The most Irish friendly film podcast is back with another Irish guest, director Damian McCann, who brings a host of firsts with him -- first Irish language film made in Northern Ireland; first guy to be doing the laundry when he found out that his film, AONTAS (2025), is Ireland's nominee for the 2027 Oscar for Best International Film; and first guy to ask his parents about how to rob a bank and then use that information to make a banger of a heist film.On the last part: maybe. Hopefully. This is fantastic filmmaking that moves the bar foward for original screenwriting; Irish language films; and Irish filmmakers. Here's to hoping we get to hear some Irish at the 2027 Oscars.Damian and I discuss:the weather in the film -- they rent RAIN MACHINES in Ireland?;why it's important that his new film is the first Irish language film made in Northern Ireland;how he got his start in filmmaking;the choice of making an Irish language film;what he took from his first feature and documentary work;the format of reverse chronology;how he researched robbing banks;linking objects to visually tell people about flashbacks instead of text;is there a reverse chronology club of filmmakers who tried this concept?how he found out about Ireland's nomination for the Oscars and what the campaign looks like;the production company he founded to create bilingual films and what's next for him.Damian's Indie Film Highlights: KNEECAP (2024) dir. by Rich Peppiatt; THE QUIET GIRL (2022) dir. by Colm Bairéad; FOUR MOTHERS (2024) dir. by Darren ThorntonMemorable Quotes:" It's actually a sunny day in Ireland, which is such a rarity that we are-- you're actually legally not allowed to complain at all throughout the day."" I often say that a lot of Irish speakers will talk this way, that you're an activist first and then your job second.""I just had it in my head that I wanted to make a heist film.""As soon as you start writing [reverse chronology], you realize why people don't do it very often.""The ideal case here is some people hate it and some people love it.""The phone rings, do you fancy the Oscars?"Links:Follow Púca Pictures
Not a pop psychology show, but if it was, I'd explore more with my guest, writer and director Paula González-Nasser of the brilliant film THE SCOUT (2025), how she made her first feature about a job she didn't care for. I can't imagine a scenario where she was working as a location scout, and thought, this is my first feature film.And yet.THE SCOUT works brilliantly as a observational movie about the little seen lives of location scouts, even though their work has an outsized influence on the sets that you see in films. She captures all the little nuances of that life through wide shots and long takes. And she's here to share how she made it happen.Paula and I talk about:the theatrical premiere of THE SCOUT at the Film Forum -- including Q&As on September 25th and September 26th!how she responds to the criticism that the film is slow;how much of her location scouting experience for six years winds up in the film and when she realized the job was her debut feature;the shocking part that the film only worked for her when she stripped out her own personal experience;the unexpected setup required for wide, static, long takes and the incredible work by her DP;how she knew when it worked;why she kept her main character, played by Mimi Davila, away from the supporting cast;the process between its premiere and its theatrical debut;what's next for her.Memorable Quotes:" If the slowness is by design, I hope people can at least understand or appreciate the reasons behind it, even if they don't like it.""I'm so glad that it took me not doing the job anymore and having some distance away from it to really appreciate the job.""I don't think I would have said yes to dinner. That's where I draw the line.""I was very naive in thinking like, "Oh, I could just do these wide shots in the same amount of time." And it's like, no, it requires a lot of setup and lighting and timing and blocking.""This film should be observational almost in the same way that the scout is observing these spaces and the people within these spaces.""My style or my voice, I don't think has changed. If anything, I've really leaned into what I discovered about myself through this film."Links:THE SCOUT at the Film ForumFollow Paula On Instagram
