Rebecca Daly, Director/Co-writer of ‘Good Favour’

In Rebecca Daly’s Good Favour, a wounded teenage stranger who stumbles into an isolated village of devout Christians gradually reveals his motives. David Prendeville met Rebecca to discover more about the film.

 

Can we talk about the inspirations behind the film?

There were a couple of ways that we were inspired to make this film. I’m not sure which came first, but one was when Glenn (Montgomery, co-writer) found an article online about this young guy who walked out of the woods into Berlin. He claimed to have been in a car accident with his parents and said that he had no memory of anything before that. We followed the story online for about a year and it ends in a bit of of a banal way. But we liked the set up. The idea of somebody arriving somewhere and not having a memory of where they came from. We were interested in what the possibilities of that were, especially in terms of what they could mean to the people they encountered. There were lots of theories online about this guy – who was he? They didn’t release a photo until quite late as they weren’t sure that that he was over 17. There was a lot of speculation about who he was. We thought that was quite interesting. What can someone be if they say they don’t know who they are?

 

And the religious aspect?

That was the other inspiration. My grandmother had this really strong faith, despite the fact that she understood that there had been various abuses in the church. But still, her faith was so strong that she could hold and contain all of this and still endure and persevere with it. So, I was interested in that – how much can people take an preserve their way of life and maintain the belief systems that they hold really dear. That was an interesting thing for us to explore, this microcosm of an organised religion really.

 

This film calls to mind European art house. Is there anything in particular that influences you formally? Are there other filmmakers you keep in mind?

No, not really. I watch a lot of films and I love a lot of different filmmakers’ work. But I wouldn’t say I have any conscious sense of being influenced. Of course, there are filmmakers I admire, like Haneke. I would be a big fan of his work. And Lynne Ramsay, or Paolo Sorrentino – who is completely different. These are all kind of filmmakers whose work I love. But I wouldn’t say I was influenced. I’m always trying to find the part of the film itself. Also, looking at my other films, I think you can see that they’re made by the same person yet still they are not the same necessarily in terms of tone and form. I think the story, and what we’re trying to get across in terms of theme, really influence how the film is made, the form of the film, the tone of the film – and this film needed to be a mystery for the central story to work; for this central character to be quite mysterious and for there to be lots of possibilities about him. That is the nature of faith itself.

 

There is a mystery at the heart of all your work. How important is it for you as an artist to challenge the audience? Your films are demanding in a very positive way.

I feel that audiences don’t always want to have a passive relationship with what they’re watching. I think they get that a lot in cinema and it’s satisfying to a point. But that’s not what people always want. Sometimes people do want to be challenged and they do want to see that the filmmaker is thinking about the world we live in. Maybe they’re considering our place in it. I want to have a relationship with the audience which, in a way, invites them to be the last piece of the meaning of the film. Of course, the film is itself. It’s a piece of work. It’s finished – but they are the last piece. Until the audience is in front of it, the film doesn’t have the full meaning.

Also, audiences differ. People talk about films as being different from theatre – that they are fixed and they are unchanging. But I think, depending on the audience, they can change quite a lot. I’m interested in the audience being the last piece of the puzzle and part of that dialogue. I found traveling with this film really interesting. People have based a reading of what they think is happening in the film quite often on their own belief systems and their own ideas about faith.  

 

There are very strong performances in the film. Can you talk a little bit about the casting process for this film and also your approach to directing that cast.

Quite a lot of the key cast are Danish actors. We have one German actress and several Belgium actors. We had a casting director, Dan Hopper, based in London working across all of it. And then we had a casting director in Belgium. She actually ended up finding Vincent [Romeo] who plays Tom. It was extensive. A lot of self tapes were sent before I would get in a room with people.I had a particular idea in my head that I wanted to work with Danish actors. They have such a fantastic reputation.

With Tom, he’s so extraordinary looking. We’d seen lot of tapes with a lot of young guys the right age. But there’s just something about him that was so striking, even though he didn’t have a lot of experience. I just knew this has to work. I did work with him quite intensely in prep and we did a lot of casting sessions with him that were about getting him to the place where he was would be ready for the role. We organised the filming schedule so that the most difficult scenes for him were at the end of the shoot. He really grew as an actor through the shoot, because the filming process often will give actors who aren’t experienced a lot of confidence. That really happened for him, which was a really interesting thing to watch.

