Dan Barry

Tell us about that.

Yeah, well, Dan Barry wrote an article in 2017, The Lost Children of June for the New York Times.

A beautiful, beautiful piece of writing.

If anybody cares to look it up online, it's absolutely beautiful.

Liam, I want to go back to the very beginning of this.

What was it about Dan Barry's 2017 New York Times piece about Hume that made you want to get involved?

Well, it was...

I've been thinking about this a lot over the years.

That's obviously a slightly different experience for you, given that you're about to play her.

What did you take from those meetings?

I think the thing that I noticed immediately, because, I mean, I'd read the Dan Barry article, obviously, and I'd seen Frank Barry sent me a sort of pack, a research pack of different documentaries.

And, you know, given what she's talking about most of the time on the documentaries and how she's being portrayed in pictures...

What is the significance of his role in this movie?

Well, it was picked up in the New York Times by Dan Barry and he met Dan Barry and they decided then to develop this.

He didn't know anything about it until he saw it in the New York Times, even though it was rumbling on in Ireland for years.

But because of him, he got it up and running and he became a producer on it.

He said he needed to bring his wife her lunch.

and Dan Barry, the writer of this article in the New York Times.

Waiting for a berth to open on Manhattan's west side, we bobbed in silence, staring at the charcoal plume mushrooming from where two sky-piercing towers belonged.

Only the waves slapping against the hull disturbed the quiet.

What a surreal moment that must have been for this guy, Dan Barry, New York Times writer.

A quarter of a century later, moments submerge and reemerge in the bruise-colored Hudson of my mind, the cortege of exhausted firefighters carrying another body from the wreckage, the refrigerated trailers packed with human remains, that dining room table on Staten Island where a grieving father told me that his dead son sits right there where you're sitting for Sunday dinners.

That's his spot.