coming in September and I might just give her some attention.

T2C: That becomes a project in and of itself and that project never ends. My daughter is in her late 30s and I still feel like I’ve got a baby on my hands.

LM: This is the thing. I’m sitting with a nine-year-old very patiently looking at his Nintendo on his laptop on Zoom. So, yeah, it’s here. It’s a joy and I think as a creative person as well, it’s very easy to become wrapped up in your own bullshit. So I think kids are brilliant at sort of making sure you have a bit of perspective and an outward focus.

T2C: This is your second child, right? Do you think that’s going to change your filmmaking perspective?

LM: Hopefully. It’s certainly changing my perspective on many things. It’s just been such a weird time, the last couple of years, with the lockdown and all that. I think this film was a product of the lockdown in Ireland. We were restricted to a very tight radius of our homes during lockdown. And if it’s got that “first film that I’ve been dreaming about for a very long time” quality, well I realized that if I don’t make this film now, it’s never going to happen. Because this is the perfect moment.

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