 

I know on this film you had to build the village – what was that experience like for you?

It was such a pleasure to build a set. I’ve never had a film that had a built set before, for something like that to come out of your imagination really faithfully. When you shoot on location, as I have with other films, you get everything as close as you can to what you can imagine. Some locations will be really suitable and some may be better than you’d imagined. Others will fall short and you make the best of what you’ve got. But this was amazing. I could sit with the designer and the cinematographer, who came on early, and we would plan together. We designed and built this village together. Not only in terms of the aesthetics of it, but also how it would work for shooting and moving walls and things like that. That was an incredible pleasure. Of course, it puts a lot of pressure on a film that’s on a small budget because it’s expensive to build things. But the innovation of the designer was phenomenal, which really helped.

 

Sound is very important in your films. It’s very evocative always and seems like it’s a very important aspect to your style.

I remember when I was studying film, I had a lecturer who said that sound is nearly more important than picture so that it feels right. If the picture is a bit rough but the sound is good, the audience can still feel immersed in the world. Whereas if the sound is really bad and the picture’s great, it’s really jarring. I think it’s because we read visuals in a more conscious way. Whereas sound affects us subliminally. That’s why I think it’s so important as it taps onto our subconscious, into our dreaming states and all these areas of the mind that we’re not conscious of. I’ve been really lucky to work with really strong sound designers. There’s been different ones on each of the there films, which is part of the co-production model, that they come from different countries. I’ve been really lucky that they’ve been really responsive to a very creative approach to the sound and also a detailed approach because I am really particular about it. Or if I feel like that there’s not enough nuance in a moment, I’ve been lucky enough to work with people who go back to those moments and get it right.

 

Good Favour is currently in cinemas.

 

 

 

 

 

Irish Film Review: Good Favour

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Irish Film Review: Good Favour

 

DIR: Rebecca Daly • WRI: Rebecca Daly, Glenn Montgomery • DOP: Tibor Dingelstad • ED: Tony Cranstoun • PRO: Conor Barry, John Keville, Benoit Roland • MUS: Rutger Reinders • CAST: Vincent Romeo, Lars Brygmann, Clara Rugaard

From its stark opening shot of a looming column of trees, foreboding and seemingly impenetrable, Rebecca Daly’s Good Favour establishes itself as a film that is both visually striking and unsettling in tone.

It is from these woods that a young man (Vincent Romeo), emerges like a spectre, gaunt and malnourished. He staggers his way into a small, rural settlement which appears to be abandoned but, as he soon discovers, is home to a deeply-Christian farming community who take him in as a requirement of their faith. We learn that the young man’s name is Tom, but his past is unknown. Whether he simply doesn’t remember or doesn’t wish to speak about it, is unclear, and this only adds to the mysterious, enigmatic aura that surrounds him. He is met with both distrust and fascination by the members of the community, chief among whom are religious leader Mikkel (Lars Brygmann), his brother Hans (Alexandre Willaume), Hans’s wife Maria (Victoria Mayer), and their eldest daughter, Shosanna (Clara Rugaard).

Mikkel is quick to welcome Tom into the community, and Maria seems content to follow his example. Hans, however, is outwardly suspicious of the stranger in their midst and treats him with reservation. It is thus unsurprising that the thread of ‘otherness’ runs strongly throughout the film, with Tom as its origin. His sudden presence in this close-knit, secluded community, along with his often intense gaze and subdued way of speaking, mark him as peculiar.

Despite skepticism, Tom is able to make steps to integrate himself into the community. The children in particular are enthralled with this newcomer, and we see in their acceptance of him a comment on the ability of the young to look beyond damaging prejudices. Tom also forms a friendship with Shosanna, and their developing relationship eventually shows itself to have its own startling consequences. The first third or so of the film deals with Tom’s struggle to adjust from his isolation to this codependent, intimate way of life, and his presence inevitably disturbs the rhythm of the community. Quite literally, at one point, when the sounds of his hammering to split a tree trunk disrupt and distract the choir practicing in the nearby schoolroom.

This disturbance is underlain by the suggestion that the community may have its own share of secrets. We are given mention of a young boy named Isaac who disappeared in the woods, and Mikkel’s own mother is gravely ill, but he refuses to take her to the hospital despite the wishes of his father. Using this sense of ambivalence, Daly paints the community in such murky colors that its true nature remains unclear. Is it a simple farming settlement content to keep itself to itself? Or are its people more prisoners than inhabitants?

