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Ian Palmer and James Quinn McDonagh won’t “Knuckle” under

Ian Palmer and James Quinn McDonagh won’t “Knuckle” under (photo)

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I’ve heard of fights at weddings, but this is ridiculous.

Filmmaker Ian Palmer was hired to shoot a wedding between members of what are called Irish Traveller clans, nomadic families notorious for their longstanding feuds with other Traveller clans. Palmer shot the wedding and was quickly invited to film a bare knuckle boxing match between two Travellers. Instantly, he was hooked on the endless drama and the explosive fights, and he spent the next decade recording the ups and downs of the Quinn McDonaghs, particularly their biggest and best fighter, James.

At Fantastic Fest 2011, I got the chance to talk with Palmer and Quinn McDonagh about their film and the fascinating world it explores. We touched on the logistics of spending more than ten years shooting a movie, and how the finished doc has affected the easily disturbed relationships between the clans. And thankfully, no one punched me in the face.

Ian, in the film we see how you found James and his family, but not how you decided to make a movie about them. How did that happen?

Ian Palmer: I stepped over the threshold into a world that most outsiders had never gotten to really be inside. I wanted to make a film about it very quickly. I met James and his brother at a wedding. The bride’s family had invited me. I remember afterwards going back to that side of the family that I had met before and asking them “Do you think the guys would ever let me make a film about this?” And they said, “No way. It’ll never happen.” But I figured there was no harm in asking. This was after I’d filmed the first fight. And even though they’d let me film the fight, it didn’t mean they were going to let me make a film. Despite what the family had said, James was quite open. We had a good relationship.

James Quinn McDonagh: We built up a lot of trust very early on.

IP: And that was key, for James and his immediate family to accept me inside. If James had said no, it wouldn’t have worked.

So James, why did you feel like you could trust Ian?

JQM: He’s a character himself; a genuine character. He put himself across very well, he made his intentions very clear early on. He’s not like some of the guys that would do something for a year and then go and do something else and not let you on about it. He kept me updated, he kept telling me the truth. Good and bad, whatever happened, we were all part of it together. One day he said, “James, I think I want to do something about this, what do you think?” I said, “Do what you’ve got to do, but don’t do it injustice, don’t do it wrong, and let me have a look at the final piece and see what I think, and give me some sort of little say on it.” He showed me the final piece, and I think out of the whole 96 minutes, there was maximum one minute that I didn’t like.

IP: It wasn’t even that. It was one shot. It was actually a total surprise to me, because I thought it relatively innocuous.

JQM: It was one shot, which is irrelevant now to talk about, but this one shot of me, Michael, and Paddy [James’ brothers], we wanted to change. Everything else we were beautiful with. We’re very happy with the movie itself, very happy with Ian, very happy that he trusts us and we can trust him, and long may it continue.

Over more than a decade of shooting, how much footage did you accumulate?

IP: I maybe have 200 hours. And I had a lot of acquired of footage, the video tapes the clans send to each other, wedding footage, and some photographs too. There was a big collection of stuff to wade through when I eventually tried to come to grips with it.

I’d never had a deadline for this film. If I had that I would have finished the film inside of two or three years. But I always wanted to have a longitudinal study, as they say. I’d almost had a commission for it after the first year, in 1998. But that didn’t come to anything. The TV crowd I was with wanted me to push it in a different direction and I wanted an open-ended approach; I didn’t want to dictate things, and I didn’t want many formal interviews. It wasn’t going to be that kind of a process; it was going to be a journey. It was real people, going on a journey, and I was going along for the ride. It became a very long ride because I really had no deadline.

And that’s one of the things that makes the film so interesting. But how did you know, then, when to finally stop?

IP: I’d stopped at various times. As the film describes at one point, six or seven years in I said, “I’ve had enough. I’m not getting anywhere with this. I’m just some guy with a camera having a thrill.” But the time passed and a call came through ten years after I started. Michael [Quinn McDonagh, James’ brother] jumped back onboard the fighting game, challenging his cousin in England to sort out what he’d failed to do many years before. That, for me, was always going to round out a story of a particular journey by three brothers in their fighting lives. And that was always going to the way the whole world was going to be told.

