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Filmmaking duo Ross White and Tom Berkeley talk about their short film ‘An Irish Goodbye’ which has been shortlisted in the ‘Live Action Short Film’ category at this year’s Academy Awards

With awards’ season well and truly underway, we’re yet again introduced to an array of mainstream and independent works deserving of acknowledgement for the effort put in both onscreen and behind the scenes. Marking Floodlight Pictures – Ross White and Tom Berkeley’s second collaboration (the first, Roy, seeing them make the shortlist of the 75th BAFTA Awards), An Irish Goodbye sees them contend for a spot on the final nominee list of the 95th Academy Awards, due to take place on Sunday 12th March, with the final shortlist drawn up on Tuesday 24th January. Ahead of the final nominee announcement, Ross and Tom tell us more about their heartwarming film – an exploration of estranged brothers Lorcan and Turlough who are forced to reunite following the death of their mother. Lorcan, who has Down Syndrome is left in Turlough’s care, but will only agree to leave the family farm once they have completed every single wish on their mother’s unfulfilled bucket list.

Hi Tom and Ross, your short film ‘An Irish Goodbye’ has been shortlisted in the ‘Live Action Short Film’ category at this year’s Academy Awards. How are you both feeling ahead of the ceremony?

ROSS: To be on the shortlist alongside so many of our influences and cinema heroes is a really surreal feeling. Like most short films, An Irish Goodbye was a real labour of love, and I hope that that passion and care comes through to audiences. For us, reaching the shortlist feels like an overachievement in itself. And while I’d be lying if I said we haven’t considered the possibility of going to the ceremony, we’re trying to enjoy each step of the journey as it comes.

An Irish Goodbye explores the story of estranged brothers Lorcan and Turlough who are forced to reunite following the death of their mother. Lorcan, who has Down Syndrome is left in Turlough’s care, but will only agree to leave the family farm once they have completed every single wish on their mother’s unfulfilled bucket list. What inspired you both to explore this narrative further?

TOM:  It’s often hard to recall the initial catalyst that sparks an idea into life, but I do remember having been at the football (soccer) with my dad where I saw two brothers – much like the pair you’ll see in our film- sat a few rows ahead of me, arguing ferociously with each other over the game. These were big, strapping lads – salt of the earth – and they spent the entire match hurling abuse at each other. The younger brother had Down syndrome and I found the duty of care that was present in their otherwise fiery relationship really compelling.

The match ended 0-0 and was by no means a classic, but I spent most of it watching these fellas go through just about every human emotion together over the course of 90 minutes. The next day I told Ross about these two brilliant characters and we immediately knew we wanted to write something based around that relationship. The story went through various incarnations, but finally settled as a tale of embittered, estranged brothers who, in their attempt to find a fitting farewell for their late mother, somehow find each other again.

The film has been played at over 60 international film festivals and has also qualified for BAFTA and IFTA consideration. What has the response been towards the film and how have you found this part of the filmic experience?

ROSS: I think for any filmmaker, you’ve got to make the kind of movie that you want to see. Nothing good comes from trying to second guess audience reactions or cater to what’s in vogue at any given moment. Thankfully with this film, Tom and I have made something that we feel very proud of and audiences are also connecting with internationally. The festival circuit is always such a fun part of the process. Making a film – particularly a short – can be such a struggle, so to sit in a room with peers and audiences who love film and celebrate the work is just such a joyous experience for us. We’re eternally grateful to all of the fantastic festival teams and volunteers who have worked tirelessly to give us these memories.

The film has been written and directed by yourselves, and stars James Martin and Seamus O’Hara. How have you all worked together to realise the film?

TOM: When it comes to writing, directing and producing with Ross, we are always in a constant dialogue about the vision of the film and how best to achieve it. It’s an intense experience but once we both really thrive off, and it means that right from when we first put pen to paper, we’re already talking about how we might execute particular shots or cut together a particular sequence, which is exciting.

On set, as a pair we have the advantage of being able to split up and delegate responsibility, which speeds things up. When in between takes it’s a blessing that one of us can liaise with and give notes to the cast while the other one might be chatting through something technical with the camera team.

We have always viewed casting as such an integral part of the process and our motto is to find the right actors for the job, create the right environment for them to do their best work and then try to stay out of the way as much as possible.

The film marks your second collaboration, your debut Roy having been shortlisted for ‘Best British Short Film’ at the 75th BAFTA Awards. What did this mean to you both, and what have you learned so far in your filmmaking journey?

ROSS: As our first time behind the camera, Roy was a real baptism of fire for us. As cliche as it may sound, there’s really no better way to learn about filmmaking than to make a film. Going through every step of the process was such an eye opener. We tried, as we always do, to surround ourselves with passionate and generous collaborators who could steer us and aid us in delivering the vision we had for the film.

It was such an honour to have Roy recognised in the way that it was, and we are really over the moon that An Irish Goodbye has also just been announced on this year’s BAFTA shortlist.

What can audiences expect from the film?

TOM: We’ve always referred to it as a sort of black comedy about grief. It’s an exploration of how these two very different characters, Lorcan and Turlough, process their loss. Where Lorcan really wears his heart on his sleeve, Turlough is a far more stoic, pragmatic presence. They’re brothers who’ve lost each other somewhere along the way and the film really charts them trying to understand one and other again at a pivotal moment in their lives. Oh, and there’s a lot of fart jokes in there.

What would you like for them to take away from the film?

ROSS: For me, it’s a story about brotherhood and learning to share the burden of the hard times that life can throw at us. And then there’s also this idea of making the most of the time we have, which is something that really speaks to me. But above all else, we want audiences to be able to laugh and invest and really lose themselves in this little story for twenty-three minutes – I think that dose of escapism is what most excites me about making films.

Questions by Lucy Basaba.

To find out more about An Irish Goodbye, visit here…

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12th January 2023by Theatrefullstop
Written by Theatrefullstop