Adding to this uncertainty are startling images of violence and death that are used to great effect. The body of a stillborn calf being tossed into a container of rotting meat, the corpse of a stag that has been struck by a vehicle, even the invasion of bees into Mikkel’s mother’s sickroom, all highlight a grim clash between nature and settlement, and one begins to wonder at the constant misfortune that the community is struck by.

Noteworthy also is how utterly quiet the film is. There is little to no soundtrack, and the backdrop of silence gives the impression of the film holding its breath, which is well-suited to its tones of suspense and unease. The rare occurrences of background music usually accompany a moment of closeness or intimacy between Tom and one of the principal characters, illustrating the significance of his arrival into their lives. But even Tom’s ultimate role is unclear. Did he simply stumble upon the town or was he brought to it? Will the community have saved him, or will he find a way to save them?

Similar to Daly’s film The Other Side of Sleep, Good Favour is not necessarily concerned with providing answers, content to let the audience speculate, assume, and be startled. The film’s undeniably slow pace is not to its detriment; rather it allows the audience an intimate look into the secluded lives of its characters and their tribulations, interspersed with stunning shots of the landscape that surrounds them. A lone tree in a field at sunset or a cliff-top view of untamable woods become as integral to the narrative as the characters themselves.

Aided by strong performances from the main cast (in particular the strikingly expressive Vincent Romeo), Good Favour is a powerful and gripping film that explores the deep complexities of faith and its consequences, particularly in the face of crisis.

Dakota Heveron

100 minutes
12A (see IFCO for details)
 Good Favour is released 9th November 2018

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Interview: Director Rebecca Daly & Actor Barry Keoghan of ‘Mammal’

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Mammal is the story of a woman (Rachel Griffiths) who has lost her son and develops an unorthodox relationship with Joe,  a homeless youth (Barry Keoghan). Their tentative trust is threatened by his involvement with a violent gang and the escalation of her ex-husband’s grieving rage.

Paul Farren talks to the film’s director Rebecca Daly and actor Barry Keoghan.

 

Great performance Barry – really intense. It must have been a big challenge for you.

BarryIt was a great script – not a lot got said and I had to internalise everything. I love doing those roles where you let your actions speak, where one look can mean a thousand words.

 

Which leads me to the script, how do you write that Rebecca? I mean, you know that old principle ‘if it’s not on the stage it’s not on the page’ –  this kind of drama doesn’t come off the page easily.

Rebecca: Actually, our script is quite rich; it is itself a piece of writing. What we are describing a lot is atmosphere, tone and the feel of the thing. I think you get that from the script. It’s true that there’s not a lot of dialogue but film is a visual medium. If you can’t show the thing with the action of the actor then you go to dialogue. To me, I would rather show it first. My characters usually express their emotions through their actions rather than through telling you how they are feeling or having big outbursts.

 

From an acting perspective what was the approach to the subject matter and getting into that level of intimacy that the role required?

Barry: Rebecca kept it fresh. We didn’t really do rehearsals – we just talked about scenes. We joked on set a lot which made it comfortable.

 

Where did the kernel of the film come from?

Rebecca: It was actually Glenn Montgomery, the co-writer of the film. It was his idea to make this film about a woman who doesn’t know how to mother – and it came out of that. He started asking me questions in terms of her character, in terms of her circumstances that led her to making that decision… and then how it impacts afterwards on how she lives her life, how she interacts with people, especially, obviously Joe. It was a succession of steps really.

 

The character Margaret is trying to deal with her tragedy but stay away from it at the same time. Like her function in the charity shop, seems like a subliminal approach to dealing with that.

Rebecca: And she takes in lodgers. She cares for people without having the risk of emotional attachment. She lives in that sort of liminal space. Joe changes that!

 

How did Barry come to play the role of Joe?

Rebecca: Barry was the first person we saw for the part. We did see a lot of people afterwards because I’m painfully diligent! But really no-one came close to Barry – he just kind of was Joe.

Barry: Joe is from my area. He’s one of the lads. I know him.  And there’s bits of him in me. More personality-wise than experience as such. He reminds me of lads I know standing on the canal having a few drinks.

 

He’s a real city lad.

Barry: Yeh he is, but he’s just a mammy’s boy really!