Ian, you mentioned those videos that the families would send one another to provoke fights. They’re are amazing. They’re almost like battle raps.

JQM: The tauntings.

“The tauntings,” yeah.

JQM: It was the thing of the day. When technology started to come into the hands of Travellers, social websites and social networks like Facebook started coming online, people started getting their hands on digital cameras and camera phones, instead of just ringing up a guy or sending a third party, Travellers would go on video and taunt. That all started after I had my fight with Patrick Nevin, when I stupidly said no Nevin would ever beat me. They started sending stuff back on the strength of that one, and in turn, we wanted to get a message across. They had the last word; we wanted to say something back, so we opened our mouths in front of a tape and we started bullshitting. In turn, they come back. It was like a ten part miniseries. It went on from that and it’s a continuing trend up until this day. Only two weeks ago, the Joyces and Nevins are on their tenth challenge on DVDs. Five on each side at the moment.

It seems like YouTube would only encourage this stuff.

JQM: They’re all on YouTube.

And how has the movie affected that back and forth?

JQM: I’m on speaking terms with some of the Joyces and some of the Nevins. The feedback I’ve gotten has been nothing but positive. Everyone knows they made mistakes, everyone holds their hands up, and in general everyone’s saying it’s a brilliant, brilliant movie. Everyone loves it. It’s gone wild in Ireland and England. Every Traveller I know has got a copy.

Does that surprise you though? In the movie, we see how the littlest insult can set off a new feud. I’d think there must have been something in there that someone took offense to.

IP: The film is part of that conversation now. But because there is a story arc, rounding out this relationship between James’ brothers and the people they were fighting, it does something different than the normal tapes that are going back and forth. It does show with James’ life, someone who’s gone from being the lead player in the fighting to the lead player in —

JQM: — peace negotiations.

IP:Well not so much peace negotiations. It shows a process that someone can go through in their life, and having a consciousness about it. I wouldn’t assume to say the film would have any role to play in family thinking in the future.

JQM: It’s not going to fuel it. The feud’s been going on forty, fifty years going back to I don’t even remember how or why. “Knuckle”‘s not going to make it any worse, and it’s not going to help it. “Knuckle” is just there to tell the general public and the audience of what’s going in this private life of the Traveller community of bare knuckle fighting.

Ian, tell me what it’s like to film one of those fights. It can’t be an easy thing to shoot.

IP: You’d be surprised how it feels like you have a shield in front of you when you’re looking through a camera lens. My technique was always to get in as close as possible.

JQM: He was really up in your hole.

IP: That was always my approach. I just wanted you to feel it. I’d come away with specks of blood splattered on the lens. It wasn’t that I enjoyed fighting in that particular way. But I never found it off-putting. It’s a technical challenge. You’re there, you’re trying to keep it in focus, there’s a crowd, you’re trying to do a job. It’s probably the same as the guy on D-Day shooting photographs. He wasn’t thinking about danger.

So James while you’re fighting, you’re cognizant of things like Ian and his camera getting in your face?

JQM: Me, when I’m fighting, there’s only one voice I hear — and I don’t even want to hear it — and that’s the referee. Everything else around me is not there. Just the guy in front of me. I don’t feel, see, or hear [Ian]. I just focus on what I’m doing, and that’s how I can concentrate and do what I do best.

Now that you’re primarily training fighters instead of fighting yourself, what are your main pieces of advice to your students?

JQM: It’s all about the second plan, the Plan B. I always went into a fight with a Plan A and a Plan B. If one’s not working, switch to the other one. Thankfully I’ve never needed Plan B.

[laughs] If they make a fiction version of your life, who do you want to play you?

JQM: Just because he’s a big guy with a bald head, and we’ve got the exact same date of birth: Vin Diesel.

Vin Diesel, I can see that. I don’t know if he could do your accent though.

JQM: You never know, he’s an actor. Or I could just play myself.

“Knuckle” opens this Friday. If you see it, tell us what you think in the comments below or on Facebook and Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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