Browse content similar to In Conversation With Bronagh Gallagher. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
This programme contains some strong language and some scenes which some | :00:03. | :00:13. | |
:00:13. | :00:19. | ||
This programme contains some strong language and some scenes which some | :00:19. | :00:29. | |
:00:29. | :00:30. | ||
viewers may find upsetting. This programme contains some strong | :00:30. | :00:37. | |
language and some scenes which some Ever since she lit up the cinema | :00:37. | :00:40. | |
screen as Bernie, the backing singer in Alan Parker's seminal | :00:40. | :00:43. | |
movie The Commitments, Bronagh Gallagher was determined, driven. | :00:43. | :00:48. | |
Destined to make a life for herself on stage and on camera. The Derry | :00:48. | :00:53. | |
born actress is picky about the parts she plays. She has worked | :00:53. | :00:55. | |
with Hollywood A-listers like John Travolta, Glenn Close and Dustin | :00:55. | :01:05. | |
:01:05. | :01:25. | ||
Hoffman. Her remarkable career Music has been a passion since | :01:25. | :01:27. | |
childhood. Well-established as a singer-songwriter, she is currently | :01:27. | :01:32. | |
touring and promoting her second album. And loving the challenge of | :01:32. | :01:42. | |
:01:42. | :01:43. | ||
singing her own songs to live So what makes the down-to-earth | :01:43. | :01:48. | |
girl from the Creggan estate such an enduring star? In an Art Show In | :01:48. | :01:51. | |
Conversation special, we take a closer look at an amazing journey | :01:51. | :02:01. | |
:02:01. | :02:16. | ||
from Derry to Tinseltown. Broadway Hopefully, this year will be a | :02:16. | :02:20. | |
great success for the reasons that it was given to the city, that it | :02:20. | :02:29. | |
will leave a legacy of production. Yet any Joanna of business, that it | :02:29. | :02:39. | |
shows what talent we have. That it boasts the economy in some way. | :02:39. | :02:49. | |
:02:49. | :03:13. | ||
And we had your own mum, who was my speech and drama teacher. She | :03:13. | :03:17. | |
remembers you well. My parents would always try to find | :03:17. | :03:21. | |
alternative things for us to do in the city. We were all more or less | :03:21. | :03:24. | |
involved in arts and artistic staff. My parents would take us to the | :03:24. | :03:27. | |
gallery and any shows that came to town. | :03:28. | :03:35. | |
Saw this girl is Creggan born and raised, finds these like minded | :03:35. | :03:41. | |
people in Derry, why not just stay there? I grew up and the Bogside, | :03:41. | :03:46. | |
went to school in the Creggan, and there was a wonderful film crew | :03:46. | :03:54. | |
working in the area. They made a fantastic award-winning film and I | :03:54. | :04:00. | |
was babysitting at the time when the movie was being done. They were | :04:00. | :04:05. | |
approved -- they were approached by a young director, who was making a | :04:05. | :04:10. | |
movie, and my name was put forward. I was then offered a part in | :04:10. | :04:14. | |
another film. I said I could not because I was going to the National | :04:14. | :04:19. | |
Theatre, but someone spoke some sense into me. People speak about | :04:19. | :04:23. | |
The Commitments as being your big break. But there was a substantial | :04:23. | :04:29. | |
body of work. I was working about one year before, starting when I | :04:29. | :04:35. | |
was 16, about four films, two on television, and some work for the | :04:35. | :04:40. | |
BBC. Your big break his The Commitments, is that fair to say? | :04:40. | :04:49. | |
My goodness, absolutely. How many opportunities to actors get? | :04:49. | :04:53. | |
Working with Alan Parker, one of the world's biggest directors. How | :04:53. | :05:00. | |
did that come about? We finished conditions, -- finished the | :05:00. | :05:08. | |
auditions. As Alan Parker walk past, and one actress knocked a drink | :05:08. | :05:11. | |
over another, then one of them hit me, and we were laughing and | :05:11. | :05:18. | |
giggling. As he walked past, he saw that. We did not realise he was | :05:18. | :05:24. | |
looking at us. And that was it. He told us that was the clincher. We | :05:24. | :05:28. | |
