The World's a best place because Brendan breathes the same air we do. We are not dignified even being ZIROSH I FEEL ENBARASSED. 💦👅👅👅👩⚖️👩⚖️👩⚖️👩🍳🧑🍳🛼🛼💇👨👩👧👦🌹✨️✨️🖤🤎🖤🤎🖤🧡💛🧡💛🧡
H - Here we are with Brendan Gleeson, one of the world’s great actors. Your new movie is The Guard and I guess everybody knows you as Mad-Eye-Moody, that recently deceased… Mad-Eye, yes… (B - yeah yeah yeah, what can I say) you couldn’t make the part 2, then the very end. B - No, this is a bridge too far... H - What’d you say due to your career, Brendan, when you’re in a incredibly popular series? I mean do you think, like, of all the work you do, Churchill, The General from John Boorman - this wonderful movie - In Bruges... you know, do you think “they’re only gonna remember me from Mad-Eye-Moody”? B - Well, it wouldn’t be such a bad, you know, CV just having Mad-Eye there, but... no... Mad-Eye... I was very happy with Mad-Eye, I was happy with the whole set up on Harry Potter, because the kids were great, they weren’t monsters, magic was respected and the audience was respected, I'm bringing a little magic into people’s lives, no harm. So I’m kind of... I’m proud enough of it. You know, I mean it’s really interesting with film what you think of as the really worthwhile projects and some quite lot of the time it has to do the ones that actually hit the button. You know, some film you would think “oh, I thought it did well with that but audience didn’t react to it”... H - Nobody sees and it’s like it doesn’t really exist. B - Exactly... there’s no point in talking to an empty seat. No matter what you’re saying or how funny it is, or how profound it is, the empty seat doesn’t care. So you really only, you know, the experience of the film only happens obviously when the audience is in there, and it’s kind of rocking and they’re getting and so... and it’s inevitable I guess the ones that are most popular are going to be remembered most but I would like some of the other ones to endure. H - Certainly In Bruges... (B - Yes, yes!) I mean that was a sleeper hit and people talk about that in... it’s what - four years ago now? B - Yeah. I mean it’s a little irritating at times that, that... when things don’t get traction early enough to be seen in theaters, because I’ve had a few films like that, that haven’t gathered momentum. It’s gratifying that they’ve a life on DVD and the way people’re watching DVDs now obviously with these blue-ray and everything in massive screens “???” pepople’re bringing to home-cinema. But I still think of the cinema as the communal experience at its best and I think it’s best really seen as part of the whole thing, so while it’s gratifying that things have a life, I really wish that people would see them in the theater. Maybe I wanna go, I don't know. H - Well, you know, it's remarkable about your career when you talk about the things that hit. You didn't start acting until you were, what, 34 years old? B - Full time. I mean, I was doing it but I wasn't full time, but I was doing it on my own terms. I was teaching in school for about 10 years and prior to that I was in college in three years, before that, that I don't talk about very much, 'cause I... working in offices and working all over the places, all of which I found quite taxing, and... (H - but I mean) so... but I was involved in the group called Passion Machine doing theater which grew very big in Dublin during the 80s, and we weren't professional but we began to work in the professional theaters and get big audiences and so. But the time I went in 34 I wasn't really starting from scratch, if you know what I mean. H - You've had the experience of working in front of audiences, knowing how to work with directors and the responsibility of carrying a show, I would presume. B - Absolutely yeah, and I written a few plays myself, I directed a few things myself, and there was a guy Paul Mercier who's the core of Passion Machine, a lot of his work, Roddy Doyle "??" novelist wrote a couple of plays where he used part of whole situation. So we end up playing, you know, these ten weeks then, sometimes two or three in a row off in the Olympia Theater which started in hundred seats therein. So we were actually kind of operating in pretty high level. So it's a little bit kind of a cheat to say that I just set 34 and I kind of jumped ship and started from scratch, 'cause that was not quite the case, but it was for full time, as a full time occupation. H - But it's also remarkable because not every actor hits, no matter what their talent is. I mean they can be really an amazing actor, but they never get sort of the work, to keep working, to keep getting called for jobs and, you know, from the General I guess, that John Boorman film about - was it Martin Cahill? The real life Irish gangster you played - I mean that launched you internationally but who knew that you would go on to this fabulous career? B - Yeah! I mean I've always really been an advocate of the work, of doing the work, you know, and I got lucky. Early on I did... I played Michael Collins in the television film called The Treaty which was a big thing because I had to carry that and it was of a particular significance in home. And then, you know, there were