The interview was over a weekend at the end of 2019, and it was so amazingly coherent – a clear and honest interview, and it formed the entire backbone for the film. And I suppose what was so important for the me was that even though the media has done such an amazing job of painting Sinéad as flippant, issue-hopping, and non-consistent, to have this beautiful interview where she’s clear as a bell saying what she needs to say became quite profound in a way.
I have this sense that there is a lot of latent interest in her out in the culture. What has the response to your early screenings been like? It’s been wild to see the response – and really the response to the film is the response to her.
Tell me about the decision to leave out the tragedy and turmoil in her later life – the loss of her son, for instance – and the tabloid stories that we’ve seen about her. To be honest, Sinéad has had such a full life, and there’s so much in there to unpack, that to be able to put together a 90-minute film we had to be very focused on what we were going to look at. The key thing for me with the film was getting a foundation and re-writing the wrongs, and to be able to actually examine the cause and effect around what she did. If you can understand why she did what she did, everything else makes sense post-1993.
Beautiful voice, love her rendition of The Foggy Dew.
There's no artist like her . My absolute favourite singer of all time
The Lion And The Cobra remains an amazing album and staggering debut. And Troy is a cinematic tor de force.
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