Casting for a film without action, big moments and intrigue can be hard. That is because movies like those usually don’t have a lot of financial support because they’re seen as unworthy. However, that doesn’t mean you can’t have a superb cast in your more genuine, low-key, quiet movie. No, just watch That They May Face the Rising Sun by Pat Collins. You’ll see the excellent lead actors Barry Ward (Sunlight) and Anna Bederke (Soul Kitchen) who bring so much emotion and genuineness to the screen. We spoke to Barry and Anna during the BFI London Film Festival 20233 and chatted about their latest gorgeous movie and the importance of listening to people and finding yourself.
GVN: Congratulations on the beautiful film. What about the script that made you say ‘yes’ to That They May Face the Rising Sun?
Barry Ward: Before even the script stage, I wanted to say yes. I was familiar with McGahern’s and would have loved to be involved with an adaptation. I was also a fan of Pat’s movies and him as a person, so I wanted to work with Pat. It was a yes from me before I even read the script. With the script, it was a nice adaptation of what some consider an unfilmable book. So I relished that challenge, and it’s a much different energy and feel of a film than what we’re used to. So it was great to be on board.
Anna Bederke: I was drawn to it by the whole atmosphere and pace. There’s something in it that I would like to experience. It was not right away like, “Oh, I would like to be this character.”. That came later on. It was just like, “Oh, that’s a certain way of looking at things. A certain way of perspective that I would like to learn.” That was it for me. Then later on, of course, I thought, “Oh, these characters are fascinating, even if they’re not dramatic.” There were some qualities to them.
They would be exciting to work with mainly because our two characters are open-minded and have the skill of listening to people without judging. That isn’t easy to act to. It’s a particular way of looking at things. It was exciting to work with that and be part of it. The movie also oozes a kind of zen-like meditative energy. It has these interesting-looking characters who bring a lot to it. I’m curious what an audience would think of it.
GVN: What was the first scene you shot together?
BW: The first scene we did together was me writing and you coming to the door, saying somebody was downstairs. That was interesting because we were hanging out a bit, getting to know each other, but we hadn’t acted together. It was such a minimal interaction, and only in later scenes did we bounce off each other. So that’s true to how it was in reality. In the movie, you see us as a unit. There’s a constant checking in with each other in the presence of others. That connection is very strong and present.
GVN: When reading the book or the script, what was the scene or moment you looked forward to the most, and how was it to film it?
AB: They all came together nicely. It was really like the whole thing. It’s a story with not an over-the-top dramatic storyline. It’s real moments. It’s more about an embrace of life in general. Everything is important for the whole thing because it’s a movie that works that way.
BW: Yeah, I agree. You’re doing it all together when you’re filming it. You create the character and the film. You’ve got to invest in each moment as much as the next.
Joe and Kate are now living in a rural area, but when they get a chance to go to vivid London – where they used to live – the couple has to make a difficult decision. Do you think nature is better for creativity or a lively city?
AB: It depends on the subject. I don’t believe in rules or specific methods for things. For some people, being in a city is better than being in the countryside to be creative. I can only talk for myself. I believe more in chaos and that you must find your way with each new thing. Be surprised by it and be curious to figure out stuff. Sometimes, it’s also good if it’s not the right environment. Sometimes it’s good that it’s a challenge, and sometimes it’s okay if it’s boring. It’s important to be curious and to listen, and then you’ll get it done. No matter the environment.
BW: The setting of this film was novel to me. I didn’t think I would like the quietness or tranquillity of rural life, but I fell in love with it when I was there. I found it conducive to good work. I’m much more at home in a city and like the chaos and the noise. I find it energising, but I don’t know which leads to better work. As you said, you get it done no matter where you are.
GVN: Would you have made the same decision as Kate if you were in her shoes?
AB: Yeah, most definitely for the moment. Kate and I would do the same. You make a decision, but you’re always allowed to change your mind, you know. She’s embracing where she’s at the moment. The surrounding is nourishing her. Everything is beautiful but not in a loud way. For me, it just feels like she’s also a character who is at home there. She is not a character with many walls. She has the quality of listening and being open, which comes easily in the countryside. You can also incorporate that into a loud place, but it’s easier to listen when there’s no constant noise and opinions. A rural countryside is a setting where you can practice that and cultivate listening. I think that’s an excellent quality.