 

There is the sense that when he is on his night time attacks with the gang he’s the runt of the litter. He’s probably cleverer than the other guys – not as tough, I suppose he hasn’t been there that long. He’s the bait.

Rebecca: Yeh, he’s the bait. We can empathise with him. He’s involved in some pretty rough things and cruel things as well. But I think, for Joe, it’s all about survival. He’s doing everything to survive; whatever it takes.

 

I suppose one of the challenges of this piece is its avoidance of types, it’s not simply about good guys and bad guys.

Rebecca: These are the interesting characters. I’m not interested in someone being all good or all bad. Flawed, contradictory, complicated – likeable, unloveable, unlikeable and loveable – that all mixes in people. That’s what people are like.

 

In that way, you are challenging audience’s opinions of these characters. It seems that is what your work does. And that means asking the audience to go the extra mile and in participating with the film.

Rebecca: If I’m in a room with 5 people I’m interested in the quiet one. I want to find out more about them.  I’m drawn to people who have mystery about them – and I think characters in film and films themselves can function like that. And if a film asks you to lean in a bit you can get something very rewarding out of that experience. That’s the cinema I’m interested I’m making as opposed to the type of cinema that jumps out at you. I think if you participate in something more you’ll have a deeper experience.

 

Mammal is in cinemas from 1st April

 

 

 

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Trailer: Mammal

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Rebecca Daly’s new drama Mammal, which has just had its world premiere in the World Drama Competition at the 2016  Sundance Film Festival in Utah, stars Rachel Griffiths as a grieving mother battling both her violent ex-husband (Michael McElhatton) and her interest in the homeless young man (Barry Keoghan) she meets at her local swimming pool. Their tentative trust is threatened by his involvement with a violent gang and the escalation of her ex-husband’s grieving rage.
 
Mammal was produced by Macdara Kelleher and Conor Barry for Fastnet Films  and was funded by the Irish Film Board (IFB), Luxembourg Film Fund, BAI, TV3 and the Netherlands Film Fund.The  film will be distributed by Wildcard Distribution and is set for an Irish cinema release later this year.
 

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Academy Award® nominated actress Rachel Griffiths confirmed for

Actress Griffiths, star of new film Step Up, poses at film's premiere in Hollywood

Academy Award® nominated and Golden Globe® winning actress Rachel Griffiths (Six Feet Under, Muriel’s Wedding) is now confirmed to star in the lead role of new feature film Mammal. Irish rising star Barry Keoghan (Love/Hate, Trespass Against Us) will play opposite her in the film which will be directed by Rebecca Daly, whose debut feature The Other Side of Sleep premiered at the prestigious Cannes Film Festival Directors Fortnight.

Mammal is a compelling and unorthodox love story between a woman (Griffiths) who has lost her son in tragic circumstances and the relationship she develops with a homeless youth (Keoghan).

Written by Rebecca Daly and Glenn Montgomery, the film is being produced by Macdara Kelleher for Fastnet Films (Strangerland, Kisses, The Other Side of Sleep) with co-producers Calach Films in Luxembourg and Rinkel Film in The Netherlands.

Speaking about the project, Kelleher said “Mammal is a powerful moving story and we are excited to be working Rebecca again and with the incredible cast of Rachel Griffiths and Barry Keoghan”.

The film, which will shoot in Dublin and Luxembourg in October, was selected as part of the first Berlinale Residency, a programme organised by the Berlin International Film Festival to support writer/directors develop their new projects.

Funded by Bord Scannán na hEireann / the Irish Film Board (IFB), Luxembourg Film Fund, BAI, TV3, the Dutch Film Fund and the Dutch Production Incentive, MAMMAL will be brought to Irish audiences by Wildcard Distribution with Cinéart distributing the film in BeNeLux countries and Berlin based Picture Tree International (PTI) taking world sales rights.

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‘The Other Side of Sleep’ on iTunes

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Rebecca Daly’s Irish psychological thriller The Other Side of Sleep starring Screen International’s “Star of Tomorrow” Sam Keeley and Antonia Campbell Hughes is now available on iTunes in Ireland and the UK.

