"Kilgharrah. I would not of summoned you, if there was any other choice. I have one last favor to ask."
faceless → arthur
Hackett Hunger TV Behind the Scenes video edited down to Colin Morgan appearances only- requested by Anonymous
"A true soul mate is probably the most important person you’ll ever meet, because they tear down your walls and smack you awake. But to live with a soul mate forever? Nah. Too painful. Soul mates, they come into your life just to reveal another layer of yourself to you, and then they leave.”
- An exclusive video interview with Gabriel Byrne in which he discusses his role and the series is available above.
- Notes from producer Lisa Osborne
I fell for Quirke the minute I met him in Christine Falls. Who could not fall for Benjamin Black’s wounded bear of a big blond man with dancer’s feet and a way with the women? By the time I came to work on the BBC One series based on the books, Gabriel Byrne was already attached to play the hero and, though physically he is the opposite in every way to Black’s description, it took about a heartbeat to accept him as the very essence of Quirke. Oddly enough Black (aka John Banville) appears to feel the same way; with each new title Quirke is darker, smaller, less of a dancer, more intense. Just as much of a way with the women though…
Legendary adapter Andrew Davies and award-winning playwright Conor McPherson expertly filleted the thriller plots out of Black-Banville’s elegant sinewy prose. That’s not always easy to do without sacrificing the mood and atmosphere of the source but they were ably supported by a talented cast and crew. Production designer Susie Cullen created a rich refuge for Quirke in the peaty, smoky, whiskey-glimmering bars and drawing rooms of Black’s imagination; cinematographer Tony Miller (and his successors in the second and third films Alan Almond and Ruairí O’Brien) established a visual style that I think we must call ‘Dublin noir’; costume designer Lorna Mugan brought the Fifties gloriously to life in shades of burnt orange, teal and red, her women vibrant against the flinty streets, her men in every shade of sharply tailored blue and grey.
Directors John Alexander, Diarmuid Lawrence and Jim O’Hanlon shot the three films back to back in the winter of 2012/13 in conditions predictably unfriendly to outdoor filming. Irish born, bred and buttered, I should have remembered those winter dusks with the sky weeping and the streets running and the mists swirling in from Dublin Bay. On one memorably vile day in the middle of February we struggled for hours to lay additional film fog in a Force 8 gale with the icy rain slicing sideways through the streets. But though it may have required some extra investment in wet weather gear and warm footwear, by the time we were back in the cutting room we all agreed it was worth it: the glinting rain-wet winter streets were a perfect setting for Black’s crimes of passion.
Dublin has a habit of reinventing itself for every writer and artist who ever sets foot in the dear dirty streets - there are more cities of the imagination than there could ever be in life. Quirke’s Dublin is a slow, seductive place, a place for sin and sinners, human in scale, grand in ambition, authentic, surprising, and, thanks to the tireless efforts of an Irish crew who carry the city on their very DNA, possessed of a rare Irish beauty all of its own.
"s-senpai accept this letter please"(≧︿≦✿)
And finally the last drawing of the livestream, Merlin and Arthur under a cherry blossom tree. This is the shoujo-est thing I’ve ever drawn ahah.
merlin + smiling/laughing (requested by like-the-name-in-a-fairytale)
Merlin and Arthur on their final journey together.