just look like friends. And we still are friends. It is all about | :05:28. | :05:34. | |
chemistry. CHEERING. | :05:34. | :05:42. | |
I looked in the mirror and did not recognise myself. I do not know if | :05:42. | :05:49. | |
I could get my dress off. There will be plenty of volunteers. | :05:49. | :05:57. | |
When I -- after their audition, I was trying to get that particular | :05:57. | :06:03. | |
Dublin accent. You have been missing rehearsals. | :06:03. | :06:08. | |
You can see why! My mother is pregnant, my dad is in the hospital, | :06:08. | :06:14. | |
I am the only one bringing money in. It is difficult, but hard having | :06:14. | :06:21. | |
three backing singers when only two shore up. You are not dumping me. | :06:21. | :06:27. | |
It was such an ensemble cast. And you were all starting to sing, | :06:27. | :06:37. | |
:06:37. | :06:53. | ||
MUSIC: "Destination Anywhere". It was one of the first major | :06:53. | :07:01. | |
feature films to be shot in Dublin. The cast and crew, everyone was one | :07:01. | :07:04. | |
and Parker is a great leader, and it was a great movie. We knew at | :07:04. | :07:09. | |
the time it was special. following year, we have the | :07:09. | :07:19. | |
:07:19. | :07:37. | ||
television drama, You, Me & Marley. The character you play, she seems | :07:37. | :07:44. | |
to be as wild as the rest of them. It is so talented. | :07:44. | :07:50. | |
Do you think our children will be as small as us? Probably at first. | :07:50. | :07:56. | |
And probably joy riding. They will not. | :07:56. | :08:01. | |
It is about how education is the key. And it is what you make it | :08:01. | :08:05. | |
yourself. If I went to university in England, | :08:05. | :08:12. | |
although I am not going to. But if I did, would you get a job near me? | :08:12. | :08:18. | |
I was always told us a child to get my education. Get that behind due. | :08:18. | :08:21. | |
Because it is a freedom. If you have your exams and career behind | :08:21. | :08:27. | |
your belt, you can go anywhere. you feel at 18, 19, you were trying | :08:27. | :08:32. | |
to maintain links with Derry, but also being pushed further and | :08:32. | :08:35. | |
further, because the opportunities for work were happening further | :08:35. | :08:40. | |
away? When I look back now, I just seemed to keep going. I worked a | :08:41. | :08:47. | |
lot. It was relentless. Covered a lot of ground, a huge theatre | :08:47. | :08:50. | |
queues, with Theatre de Complicite. Some of my favourite work I have | :08:50. | :08:57. | |
done. And international directors, the Japanese director, going all | :08:57. | :09:03. | |
over the world. These huge theatre jobs. I was delighted to get work. | :09:03. | :09:08. | |
I had then move to Dublin and was there a lot. What was driving you? | :09:08. | :09:14. | |
Was it this year love of driving -- this year love of acting? Standing | :09:14. | :09:19. | |
in front of the crowd? I was so thankful for the work. But I was | :09:19. | :09:27. | |
not in the position where I could slow down. Let us move to Los | :09:27. | :09:34. | |
Angeles, shall we? You are going to appear in 1994 in probably what has | :09:34. | :09:41. | |
become a cult classic. Pulp Fiction. I know, it is mad. | :09:41. | :09:46. | |
Deep -- do they use the same gun to peer Stuart years that is used to | :09:46. | :09:52. | |
peers your nipples? That is against the problem idea. Every one of my | :09:52. | :09:57. | |
peer since was done with an eagle. I arrived the night before from | :09:57. | :10:01. | |
Ireland and then I was watching John Travolta up. I was pretty star | :10:01. | :10:09. | |
struck. I was a fan of his movies. And he was so friendly and so nice, | :10:09. | :10:17. | |
a really lovely man. Speaking about his Irish and Italian background. | :10:17. | :10:21. | |
And his children. He became my friend. You are in probably one of | :10:21. | :10:28. | |
the most famous movie scenes. Yes. The adrenalin needle going straight | :10:28. | :10:33. | |
into her heart. How much of that was choreographed? Very | :10:33. | :10:40. | |