 Click here to view

The Other Side of Sleep is the debut feature of director Rebecca Daly. It premiered in the Cannes Directors Fortnight programme in 2011, followed by a great reception at the Galway Film Fleadh, the Toronto International Film Festival and many more as far reaching as India. The film was nominated for three IFTA awards including Best Director, Best Actress for Antonia Campbell Hughes and Best Cinematography for DoP Suzie Lavelle. Antonia was also  nominated as a shooting star at the Berlin International Film Festival 2012 for her performance in the film.

The Other Side of Sleep was produced by Irish company Fastnet Films (Colony, Kisses), and European co-producers Rinkel Film & TV Productions and KMH Film Productions. The film was funded by the IFB, the Netherlands Film Fund and Hungarian Motion Pictures Foundation.

 You can read an interview with the film’s director, Rebecca Daly, here

 

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Competition: Win a DVD of ‘The Other Side of Sleep’ by Rebecca Daly

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Thanks to the fine people at Wildcard Distribution we have 3 copies of The Other Side of Sleep to give away.

The Other Side of Sleep is the debut feature of director Rebecca Daly. It premiered in the Cannes Directors Fortnight programme in 2011, followed by a great reception at the Galway Film Fleadh, the Toronto International Film Festival and many more as far reaching as India. The film was nominated for three IFTA awards including Best Director, Best Actress for Antonia Campbell Hughes and Best Cinematography for DoP Suzie Lavelle. Antonia was also  nominated as a shooting star at the Berlin International Film Festival 2012 for her performance in the film.

The Other Side of Sleep was produced by Irish company Fastnet Films (Colony, Kisses), and European co-producers Rinkel Film & TV Productions and KMH Film Productions. The film was funded by the IFB, the Netherlands Film Fund and Hungarian Motion Pictures Foundation.

The Other Side of Sleep is available on DVD in stores including Golden Discs, Tower Records and the IFI in Ireland now and also on the Wildcard Distribution website here

 

To win yourself a copy of the DVD, simply answer the following question:

What is the name of the character Antonia Campbell Hughes plays in The Other Side of Sleep?

Send your answer to filmireland@gmail.com before 1pm Monday, 2nd December to be in with a chance of winning. The Film Ireland Hat will randomly select the winners minutes before its afternoon nap.

 You can read an interview with the film’s director, Rebecca Daly, here

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Interview: Rebecca Daly, director of ‘The Other Side of Sleep’

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The Other Side of Sleep is released today on DVD. Amanda Spencer caught up with director Rebecca Daly before her debut feature screened at the Cannes International Film Festival in 2011 to chat about the film.  

This interview originally appeared in Film Ireland Magazine. Issue 137. Summer 2011.

Sensitively directed and stunningly photographed, The Other Side of Sleep is on its way to Cannes. The film, which is Daly’s feature directorial debut, follows the success of her short films, Joyriders and Hum and is produced by Morgan Bushe and Macdara Kelleher of Fastnet Films.

Co-written with Daly’s writing partner Glenn Montgomery, the film follows Arlene, a young woman who struggles to decipher between the real and the imagined after a local murder stirs up old grief. Her sense of reality is challenged as sleep deprivation and raw emotion compete and draw her into further disarray. In the telling of a big story, Daly hasn’t forgotten small touches. It’s this light hand that makes The Other Side of Sleep a really superb debut feature and as the film wings its way to Cannes, I caught up with Rebecca.

What inspired the story for The Other Side of Sleep?

It started with a newspaper article about a young woman whose body was discovered wrapped in a duvet in a shopping centre car park in Northern Ireland. What struck me about the article was the way in which the journalist had accumulated lots of different anecdotes about the dead woman from various sources – and how these stories contradicted each other, making it impossible to establish the truth about this girl’s life.

In the earliest treatments the film’s protagonist was the dead girl but as it evolved we became interested in exploring the situation through a person unconnected to the victim. Arlene became our focus and we were looking at the various experiences of shock and grief within the story through her very particular viewpoint. I can’t remember when the sleepwalking element entered the story but this really fascinated us: that a person could be active or acted upon but not conscious – throwing up complications of responsibility – and have no memory of what happened once awake again.

Where did you meet Glenn, your writing partner? Had you written a feature together before? If not, was it a very different process?

We met studying Drama in Trinity years ago. We wrote my first short Joyriders together and had developed another very low-budget feature idea but ultimately both of us felt stronger about The Other Side of Sleep. Glenn and I have different strengths as writers, which seems to work well. Also, we have a bit of a laugh together, which can be really helpful in an intensive writing process, I think.