My guest today, director Mylissa Fitzsimmons, previously released two features -- EVERYTHING IN THE END (2021) and THE LONG RUN (2025) -- and never got a premiere. She suffered from burnout of the excruciating process of making these brilliant films. And yet:here she is in 2026 with MACKENZIE (2026), opening at Film Fest Oldenburg this year. What does that say about perseverance? Resilience? A never quit attitude and the ability to keep going on even though this is really, really, fucking really hard?I think it says everything. I'm so motivated hearing her story and so excited for the journey of her new film and her renewed love of the art form.Hat tip to the best friend any indie filmmaker can have, Scott Monahan, for making this interview happen.In this episode, Mylissa and I talk about:why Oldenburg?how she's NEVER gotten an opportunity to have a full premiere for her films;what people should expect to see when watching MACKENZIE;why she waited till her third feature to tell her most personal story;the burnout she felt after her first two features;the incredible story in her film EVERYTHING IN THE END;directing actors to not really be actors in THE LONG RUN;where did the motif of running away comes from;the process of working with a non-professional actor as the star of MACKENZIE;why she has ambiguous endings in her films;what's next for her.Mylissa's Indie Film/Filmmaker Highlight: Frank Mosley in JACKRABBIT (2026); Leonora Pitts in I HATE MYSELF AND WANT TO DIE (2024) dir. by J. DavisMemorable Quotes:" So the baby is ready to walk, and we're gonna be there all as proud parents watching."" This kind of moment in childhood that we all have where we realize like the reality of the real world is seeping through the cracks of your childhood innocence and you are growing up."I don't want to have to worry about saying, "hey, I really want you to work on this, but it's a microbudget and I can't really pay you a lot," and then feel guilty and then have them not really be 100% committed."" When MACKENZIE came along, my only goal was like, "hey, I just wanna make a movie and have fun again.""I actually set out to make a movie about people who are lost."" I had worked with kids before, and I know it's like you don't really direct them, they direct you."Links:Follow Mylissa On Instagram
Expectations are good in a lot of ways. They hold us to a standard and promote accountability. But they can also be creatively limiting. For actor and executive producer Glen Steele of the film INFINITELY DENSE, who you heard in the intro, he took the shackles off the word expectation and made his art, giving the middle finger to age or any other perceived limitation.INFINITELY DENSE is having its market screening at the Toronto International Film Festival on September 16th, 2026. If you have the ability to go, you should. It's a near-realistic sci-fi look at what happens if a guy unhappy with his life experimented with augmented AI.I'm also joined by writer and director Ace Thor, who met Glen through his mom's acting class. This is an insane story of two people pushing the boundaries of independent film, both through the subject matter of their work and their overall art.And -- Ace Thor & Glen Steele should be in a cop buddy comedy, right? I'd love it, because it would be another opportunity to have them on the podcast.In this episode, Ace, Glen, and I talk about:how they describe the film;the many hats that independent filmmakers have to wear;the crazy story of how they ended up working together and how they got involved in filmmaking;the reality of acting in your 60s;making a scifi film that feels realistic and not having genre as the focus;casting for this film, why Ace watched every single tape, and why Glen kept his hands off the process;Glen's feelings on massive influencers taking over acting -- it's been happening for years in different forms;the process of a market screening at TIFF;should more actors get involved in making their own roles;advice for raising a family while acting and directing;what's next for them.Ace's Indie Filmmaker Highlight: Nicolas RoegMemorable Quotes:" It's more of a story of what happens when we are only in relationship with ourselves.""It's just like no matter what you try and do in my family, if you wanna do something else, it's just not possible."" No one's gonna hire me to be a lead in a movie at this point in my life."" I didn't want the sci-fi to be the focus, right?"" It's hard for the 64-year-old Glenn to tell a 25-year-old what to do because I wouldn't have listened to me when I was 25.Links:INFINITELY DENSE @ TIFFINFINITELY DENSE Website
Watch This Episode On YouTubeEvery Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RYE LANE (2023)Director: Raine Allen MillerSYNOPSISTwo twenty-somethings reeling from bad breakups spend an eventful day wandering South London, helping each other face their nightmare exes and rediscovering the possibility of romance.Subscribe to our YouTube channelFollow us on LetterboxdFollow us on InstagramFollow us on XFollow us on FacebookFollow us on TikTokFollow us on LinkedIn