Lochlainn McKenna is a multi-award winning writer and director from Cork City, Ireland. He joins us on Close-Up Culture to talk about his film, Two For The Road.
What was the inspiration for the film?
I wrote the original story, ‘Guinness & Coke’, during the pandemic and the story is a truncated version of a story I used to tell growing up about one of the many tumultuous weekends that I spent with my father as a child. The full story involves us getting a four-and-a-half-hour boat journey from Ireland to Scotland during a treacherous storm in a tiny boat… but that’s a story for another day!
One of the challenges with adapting the short story was making sure we didn’t lose a lot of the internal sentiment and dialogue that Oscar harbours. The story and film are both told from Oscar’s perspective but it’s definitely easier in prose format to explain and describe a character’s internal dialogue. There’s not much conversational dialogue in the short story so any dialogue that was added to the film had to support Oscar’s internal mechanics and drive the narrative forward without feeling like exposition. I feel like I managed to do quite a good job of that in terms of the writing but a massive factor was, of course, the relationship between the two leading actors: Ewan Morris and Steve Wall.
If there is one key message, you would want the audience to take from this film what would it be?
The film itself is a vessel for people to ponder their own relationships with their parents. To look at the scenarios that have maybe enveloped them through their lives. The trauma that has perhaps shaped them as adults and, in fact, made them into people they should, actually, be quite proud of.
Two For The Road I think was as important for me to make as it might be for you to see. I think it explores the malleability of children and the influence our parents have on us and that love really can triumph… and that that, perhaps, isn’t always a good thing.
With that in mind, I’d like people to come away from the film contemplating the complexities of familial love.
Can you tell us a bit about your cast? What was your casting process?
Obviously, it was quite an unusual experience casting this film. It’s not every day you need to cast yourself and your father! Saying that, it never mattered to me what the cast looked like it was just imperative they had a natural bond and that they were believable as a father and son combo in terms of appearance.
The casting process was an absolute dream! We auditioned somewhere between 100 and 200 boys for the role of OSCAR. Ewan Morris was the 5th child in the door. I keep saying the same thing in these interviews but I’ve actually missed him since the shoot! He was such a pleasure to have on set… we had such a great time and he’s just such a wonderful, talented young actor – as well as just being a really terrific human. When he came into the audition, Eva-Jane Gaffney – who did the child casting – and I were just looking at each other, trying not to smile. He was phenomenal. To be honest, we saw so many brilliant young actors across those few casting days. The Irish acting scene is alive and thriving!
But, Ewan just had something special. We did an improv in the audition and that sealed the deal for me. Ewan had never acted on screen before and, honestly, he took to it like a duck to water. Not only did he manage to contend with the rigours of long shoot days he actually embraced them and was constantly making suggestions and asking questions and was a literal sponge on set. It was inspiring to watch. His performance is absolutely heartbreaking and it wouldn’t take a genius to see that the film world is his oyster now… if he so wishes it to be.
I feel so fortunate to have had the opportunity to work with Steve Wall on the film as well. It was, obviously, an emotionally complex character for me to cast. I feel like Steve did an incredible job of creating a character that’s brimming with complexities. He isn’t a bad man. Not by any stretch of the imagination. He’s very loving towards Oscar, he’s just got his own demons that he’s struggling with alongside that.
I understand this is based on your childhood, was it difficult to make a film on something so personal to you?
The short answer is yes, it was. I don’t want to delve into the personal intricacies of it all too much. But the short story was the genesis and that led to the film. It was never my intention for this to envelope my life in the way it has. But I’m grateful we are where we are. The film has been my solace this year. And, as difficult as it will be to write the book and make the feature I know the reward on the other side will be worth the internal battle… or so I tell myself, ha!
Can you tell us a bit about your crew?
One of the things I’m proudest of is the team that we assembled for this film. My producers, Gráinne Dwyer and Natalie Britton, put in a trojan effort to get this film over the line. As is oft the way with short film shoots, there were speed bumps aplenty and they made sure we never hit them too hard! All of my HoDs were people I had worked with and that I really respected. People I knew would bring their absolute A-game. Not to be naff or cliche, but from the very outset this film always meant more to me than just making another short film. I really wanted to ensure the team we had on the film felt the same way. I remember speaking to my production designer, Ciara O’Donovan, at one stage and she said to me it felt like a special project. I think that is definitely true and it’s because everyone bought into the truthfulness of the script and the sentiment behind the script.
How does it feel to be considered for an OSCAR?
It’s surreal, of course. Saying that, as much as I’m eager to give ourselves the best shot at getting on the shortlist or – a boy can dream – a nomination. I also don’t want to get my hopes up. I think the film is brilliant and that it deserves to be there but also I respect my fellow filmmakers and their craft and perspectives. I think getting this far is a testament to the quality of the film and I need to be able to make peace with that as an end-goal and hopefully we can enjoy the festival circuit next year regardless of what happens with the vote in December!
Was there anything particularly difficult to film?
From a practical perspective two of the most challenging things were the scenes in the car and the fact we were shooting on 16mm. The 16mm was a challenge just in terms of the discipline that was required when it came to shooting. But, to be honest, I actually think it complimented this production because we had so little time. My producers will tell you I was pretty unwavering when it came to shooting analogue in any case. The film is set in the 90s and I wanted it to feel like a memory and I knew the 16mm was intrinsic to that.
The car stuff was complex just because those scenes are quite pivotal to the sense of journey through the film and also build the relationship between Oscar and Hugh. I really didn’t want them to feel boring or predictable and had very specific ideas about how they would be shot… some of which weren’t logistically the easiest. Again, hat-tip to the producers!
Are there any plans to make this into a feature-length film?
That is absolutely the plan, that’s actually happening as we speak. I’m writing a book – first and foremost – which will be 10 stories long. Each one in a similar vein to ‘Guinness & Coke’ some more upbeat, some more sorrowful. That book will be the basis for the feature.
What are you working on next?
Commercials are my bread and butter. I’m just in post on a TVC at the minute. I’m also chatting to streamers and potential funders about shooting a documentary series at the start of next year, which is very exciting. Other than that just writing! Trying to get this book/feature off the ground. Busy, busy busy!
Where can our readers find you?
If they’d like to see more of my work they should go to www.locky.film, if they’d like to see more about the film go to www.twofortheroadfilm.com and for more info on the production company go to www.onheritage.com. If you want to get in touch Instagram is always a safe bet!