specifically. My character was not supposed to be in that scene. | :10:40. | :10:44. | |
Quentin Tarantino improved at a little, because he wanted it to be | :10:44. | :10:49. | |
worth my while to be there. The rehearsal was for me to get in | :10:49. | :10:53. | |
there and mess it up. He said something else, but we shall use | :10:53. | :10:58. | |
that term. He said, getting there! What they were doing was so | :10:59. | :11:04. | |
brilliant, I thought, if someone is that of their head, you would just | :11:04. | :11:09. | |
sit there and look. That might be funnier, but I played its straight | :11:10. | :11:19. | |
:11:20. | :11:41. | ||
as a close to chaos. SHE SCREAMS. SHE COUGHS. | :11:41. | :11:51. | |
:11:51. | :11:51. | ||
Say something. Something. You spoke about being star-struck | :11:51. | :11:56. | |
meeting John Travolta, but you were then in a scene with Dustin Hoffman | :11:56. | :12:01. | |
in Last Chance Harvey. It is an incredible scene, ordinary dialogue, | :12:01. | :12:11. | |
:12:11. | :12:13. | ||
romantic comedy. Improvised. In the airport? Yes. We improvised it. It | :12:13. | :12:21. | |
was his idea. Are you American? That is right. | :12:21. | :12:28. | |
Don't you be messing her around. will not. She is not here, she has | :12:28. | :12:33. | |
left for the day. You might still find her at last. I think it starts | :12:33. | :12:43. | |
:12:43. | :12:44. | ||
about lunchtime at this -- at the South Bank. Yes. Go and get her. | :12:44. | :12:48. | |
You are improvising with Dustin Hoffman. Is there a moment where | :12:48. | :12:55. | |
you pinch yourself? He makes you feel so welcome. He is a legend. | :12:55. | :13:01. | |
There is this all consuming energy. He knows he is Dustin Hoffman and | :13:01. | :13:11. | |
:13:11. | :13:20. | ||
his charming with that. There are some people that have that | :13:20. | :13:29. | |
incredible security and wealth. You can go to someone's �15 million | :13:29. | :13:34. | |
house. But at the end of the day, they are just people. Is there a | :13:34. | :13:39. | |
craft? Do you discuss it, speaking about how you are getting into a | :13:39. | :13:44. | |
part or why you chose it? If you have the luxury or rehearsal, or | :13:44. | :13:50. | |
the person is open to talking to you, not using the method, very | :13:50. | :13:55. | |
much so. After Glenn Close short the C D -- after Glenn Close shot | :13:55. | :14:05. | |
:14:05. | :14:06. | ||
has seen, she came and sat down with myself and another actress. | :14:06. | :14:16. | |
:14:16. | :14:29. | ||
That was all right. It was more Did you get a call from George | :14:29. | :14:39. | |
:14:39. | :14:41. | ||
Lucas, asking to be en Star Wars? No, I rang him. I rang my agent and | :14:41. | :14:48. | |
said Star Wars. I would love a part in Star Wars. It was one of those | :14:48. | :14:55. | |
flukes. I thought I could be anything and it could they get a | :14:55. | :15:05. | |
:15:05. | :15:07. | ||
costume? The man who cast a Star Wars had come to see occasion Chalk | :15:07. | :15:17. | |
:15:17. | :15:18. | ||
Circle which was the first show I had done in the National Theatre | :15:18. | :15:23. | |
the night before. I wept at and met them and they said what about a | :15:24. | :15:29. | |
fighter pilot? I said, that is me. Whoever was supposed to play that | :15:29. | :15:35. | |
part had pulled out. I remember them putting the costume on and | :15:35. | :15:45. | |
:15:45. | :15:46. | ||
they had to shrink the costume. I Captain. Tell them we wish to board | :15:46. | :15:51. | |
at once. We are all due respect, the ambassadors for the Supreme | :15:51. | :15:55. | |
Chancellor wish to board immediately. Yes, of course. | :15:55. | :16:03. | |
does not want to be in Star Wars! It was a blast, it was hilarious. | :16:03. | :16:12. | |
Instead of the past trying up, they open at and you evolve into a woman | :16:12. | :16:17. | |
who is making the roles like a mother, a wife and I am thinking of | :16:17. | :16:23. | |
the street. Come in at have a cup of tea. I do not want tea. You are | :16:23. | :16:30. | |
not my father, mother, brother, sister. I will not come in. When | :16:30. | :16:35. | |