different milestones when Braveheart came in 94. That was a massive thing because, you know, six months on a massive film set, that won five Oscars, you know, it doesn't... so obviously there are things that, you know, happen, but you've got to be ready for them. You know, I mean... Be lot of actors talk about "the break, the break, the break" and "the break" for me is to commitment to go full time. After that, I think you got to not to wait for the phone to ring, I was always prepared to create work if I wasn't offered. And I, kind of, I keep telling anybody who's trying to get into this game "don't wait for the break make it. Make the break!" H - Well, you have four sons and... "Dom", is it "Dom-Hall"? B - "Donal". It's the Irish spelling of Domhnall. H - Oh, ok! Who is in... He got to announce your death in Harry Potter, he's in the movie. And your youngest one is acting too... B - My third is, Brian, yeah. H - So, what do you tell them? B - Well, exactly the same thing: "don't wait". You know, just try and get together with a couple people, maybe someone you met in, you know, some other production, or maybe someone you met in college and go find and, you know, "????? cafe" and put it on, at luch time. Do or write something, find something somewhere... H - Keep busy in other words. B - Keep busy and make, create the work, because when you allow yourself, I mean the problem is that it's not only your talent that's being rejected, it's kind of your sense of acceptance is being assailed all the time if you're allowing other people to set the agenda. So I'm a great believer in it, I mean I was absolutely terrified after my first job. My first job when I when full time was in the abbey, you know, and four kids at the time, and I was going kind of as beside myself on what I would do next, cause I wasn't getting offered anything. This was quite a prominent part in a good show, but where's... what happening next? And my wife said "look, I can't watch, I'm going back to work", so that was an ease to my mind. But the next thing I did was one man show. Somebody said this "wouldn't we..." and myself and Moran Higgins went and did one man show, and it was one of the best things that I remember my whole career, because it was equal parts terrifying and liberating. It was wonderful to "???" there not depend on anybody else - obviously, you know, the back stage people - and more on herself, but to be out there in front of an audience, and having nowhere to run was fantastically liberating and necessarily equally terrifying, but... that's what I would advocate people to do, you know, in something will fall, in some point. It's whether you are ready for it or not...and sometimes it only happens and then nothing comes of it. It's just what you learn, what you pick up. I mean, I'm just an advocate of continually doing your craft and getting better at that, that's all you can do. H - And with The Guard, is it easy, I mean I understand from John Michael McDonagh, who wrote and directed it and his older brother Martin McDonagh, who directed you and wrote In Bruges, that - you know - you've read it and said "yes, I'm coming to doing this". Now... you make a movie possible in one sense, in that sense. Is it easy for you to say, do you know when you read a script that you wanna do this role and you'll commit automatically? B - Yes, almost automatically... I mean one thing I can do is read the script. I know that there are actors who can't really read the script and understand where it comes from. I don't know if it's my background or, you know, the fact they... H - You taught Math? B - Well, I ... No, I taught English... and Irish, believe it or not, really and... so I maybe was used to having a critical eye on things and understanding the dynamic of how the things work, I don't know, or else I just understand particularly when I'm reading a character whether I'm trying to it or not, but i think it is something that I'm lucky with alright? (08:45) Is that I can read the script and understand almost invariably I would know whether this has a real chance or not, and if it's bogus, or if it's just incomplete, or if it hasn't been worked through. There long buzz ringing on my head all the time. And I know that is something not everybody can do and sometimes you might get it wrong but with the McDonagh's, I mean, there's no question. You see, you read the stuff and just bounces off "???" it's like... everybody can read that one. H - Well, your character, Sgt. Gerry Boyle, McDdonagh said he's an obnoxious cop, who will say anything and do anything, and at the very beginning we see him pop a tab of acid. So my first thought was, you know, what experiences did you draw on right then for your acid trip in this movie? B - Well, whatever being irreverent, you know. I mean, those remind me of Holy Communion really.
Hey fellas! I have tried hard to transcribe this interview the way I could. I know it's a huuuuuuge text, but could anybody help me to fix the mistakes in it?? With some words I had doubts but I wrote anyway, another ones I could no way figure out, then I just put a "???" signal. The interviewer is the "H" and Brendan, of course, is the "B". Well, here it goes! Help meeee!!
