Fresh from its Bournemouth International Film Festival debut – where it scooped awards for Best Editing and Best Original Song – The Hook is already making noise. Matthew Briody caught up with writer and director Thomas Beatty to talk unique soundtracks, garage bands, and the timeless pull of Rock ‘n’ Roll.
The Hook is a perfect title for this film. Do you have a favourite hook from a song?
Whole Lotta Love – Led Zeppelin. One of the first tracks my brother played for me. Simple and complex – still blows my mind.
Your film is set in the legendary JBJ Recording Studio on Portobello Road in Notting Hill. What is it about this studio that appeals to you?
It was Charlie Freeman who introduced us to the studio and I couldn’t believe a place like that existed in the centre of a busy Portobello Road. Charlie, Elijah Rowen and Jack McEvoy came up with the concept and the space really dictated what the film was about.
You began your career as a stage actor in Dublin before forming your own theatre company...
There is no hiding on the stage. No other takes. You’ve got to really be there and be present. Plus, if you’ve seen a show more than once, you’ll be able to agree that it changes every single night, and there is some real magic to that.
The single-location aspect makes the film feel a bit like a play!
It was a happy accident, like most things. We noticed it when we were doing the read-through that it flowed like a play. Honestly, I would like most projects to feel they could be transferable onto stage now.
You've worked as both a writer and an actor. Which of the two do you find more difficult?
It's a tricky question. Writing feels very personal at times, but it’s private in the process. Whereas acting – there is really nothing private about it at all. Both affect us in very different ways and I could chat about it all day.
There's some brilliant use of staging and props throughout. Did you draw on your own stage experience when crafting these elements?
When staging, I suppose the space and performances helped dictate it. But I have to give full credit to Natalie Pack. She is a brilliant production designer and sees things that I never would.
Fractured families on film is an endlessly fascinating subject to explore. What were your influences?
The Royal Tenenbaums, Little Miss Sunshine and Captain Fantastic. Unconventional or dysfunctional families I am drawn to. But in fairness, I don’t think I have ever met a fully functional family and I don’t think I ever will.
From Spinal Tap to The Blues Brothers, there are so many great fictional bands in film. Do you have a favourite on-screen band or musical artist?
There is a fictional band called Strange Fruit from a film called Still Crazy (1998). Bill Nighy, Jimmy Nail, Timothy Spall, Stephen Rea, Billy Connolly and Bruce Robinson – the cast is just insane and the film doesn’t take itself too seriously. It's in a very similar vein to The Hook, but I only got to watch it after filming. The Flame Still Burns, etc.
At private London screenings you've received support and attendance from industry figures like Helen Fielding and Jack Gleeson.
Helen I’ve known for a while and it’s always a great honour to have her come to anything and support the work. Jack – I don’t think he knew where he was, but I hope he enjoyed the film.
One of the standout features in your film is the soundtrack. There's music from a number of rising bands including Stone, Sounds Mint and Stereo Cupid. How did you come across these talented artists?
We’ve all stumbled into each other's paths at different times. We are very fortunate to have friends in all artistic endeavours and the film gave a good chance for those in the Rock ‘n’ Roll field to shine.
Legendary musician Gavin Friday also makes a contribution to the film. Friday has had songs featured in iconic films such as In the Name of the Father and Romeo + Juliet. How did he end up getting involved with your film?
He was sent some clips from the film. When he agreed to let us feature the track, I knew we’d be onto something special. I really couldn’t imagine that piece of the film without his track – I genuinely think it’s one of the best tracks ever written.
Every member of the band has their own unique personality which really shines through. What kind of direction did you give them when approaching their characters?
Every actor is different – some like to be left, some want a deep dive into the character they are working on. A lot of the traits you see on screen are directly from the actor and probably just me letting them have the freedom to play.
The outfits are wonderful in the way they capture different musical aesthetics.
It was a mixture of charity shops and high-end fashion and everything in between. Some of the most fabulous clothes, as you put it, came from the Cazz or Elijah Rowen wardrobe.
The tagline reads “Twenty-Four Hours to Save Rock 'n' Roll – and Their Family.” Do you think Rock 'n' Roll needs saving right now?
I don’t think Rock ‘n’ Roll gets the credit it deserves. I think it will always be timeless. The artists we know – Stone, Stereo Cupid and Sounds Mint – bands like that are the new wave of Rock ‘n’ Roll, and if it does indeed need saving, they will play a good part in it.
I love the band's name Brothers Blonde!
There were a lot of potentials flying around for the name, but we all landed on Brothers Blonde. I think most of them had a bit of blonde in their hair at the time.
The Commitments is one of the most quintessential Irish music films out there. Was that film on your mind at all?
It’s a film that’s beloved and locked in every Irish person's psyche that’s seen it, and a super important piece of work. So at the very least, subconsciously, it had an effect on the movie.
Did you ever have ambitions to be in a band when you were younger?
I was in a band but we sadly never made it out of the garage. It was called Almost Legendary. I was about 13 or 14 and made it with my friends Ben and Robbie. The ambition was there, but the ability was lacking.
Your film opened the Bournemouth Film Festival. What was that like?
Gratitude really is the feeling. We are very grateful to the team at Bournemouth, especially for giving us the opportunity to open the festival and make a bit of a mark.
You have years of experience working successfully across stage and screen. What are the biggest of challenges you face?
It’s not always successful, which is probably the main challenge – or being perceived as successful. Everyone is running a different race, as cringey as that sounds, but just focus on your own. Be thankful whenever you are able to do what you want to do.
What's next for you now?
There is a range of projects we are working on. I’ll be on set with Elijah in February. The main focus apart from that is between a biopic and a vampire series called The Dead Boys Club, which I am particularly excited about. It's like The Hook on steroids, with some vampires and guns thrown in as well.
Best of luck with it... And congratulations on your win!