Jerusalem Butterworth, Caitlyn, Laura Donnelly discussed on The Frame
In Los Angeles and Irvine online at alchemy dot net. Welcome back to the frame. I'm John horn. Thanks for joining us playwright and screenwriter Jez Butterworth is known for film. Scripts like black mass in the bond film spectre and the twenty eleven Tony nominated play Jerusalem Butterworth's latest Broadway production, the Ferryman takes place in nineteen Eighty-one during the troubles in Northern Ireland. When the country was wracked by a complicated decades long and often bloody political conflict over national sovereignty directed by stage and screen collaborators Sam Mendes. The Ferryman is set in the home of the Carney family during the harvest feast. Here's the character Quinn. Carney played by paddy Considine, as he gives a toast around the harvest table wants you to remember something that a man who takes care of his family's ah. Monica. Look himself in the eye in the morning. And I hope you find a stronger rock as I have in your mouth, a married. I. Final behalf of this entire. I'd like to thank Caitlyn for this wonderful food on for everything. She's done for this family over the past ten years. To caitlyn. Kaitlin soon. The house will discovers a missing family member has been murdered. The story was inspired by the real life family of actress Laura Donnelly who plays Caitlyn and the play. But we're told me about Donnelley's ankle Eugene Simon's he was disappeared by the IRA in nineteen eighty and I think he's buddy was found by accident about a year later. I think he was the first well who's the first body to be to be discovered the explanation that Laura was given at the time was that her uncle had died in a car accident, obviously he was murdered but something else happened. And that is that the body was hidden in a way. So that the family never really knew there's this mystery of what has happened, and where these people have gone and the idea that they might still be alive is kind of perpetuated by the people responsible. That's right. This was a practice that the IRA began in the nineteen twenties and stop during a restarted in the nineteen seventies. And so the idea is that if you can. Short circuit, the process of grief in the families, and in the communities that you're trying to terrorize it's a much better use of resources to not dump a body in the street because the second that that body is discovered a clock starts ticking, which will allow them at some point hopefully to overcome that grief, or at least deal with it. If you'll never presented with the actual idea that somebody has died and people are telling you this person is still alive that process complication you made a decision. I suspect pretty early on to set this entire tail inside a kitchen, why was that important? And what does that mean both for better? And for worse about what you can accomplish in one set. Well, I think all the place I've thought of taken place in one set I think the job of the when it's done the best conjures up and offstage, hopefully, as vivid if not more vivid than what you're presenting on. I've never really been a fan. One of those plays that Chumpol I've and this by the way, you know, unfortunately that includes most Shakespeare plays which. More film extract than they do not ask the T leeann structure, but I just liked the idea and the challenge and the tight walk of staying in one place at allowing it too steep and boil and just create this kind of pressure cooker environment. And I might have something to do with the fact that films as well, and they can jump all over the place. But it just doesn't I don't think it's the best use of it's a blackout all tight. You can get that pressure. Cooker situation guy, you can get people to match an absolutely anything. There is a kitchen that is central to this set and there are meals prepared. And there are things being harvested. There's things that are coming in. There's live animals, and it's inevitable that people watch this play would say you reap what you sow and as a writer. How specific are you thinking about that idea visually as you're writing the story about what is happening politically offscreen? Well, I think it's sort of seeps into the bones of the thing from the first phrase these moments in in the year, these these times in our lives. All of them have a literal a metaphorical resonance. And and certainly the fact that this play was was a time when the the hunger strikes were entrain and coming to an end it's actually sat on the tenth hunger-strike Mickey divine starved himself to death. But once I realized that that was late summer, and it was simultaneous with, you know, with the harvest it felt those two days the spoke to each other in a way that didn't really need to do more attention to and it's not just crops that are being harvested. It's young boys to they are being groomed and developed to be soldiers, and that seems to be a very big idea, a very central part of the story that you're trying to tell I think so you have available to us a writer if you want to say something about the cyclical nature of violence when you get to a third acts of a play you can begin the whole process of reaping as you're suggesting again that allows for that that third actor almost feel like a flashback to what has happened to the hero. And his missing brother when you were doing some research for this play. And you thank, you know, about a subject, and maybe you learn new things it could be somebody right about the troubles somebody writing about Israel. But when you start making sure that what you're presenting is accurate. What were some of the assumptions that you find yourself being challenged on even by your own research? Well, I think whenever you sat play in a historical or geographical context in which you on not or have been. You know, there is anonymous upon you to digest absolutely everything you can about that time in that place. And that's just part of the natural process of a platform setting play in in in SoHo in the nineteen fifties is that my first play I'm setting a plane wheelchair bound at that point to have to undergo a tremendous amount of such. It's the same with films. Film cO fag. I'm that was about the Iraq crisis, and I've written films that are set in many different media that on day one. You know? I know the first thing about is one of the most exciting bits about actually it's just a period where you're not having to be drawn on what you feel dramatically about this subject. You just soaking. It all up we're talking with jazz Butterworth about his play the Ferryman when you think about what people say about this play. You have critics who were assessing the performances play writing. And then you have critics there's notably somebody in the guardian who wrote about what it had to say about Northern Ireland. What do you take away if you engage those criticisms from how different people with different backgrounds might react to a play. Like, the Ferryman extraordinary thing about that question. Is that everybody talks about the article in the guardian? This is paid. There was this one guy. That's true. Sean o'hagan says name. Who if truth be known, which I can let it be? Now, I knew Sean twenty years ago. He doesn't like me. He's got a very specific reasons and not like me as well. So you know, I mean, I chose not to not to answer it. And by the way, heading in the opposite direction that you can look at the Irish Times, you know, who came out in support. But let's face it. I'm english. This wouldn't be a question. If I went in the idea that you must ring-fence your creativity to just the parochial place that you grew up whatever, you know, I thought you wouldn't have any Shakespeare plays. You know, he didn't go off in Venice. And he's he's not from Elsinore. You choose these subjects you put on these mosques in each of the best. I'm going to ask you about something you've been working on it seems by it's titled be a total mismatch Ford versus Ferrari. This is about race. I think in nineteen sixty six sounds like a mismatch. But I suspect in your movie, maybe it's closer than it might appear. Well, it was it was a series of races that took place over the sixties weather. The Ford might company decided when they weren't able to buy for our outright and adopt their racing program. They decided to destroy them. And so Henry Ford second just threw millions and millions are rice program. And it's a fascinating fascinating story. It's by the way, it's a very good example of an area that I chose to go into the I knew absolutely nothing about day one. This is probably where Carroll Shelby becomes part of the Ford story. Right. That's why I met with cow Shelby shortly before he died his his country club in Los Angeles at about ten o'clock in the morning, and and this man who had I think two heart transplants and a liver transplant and he was sitting there. Eighty five years old, ten o'clock in the morning, drinking tequila. Just last question when you were thinking about what you're gonna do. Sometimes it might be an assignment sometimes it might be something that you're asked to do do, you know, if you're writing a plague do, you know, if you're writing a movie at what point do you make that decision? There's never any confusion between the two I've never found myself at the beginning of a project thing hang on this should now be turned into the other form. I think I know from the gecko the only thing they really have in common is II select the idea is based on if alone and think about them do they give me goosebumps. That's the test. That's the test. And then I don't need to. Now. Any other reason about needs to any intellectual reasonable, the timing of this is good or this person would be good to work with this person is available or I'm free on fascinated by the subject, if I don't sit there and just the very bones of the idea that just fill me with us sort of tangling quivering sense that I'm entering into some territory that is vital. Then Jez Butterworth is the playwright of the.