As the project was selected for the Cannes Résidence du Festival programme, I got to do a chunk of the writing there and then we would get together talk about structure etc., and redraft. It wasn’t often that the two of us would sit in front of the computer and try and write together, we would rather discuss and then I’d do a draft or he would – or sometimes we’d take sections. The script went through many drafts. It was a constant filtration process as we had so many ideas that we wanted to explore in the beginning that we kept having to select from or cut down – this continued to be the process through the making of the film; keeping a handle on the themes and ideas and deciding what was essential and trying to make sure I kept the audience focused on what was important.

Why was the Midlands chosen to locate the story?

My family is from the Midlands so it’s a region I am really familiar with. It has a particular atmosphere that I thought would work for the film – visually also I wanted a pretty worn look and so it was great to be able to shoot it in a region that hadn’t been too affected by the Celtic Tiger.

Thinking back, how did you view the opportunity to direct your first feature – all guns blazing or were you a little apprehensive? Did the Cannes residence programme better equip you, do you think?

I feel incredibly lucky to have been able to make this film. Of course making a feature is a pretty big leap in terms of the demands it puts on the director. It can be daunting at times, but it’s such a great opportunity. Mainly, I was really excited to be able to do it. The Résidence was a brilliant space to write the film in – really this is the main purpose of it. And I was living with five other directors, some of whom had already made their first feature, so this was inspiring in itself.

Shooting your first feature, did you feel your role as director was better supported, coming from shorts where often there isn’t as strict a division of labour?

I think that, like in shorts, in low-budget feature filmmaking the division of labour still isn’t that strict. Maybe it’s the job of the director to delineate this at times when it’s not clear. Honestly, for me one of the most difficult aspects was establishing these lines, for myself as much as anyone else – I learned a lot from this experience.

Had you worked with the key crew before?

No, actually. When I met potential crew obviously I wanted to see how they ‘got’ the script – especially how they responded to and picked up on the detail within it – as that for me is a very important aspect in the maintaining the style and also building the narrative of the film, from small textural details. I had worked with my editor, Halina Daugird, on my last short so this gave us a great shorthand when it came to the edit.

The casting for the film is really perfect. Did you get to spend ample time with the actors before shooting?

For me the actors are my key focus in making the film. The casting was pretty complicated in that the cast is a combination of five professional actors with the rest being non-professionals that we found through open castings in the area. It was important to find the right balance with them; that the acting level and pitch of the non-professional and professional actors would fit. I wanted to create a tone, a kind of naturalism and to keep in mind that in the course of the film some of the key characters are in shock. I wanted to capture that sense of helplessness, paralysis and desperation, a kind of unbearable powerlessness in their means of expression.

I made sure to have as much time with them as possible in advance of the shoot where we explored the key characters as real people with history and context and tried to find ways, particularly for the non-professional actors, to access and identify with the experience of the characters. We looked at the details of specific moments in their pasts as I thought if they could have a vivid picture of certain incidents – it could build up a kind of imagined memory for the character that they could tap in to. Antonia came down to the Midlands two weeks before the shoot – we decided that it was important for her to immerse herself in the world, so she effectively lived as Arlene for the two weeks prior to the shoot. With Arlene it was important to find her way of expressing herself as a product of her past and her lack of understanding of it.

The film is funded from a few different sources, which is increasingly common. What was your experience of that?

I’m not sure how it would be possible to fund this budget level without the mechanism of co-production. It seems to work really well. Also, it meant we worked with some key personnel from the co-production countries which I think was a great experience for everyone.

Is there a scene that is particularly special for you? Why?

My favourite scenes are towards the end of the film – so I probably shouldn’t spoil them… One that stands out for me is the scene in which Arlene works late in the factory and she is disturbed by Bill. I really like what her laughter does here in terms of contrast within her character and also what it does to the tension of the film. People watching the film usually laugh at this point, which is kind of strange in the context of the whole film. I like that.

Are you working on other scripts? What’s next for you?

I’m researching a couple of books that I am interested in adapting for the screen plus Glenn and I have a few ideas that we are discussing. I really want to find something that hooks me like The Other Side of Sleep did – it takes so long to make a film that the challenge is to still be interested in it by the end of the process.

Amanda Spencer

This interview originally appeared in Film Ireland 137 Summer 2011.

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