{"id":32758,"date":"2026-07-05T11:42:58","date_gmt":"2026-07-05T15:42:58","guid":{"rendered":"https:\/\/irishexaminerusa.com\/wp\/?p=32758"},"modified":"2026-07-05T11:42:59","modified_gmt":"2026-07-05T15:42:59","slug":"irish-director-ian-thuillier-makes-a-film-about-bonos-first-best-friend-painter-and-former-virgin-prune-guggi","status":"publish","type":"post","link":"http:\/\/irishexaminerusa.com\/wp\/?p=32758","title":{"rendered":"Irish Director Ian Thuillier Makes a Film About Bono\u2019s First Best Friend Painter and Former Virgin Prune Guggi"},"content":{"rendered":"\n

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Exclusive Q&A by Brad Balfour <\/p>\n\n\n\n

Film: “Guggi”
Director:\u00a0Ian Thuillier
Producers:\u00a0Gabriella Janni, Ian Thuillier
Cast:\u00a0Guggi, Bono, Gavin Friday, Jim Sheridan, Kelly Grovier, Sean Scully, Mannix Flynn<\/p>\n\n\n\n

Run Time: 77 minutes<\/p>\n\n\n\n

On last day of the 25th Tribeca Festival, by luck I secured a ticket to a fantastic documentary premiering there. Irish filmmaker and photographer Ian Thuillier had directed a feature film about Guggi, the renowned Irish contemporary painter and sculptor who was once a member of the Virgin Prunes, a bizarre art rock band that emerged in the early \u201880s. I loved what I\u2019d heard of the Prunes. <\/p>\n\n\n\n

The group was founded in 1977 by vocalists Guggi (n\u00e9 Derek Rowen), Gavin Friday (n\u00e9 Fionan Hanvey), Dave-iD Busaras, guitarist Dik Evans (brother of U2’s The Edge), bassist Strongman (Trevor Rowen, brother of Guggi) and drummer Pod (Anthony Murphy). Guggi and Friday had been part of Lypton Village, a “youthful gang” in early \u201870s Dublin, which had also included U2’s Bono.<\/p>\n\n\n\n

In seeing this film for potential coverage, I found it was more than an intimate portrait of an abstract painter. The film \u201cGuggi\u201d traces the painter\u2019s journey from humble Irish beginnings \u2014 with friends Bono and Friday \u2014 through his post-punk phase and toward international acclaim as an uncompromising artist.<\/p>\n\n\n\n

Thuillier had already been known for creating deeply personal and visually evocative documentaries that explore the intersection of art, identity, and the human spirit. Based in County Wicklow, the 60-something often focuses on artists and visionaries who live outside the mainstream, reflecting his own background in experimental photography. Part of that is due to his late older brother who prompted the creation of his first film. This debut, \u201cDarkroom\u201d (2003), won Best Documentary at the Boston Irish Film Festival and earned him an IFTA nomination for Best New Talent. <\/p>\n\n\n\n

Since then, his filmography has spanned subjects from the haunting blues of Rory Gallagher titled \u201cGhost Blues: The Story of Rory Gallagher\u201d (2010) to the theatrical world of \u201cLadies and Gentlemen, Gavin Friday\u201d (2010). Irish guitarist Gallagher’s music career with bands Taste and his solo work are examined through rare tracks, interviews with family\/bandmates and musicians he influenced. The film detailed his life until untimely death at 47.

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Thuillier’s recent short documentary \u201cConflicted\u201d (2025) brought him international acclaim for its moving portrayal of two mothers \u2014 one Israeli, one Palestinian \u2014 united by shared loss. The film was screened at the Lumi\u00e8re Theatre, Beverly Hills and won Best Documentary Short at the Montreal Independent Film Festival. It was also long-listed for Oscar consideration.<\/p>\n\n\n\n

Thuillier’s films combine cinematic restraint with emotional depth, positioning him as one of Ireland’s most distinctive contemporary documentary voices. His latest feature, \u201cGuggi,\u201d continues his exploration of artistic resilience. After meeting him in NYC, we conducted the following interview through email.<\/p>\n\n\n\n

Q: How long had you been planning this film?<\/p>\n\n\n\n

Ian Thuillier: I first began thinking about making a film about Guggi around 2010 while I was directing a documentary on the life and work of Gavin Friday. Guggi was one of the contributors, and when I visited his old studio to film an interview, I left with the feeling that here was a remarkably honest artist with an extraordinary life story. I was fascinated by both the man and the work. I remember thinking then that I would love to collaborate with him someday. Fortunately, in 2023 we began discussing the possibility. Filming started as Guggi prepared for a major exhibition at Ch\u00e2teau La Coste in the south of France. <\/p>\n\n\n\n

Q: When did you start and how did you map it out?<\/p>\n\n\n\n

Ian Thuillier: Initially, we hoped to secure funding through the Arts Council’s Reel Art scheme, which supports films about the arts. I had reached the final round twice before, but unfortunately wasn’t successful. At a certain point I realized that if we waited for funding, we could lose a unique opportunity. Guggi was entering a particularly important period of his artistic life, so we decided to start filming immediately and worry about financing later. Sometimes you simply have to trust your instincts and begin. <\/p>\n\n\n\n

Q: When did you first hear about the Virgin Prunes?<\/p>\n\n\n\n

Ian Thuillier: My first awareness of the Virgin Prunes came through Dublin’s music scene and the stories that surrounded them. Their performances had already entered local folklore. There were legendary tales of their appearance on The Late Late Show during the Pope’s visit to Ireland and how shocking and unconventional they seemed at the time. By all accounts they weren’t simply concerts; they were immersive pieces of performance art. I was too young to see them then, but I would have loved to experience one of those shows firsthand. <\/p>\n\n\n\n

