As actors, you know, when you get these kind of scripts, come through, there's a real
Thought process.
Lots of thinking about whether you take on roles is the fact that.
But when it comes to this, when Martin McDonagh sort of calls and says,
I want to work if you guys again.
Is it one of those rare occasions in a career
where you can kind of say yes before you even see a script kind of thing?
Well, I said yes before the script was written.
Yeah.
I knew I was going to be doing it no matter what was on the page.
I but I was I was a tiny bit worried that I would love
what was on the page as much as I would think
that I should love what's on the page, considering who
it was on the page and stuff to know what I mean.
You want to go into it kind of the same.
You know,
there's a little bit of an assault because he always puts a challenge.
Yeah, but you're not quite ready for yet so that there is that you know there is.
Okay, this great but hang on a second.
And then
it's the processing of that and the refinement of it and all that.
So I mean, I find it quite so overwhelmingly quite sad movie.
And yet, I laughed more than I have in the cinema for ages.
So I mean, when, when you're on a kind of set like this
and that kind of balance of tones
can be quite tricky, how important is that element of trust when, you know,
the director is going to sort of knock out the part where you give it over?
Totally. I mean, you're really just giving it over to the director 100%.
You know, there's no direction.
There's no I mean, Martin involves us greatly.
And I think he works with people that he's familiar with personally,
not only creatively.
He works with a lot of the same actors. Again, whether it's in theater.
I mean, even Kerry Condon, he hadn't worked... well.
she had done a little bit in a three billboards, Kerry,
which she had worked with him on stage years and years ago.
So he works with people whose opinions he does respect and he has a listen to.
But at the end of the day, you know, it's his show and his taste is so refined.
Martin's taste and his his
his understanding of timing and his his understanding of comedy.
But all of it only works if, for me, my experience with his work,
if there's this kind of bedrock of of emotion upon
which all of these kind of macabre and and unusually dynamic worlds are set upon.
You know, I would like to talk I mean, because I loved I loved all the animals
that populate the film as well.
I wanted to talk about the donkey, Jenny, because I know
she kicked you at one and that's kind of been publicized.
But I also about the good side
because there's a lovely little bond you have between yourself.
Did you get along quite well with Jenny...?
No, she did kick me.
And then all the rest of the time she was an arsehole.
But that was her at her best.
No, she.... arsehole.
Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
She was wonderful.
Yeah. I mean, she was a bit, you know, she was.
You said she was a diva.
Little bit of a diva.
Now, to be honest, her stand in was lovely.
Her stand in was lovely when she was Rosie.
Yeah, I... Millie
She was the horse.
I think it was her. It was. It was Rosie.
I don't know. I have to say, I had very little to do with Jenny.
Jenny didn't even look down on me at all, even
because we didn't have you know, we were on opposite sides of the island.
Jenny would say, you had very little to do with me.
I had very little to do with you, actually. Exactly.
I liked your dog.
in this.
Maurice hit it off.
Well, we didn't dance particularly.
It was a little ungainly, shall we say, and some of the output.
But apart from that, he saved me from myself for a time to two.
Now he is brilliant.
Maurice is fantastic.
And even on the last,
you know, you can't really talk about the last scene, but there's like
two something... collies have a nature anyway.
That is that is I've loved collies for years
anyway so yeah he was they understand the concept of home very much.
Yeah.
And he, they have massive kind of loyalty and intelligence
and yeah there's Maurice is great talking to you about I obviously you
Barry Keoghan before you were living with him it wasn't about animals.
Yeah.
I wasn't going to use that as
I did.
Yeah, I'm predictable actors.
I was going to say predictable. Yeah.
And you live with them.
Did, did you guys of able to sort of spend
much time together, often spent a lot of time in our respective bedrooms
sharing an abode?
No, it was great. It was it was great living with them.
I mean, me crunching of cornflakes took a bit of a hit
and I had to have a stash of cereal.
I learned quick enough.
But it was it was wonderful living with him, you know, he was
a he was
he was a bit more bored on the island, I think, than the majority of us were.
You know, he was always looking for a signal on a cell phone,
but he was but it was lovely living in a the moves a very communal effort.
He was, you know, in fairness, it's different
when you're we were working every single day the last yeah he had
one day a week and then on a busy week he'd have 3 to 7 days he'd be shooting.
He had a lot of downtime. There's not that much to do.
And he is a city boy and very much in a in a very real way.
But yeah, but it was but this whole thing was an incredibly look.
There's always a sense of the communal in making a film.
You know, bringing a film together are a play.
There's a sense of coming together. You have to have it.
You have to have each other's backs and
and so it was kind of it was very interesting living with them.
Yeah.
Say the, well the downtime explains the loss of cereal I suppose.
Yeah. And he was a serial killer and
thank you so much guys.