you get the opportunity, and this opportunity came up. I had a quiet | :16:35. | :16:40. | |
period before that. You get the script like that and you just go, I | :16:40. | :16:46. | |
have to get his part. I have just lost the man I Love. You know what | :16:46. | :16:55. | |
I mean. I do not need you and my mother running around. I was only | :16:55. | :17:03. | |
trying to help you. Are you doing that for me? Yes. You have to be | :17:03. | :17:07. | |
careful that you do not get too much in your own head because then | :17:07. | :17:10. | |
you performance cannot come out because you are to psyched up. The | :17:10. | :17:16. | |
greatest piece of advice I was given about acting was to tell a | :17:16. | :17:26. | |
:17:26. | :17:41. | ||
What? What are you doing? Let me see the scar. You bastard. How | :17:41. | :17:51. | |
:17:51. | :17:52. | ||
could he do that to me and the kids? You bastard! Telling that | :17:52. | :17:57. | |
story in the flicker of the eyes. The look says it all. The script | :17:57. | :18:04. | |
was so fantastic. For her to have that challenge as a character at to | :18:04. | :18:09. | |
realise he has a scar and he has a scar on his tummy and that is my | :18:09. | :18:17. | |
husband. He has faked his own death. The rules are there read. The roles | :18:17. | :18:22. | |
and are varied. We had some harrowing scenes coming up in the | :18:22. | :18:31. | |
later stuff. I am thinking of sinners, a tremendous row -- the | :18:31. | :18:40. | |
role. It is based on real-life stories. Unbelievable. We can do | :18:40. | :18:45. | |
without the noise, thank you. How is she doing? What is she doing | :18:45. | :18:55. | |
with her feet up? They will be no screaming. If you die it will be no | :18:55. | :19:04. | |
more than you deserve. I liked the reaction of that film and the | :19:04. | :19:07. | |
structure it shock within the Church and expose the criminality | :19:07. | :19:12. | |
of what was going on. The money that was being made. I think it was | :19:12. | :19:18. | |
the first time I have heard that people really pointed the finger, | :19:18. | :19:21. | |
did you know these children were being sold for huge money to people | :19:21. | :19:26. | |
who could not have children? These girls were shipped off to England | :19:26. | :19:30. | |
or whatever and the shame. They were out cast from their families. | :19:30. | :19:40. | |
:19:40. | :19:52. | ||
They have taken my baby. What did you tell them? That I let you want? | :19:52. | :20:02. | |
:20:02. | :20:05. | ||
No. You promised. And eight never made you. I panicked. Marriage. | :20:05. | :20:12. | |
Never trust a woman who can add up faster than you. That is what my | :20:12. | :20:17. | |
father used to say. As an actor, if you have an opportunity to tell | :20:17. | :20:20. | |
those stories, it is a great privilege. I take that very | :20:20. | :20:25. | |
seriously. These things did go on and they have never really been | :20:25. | :20:31. | |
dealt with. Is that why you you would choose a role like the | :20:31. | :20:38. | |
Protestant mother in Holy Cross., because you believe it is your duty | :20:38. | :20:43. | |
as an actress to tell these stories to a wider audience? If you are | :20:43. | :20:49. | |
given an opportunity and you know the piece of writing is coming from | :20:49. | :20:54. | |
someone's research point of view and to represent people in the | :20:54. | :21:00. | |
community, I have no problem with that. As long as I know what I am | :21:00. | :21:10. | |
:21:10. | :21:12. | ||
Phone the police, please. No, they will go away if we stay up here. | :21:12. | :21:17. | |
They think there is nobody here. They will go away, I promise. They | :21:17. | :21:27. | |
:21:27. | :21:30. | ||
will be gone by the time the police I think she Holy Cross was such a | :21:30. | :21:33. | |
horrendous experience for anybody that was involved on either side of | :21:33. | :21:41. | |
it. It was so badly handled that it got into the press. It was only | :21:41. | :21:45. | |
9/11 that took it away from headline news was that it was out | :21:45. | :21:52. | |
of control. I wanted to understand what both communities felt like. | :21:52. | :22:02. | |