Everybody’s yearning to connect to ourselves, whatever that might mean, practising yoga, meditating, etc. I believe in listening and listening without having an answer. Just be with what is in front of you without a certain opinion. Really, to be in the space where you are with what’s in front of you. That’s amazing. That brings you a lot of calm and peace, and it’s super interesting at the same time. It’s interesting because you can be super curious about what’s in front of you. It’s not entirely about yourself. It’s about the other thing, what you see. So there lies a lot of excitement.
GVN: According to Pat [Collins, the director], the hay scene was very difficult to shoot. Was that the case for you as well?
BW: No, not for us. Logistically, it might have been. We were weather-dependent. It was raining, and we had to stop, and Covid struck. The logistics were tough to get done, but it was lovely hanging out in the field, playing with the hay when everything was in place. It was a beautiful day well spent.
AB: It depends if you have hay fever or not. Then it’s not a good thing.
GVN: How was it for you guys to film in such a beautiful landscape?
AB: I’ve never been there. When I was googling where it was, I went, “ Okay, wow, this is amazing.” I just saw the pictures, and they were breathtaking. I also really love isolated places. At Loch Nafooey, there was no reception at all and no people. You would go with a car. Also, when I arrived at the location from the airport, the only thing I saw was mountain sheep and nature. It was stunningly beautiful. The light is so different than elsewhere in the world. If you’re in nature, it’s always more beautiful because you’re more focused on light. The way the colours are looking is just totally different.
BW: You would go up a hill and then go, “Wow, look at this.” You would fall in love with what you see. It was extraordinary. It’s pretty stunning and underpopulated. There’s a lot of space. I mean, it was the world’s edge for a long time. In medieval times, monks and the church were the only people with education and literacy. They sent Saints that far in search of a more isolated heavenly place on earth. They would go as far west as possible and to the west of Ireland. You know they hadn’t crossed the Atlantic at that stage. It was the edge of the world. Sometimes, you get these shafts of light coming down, and there are also the beehive huts where monks would dedicate themselves to God.
GVN: How was working with such a fantastic cast?
BW: It was nice to see that everyone had their own story. It was great. My character was like the king, and the others were coming to my banquet. I had worked with most of them before. It was great to catch up with them, talk about various things, and do so in such a beautiful environment. A beautiful time of year. It was a script that everyone was passionate about because they were all big fans of the book and excited to be part of the team bringing it to the screen. So it was just super positive and happy. Everybody was committed, and everyone was friendly.
AB: I was the outsider because I didn’t know anybody, but it didn’t feel like it. It was like, “Oh wow, so many different characters.” I also really liked that no actors wanted to own the room. You also have those in Ireland, but not in this movie. I was amazed that they were so down-to-earth and interested in one another. There was no feeling of competition or being very great or whatever. I had the feeling everybody was so interested in different points of view. I liked that a lot. Because people come together to do this, there’s a common ground where you stand together. This one felt super special to me in that regard.
GVN: Does the down-to-earthness of the people even elevate this film?
BW: It’s a necessary component. Good actors can tap into what’s needed and fulfil that or carry that out. As you mentioned, you often get egos in films and people who do their thing. There was no room for it in a project like this.
AB: It’s also about being open to connecting. If you’re full of yourself, you can’t connect with others. You must put your ego aside so everybody can be brutally honest, vulnerable and open. It doesn’t mean that you need to cry all the time. However, there must be room for failure. It might be super easy, but getting there can be tough. I felt it was easier to enter that because everybody had that quality of being able to listen to each other. It’s again about listening and being there.
BW: And hats off to Pat and Brendan [J. Byrne, one of the producers] because they created that environment and put together the people they knew could make that real.
That They May Face the Rising Sun was part of the BFI London Film Festival 2023. Be sure to read our review here.