Kathryn Ferguson

And that is, I guess, that's led me on this path, you know, and led me back to her then when I had the bravery to go after her in life.

2018.

That was 2012 actually.

So what's even more remarkable is the film Mather that I mentioned, the RCA film, I sent it to the manager, the kind manager who let me use the music.

And I can't remember if he watched it or even got back at the time.

But what did happen was the following year, I got a message or a call, I can't remember, from him and from John Reynolds, Sinead's producer and long-term best friend, asking if I'd direct Sinead's first music video in 15 years for her song, Fourth and Vine.

So it was directly off the film about my mummy that led me to then meeting her the following year.

Yeah, I certainly did.

Yeah, I got to go to her amazing house.

I got to see her seven foot Virgin Mary in her hallway.

I got to go in and yeah, I spent about a week with her.

So it was really, I think we ended up shooting out in County Meath in like a little country pub in the middle of nowhere.

And, yeah, I mean, it was just, I just couldn't believe my luck that everything had led me to actually being with her and hanging out with her and meeting the beautiful people around her who ended up being my very close collaborators on Nothing Compares.

I mean, I think when we set out in 2018, it was an interesting year in itself.

I think it was Weinstein, it was Me Too.

And even in my own country, we had the Repeal the Eighth Amendment happening as well.

So it felt like there was a lot of like motion.

It felt like a real moment where women were speaking out and they were changing things and they're being listened to.

I guess that's how we managed to get Sinead's blessing in the first place, because I certainly know the team around her felt that her voice

there's a huge omission of Sinead's voice from all of this incredible activity that was happening and particularly in Ireland I think that's why it was encouraged to happen from talking to John about it he'd been approached I think a couple of times every year for 30 years at that point about doing a film but there was something about the timing of us getting in touch with him at that moment and I guess because he'd