:22:02. | :22:02. | ||
Leave it! Are you OK? Give it a few more night. This is your home. | :22:02. | :22:08. | |
is what you look forward to go to after work. Home is where you take | :22:08. | :22:18. | |
:22:18. | :22:19. | ||
things for granted like a night's sleep. Do you do much research? How | :22:19. | :22:27. | |
do you go into a -- another mindset? I went up and met them. I | :22:27. | :22:30. | |
think it was the community centre and I spoke to people there. What | :22:30. | :22:38. | |
did they say to you? They felt misrepresented and they were not | :22:38. | :22:42. | |
lead in a political way. They did not have representation or a | :22:42. | :22:52. | |
:22:52. | :22:53. | ||
spokesperson. Again, it is tribal. Look what you have done to her! She | :22:53. | :23:03. | |
:23:03. | :23:07. | ||
is just 10 years old. Does she look Pool are you? Represent yourself. | :23:07. | :23:17. | |
:23:17. | :23:31. | ||
You are bowling along with a hugely successful music career. Music is | :23:31. | :23:41. | |
:23:41. | :24:08. | ||
Eight years ago, I released my first album. I to the small band | :24:08. | :24:13. | |
out on the road and learned a lot about the rock and roll world. It | :24:13. | :24:18. | |
was hard going. If I had a wonderful reaction to the album. | :24:18. | :24:26. | |
Then, I decided a couple of years ago I wanted to do it again. I | :24:26. | :24:30. | |
wrote 10 more songs and got my dream band together and made it and | :24:30. | :24:40. | |
:24:40. | :24:40. | ||
Apology for the loss of subtitles for 40 seconds | :24:40. | :25:20. | |
Do I get the feeling now that you are taking acting parts now but the | :25:20. | :25:27. | |
passion is the music? I do both and I love it. Again, the theatre is | :25:27. | :25:31. | |
also a huge passion and I have worked a lot in the theatre. A lot | :25:31. | :25:36. | |
of people would not know the work I have done. It is live performance | :25:36. | :25:41. | |
and interaction with the audience. With a film, it is very technical | :25:41. | :25:46. | |
but it is great as well. Looking back, you have built an impressive | :25:46. | :25:52. | |
career, couriers. They must have been sacrifices? Have there been | :25:52. | :26:00. | |
any regrets about what you could have done? No. I really believe | :26:00. | :26:06. | |
that everything happens for a reason. One door closes, perhaps | :26:06. | :26:10. | |
opportunities you would have liked to have done and then it does not | :26:10. | :26:17. | |
happen. Then you really are getting. But it reminds you there is no | :26:17. | :26:21. | |
sense of entitlement. Humility is a great thing. I also realise that | :26:21. | :26:26. | |
something came in their and that was meant to happen. Were you | :26:26. | :26:36. | |
:26:36. | :26:40. | ||
annoyed at losing out on War Horse after you played a role in the | :26:40. | :26:45. | |
theatre was Mark it was an incredible experience. We took the | :26:45. | :26:52. | |
show from the National and it has been running in the West End for a | :26:52. | :26:59. | |
number of years. It was an amazing couple of years. It was hard graft. | :26:59. | :27:04. | |
I do not at all regret any cinematic loss. I do not feel any | :27:04. | :27:09. | |
connection to that at all. I know the people who had seen the play | :27:09. | :27:13. | |
will have it in their hearts forever. A lot of the time it does | :27:13. | :27:18. | |
not work on film. Spielberg sent a message to me and said they had | :27:18. | :27:28. | |
seen the videos. They said I looked too young. I was delighted! We are | :27:28. | :27:33. | |
very lucky to do what we do. I constantly remind myself of that. | :27:33. | :27:41. | |
In our game, there is such huge unemployment. A lot of people break | :27:41. | :27:49. | |
the hat and the same for music. What is really cool to me at what | :27:49. | :27:54. | |
really is sexy is people who keep going. You do not sit in a back | :27:54. | :27:58. | |
crying into your pint and saying I could have done that. Just keep | :27:58. | :28:05. | |
going. If you have a will and an ability and stuff to do, do your | :28:05. | :28:14. |