Q: I see you\u2019ve done a film on Gavin Friday.<\/p>\n\n\n\n

Ian Thuillier: Yes. I directed a documentary on Gavin for RT\u00c9’s Arts Lives series. Gavin is one of those rare artists whose creativity seems to flow through everything he does. Making that film gave me an opportunity to explore a fascinating period in Dublin’s cultural history and hear first-hand stories about the city’s music and art scene in the 1970s and 1980s. It was a privilege to be trusted with that access. <\/p>\n\n\n\n

Q: Was it a natural evolution to move on to Guggi?<\/p>\n\n\n\n

Ian Thuillier: I wouldn’t call it a natural evolution. It was more a gut feeling that there was an important film to be made. When Gabriella Janni and I began discussing the project, the level of trust and access was extraordinary. Nothing was off limits. Guggi was incredibly open, and Gabriella and I developed a strong creative partnership. We constantly challenged and inspired each other throughout the process, which helped shape the direction of the film.<\/p>\n\n\n\n

Q: Had you always planned on becoming a filmmaker?<\/p>\n\n\n\n

Ian Thuillier: Not at all. I arrived at filmmaking by accident. As a teenager I was interested in the arts and trained as an actor. I even appeared in a period drama in Montreal called \u201cMarguerite Volant.\u201d The truth is, I was always more interested in what was happening behind the camera than in front of it. After my older brother, who was a photographer, passed away in 1997, I taught myself editing and made a documentary about his life and work called \u201cDarkroom.\u201d That film changed everything for me and became the beginning of my career as a filmmaker. <\/p>\n\n\n\n

Q: How is it different making a film about a painter as opposed to a musician?<\/p>\n\n\n\n

Ian Thuillier: In some ways they’re not that different. Both are forms of artistic expression; they simply use different languages. In \u201cGuggi,\u201d music plays a major role through Howie B’s beautiful score and the inclusion of Virgin Prunes material. But I also think Guggi’s paintings function like music within the film. They have rhythm, emotion, energy and silence. The artwork becomes another voice in the storytelling. <\/p>\n\n\n\n

Q: Do you have other musicians in mind?<\/p>\n\n\n\n

Ian Thuillier: There are many musicians I would love to work with. Before focusing primarily on documentaries, I directed music videos and live concert films, and it’s a world I still find exciting. If the right artist and the right story came along, I’d happily return to it. <\/p>\n\n\n\n

Q: How did you shape this film and when did you know you had something?<\/p>\n\n\n\n

Ian Thuillier: I felt there was a strong film there from the very beginning when we started shooting at Ch\u00e2teau La Coste. Originally, the film was structured around two exhibitions: beginning in France and ending at Kerlin Gallery in Dublin. However, when we assembled the rough cut, something wasn’t working. Several trusted colleagues felt the same, although I couldn’t immediately see why. The breakthrough came when editor Maitiu \u00d3 Casaide joined the project. He brought clarity, perspective and structure, helping to uncover the film that was hidden within the material. That’s when it truly found its shape. <\/p>\n\n\n\n

Q: How was it organizing the interviews?<\/p>\n\n\n\n

Ian Thuillier: The interviews were one of the great pleasures of making the film. I always prepare questions, but I tend to listen more than I talk. The most interesting moments often come when a conversation moves somewhere unexpected. Every contributor was incredibly generous with their time and memories. Sitting with people like Bono, Gavin Friday, Jim Sheridan and the others wasn’t just valuable for the film; it was genuinely educational for me as a filmmaker and a person. <\/p>\n\n\n\n

Q: What filmmakers are role models for you?<\/p>\n\n\n\n

Ian Thuillier: I’ve always admired filmmakers who combine visual style with emotional depth. Directors like Jim Jarmusch, Jim Sheridan, Neil Jordan and Sofia Coppola have all influenced me in different ways. Their work is distinctive, personal and unmistakably their own.<\/p>\n\n\n\n

Q: What other musicians fascinate you?<\/p>\n\n\n\n

Ian Thuillier: Jeff Buckley remains one of the most extraordinary musicians I’ve ever listened to. His voice, musicianship and emotional honesty were remarkable. My tastes tend to lean heavily toward music from the 1960s, 1970s and 1990s. Growing up, my brothers would send me off to boarding school with cassette tapes of The Doors and Jimi Hendrix, which probably explains a lot about my musical education. <\/p>\n\n\n\n

Q: Are there particular challenges in being a filmmaker from Ireland?<\/p>\n\n\n\n

Ian Thuillier: Every filmmaker faces challenges, but Ireland has one enormous advantage: storytelling is embedded in our culture. Whether it’s filmmakers like Jim Sheridan and Neil Jordan or writers such as James Joyce, Oscar Wilde and Samuel Beckett, we’re surrounded by examples of great storytellers. That tradition sets a very high bar, but it’s also inspiring.<\/p>\n\n\n\n

Q: Do you have other Irish subjects in mind?<\/p>\n\n\n\n

Ian Thuillier: I’m currently developing a documentary about Adi Roche and her remarkable humanitarian work. Beyond that, I’m also working on projects set in Europe and New York. I’m interested in stories that have universal themes, regardless of where they take place. I enjoy traveling with my work and telling stories that connect with audiences internationally. <\/p>\n

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