Brian Cox talks directorial debut Glenrothan

Forget the back-stabbing Roy family. For his first film as director, Succession star Brian Cox returns to his native Scotland with Glenrothan, a heartfelt story of reconciliation, whisky and the ties that bind.

Set in the rural highlands, the film follows two estranged brothers who reunite in the land of their birth. Donal (Alan Cumming) long ago left home for America, leaving older brother Sandy (Cox), behind to run the family distillery. Forty years later, the brothers finally re-unite, back on Scottish soil, to reopen old wounds and reconcile with their shared past.

Alongside Cumming and Cox, the cast includes Shirley Henderson and Siobhan Redmond. Glenrothan has its world premiere at TIFF. Protagonist Pictures is selling the film worldwide.

The project marks a departure for its two leads, who are playing far from their public personas. The Traitors host Cumming “butches it up a bit” as Donal, a rebellious, leather-jacket-wearing, motorcycle-driving wild man at odds with the demure, kindly other brother. (Cox, as Sandy, doesn’t not utter a single “fuck off”.)

Speaking to The Hollywood Reporter ahead of TIFF, Cox and Cumming opened up about playing against type, returning to Scotland, and finding the humor and heart in a story about brotherly love.

“It’s like a rom-com, without the rom,” quips Cumming. “Or maybe a brotherly rom-com.”

Were you close before this film? Did you know each other?

Brian Cox: I remember going to see a production of—I think it was one of the first things he ever did—The Conquest of the South Pole, and he was playing the young man. I was incredibly impressed by his energy. So I’ve always thought one day I’d like to work with Alan.
Alan Cumming: And I remember when you were doing Lear at the National, and I was doing a play in the Cottesloe. I used to come in to have a shower, and you’d be sitting there in the loos, reading the newspaper. And then we’d have a chat while I was having my shower in the National bathrooms.

Given his public persona, Alan the role as your brother feels a bit like casting against type.

Brian Cox: Well, I thought of Alan for the role because he’s such a good actor, and he’s got a greater variety than sometimes people give him credit for. He has a huge depth to him. There’s much more circumspection in Alan than people give him credit for. People see him in roles like The Traitors, but he’s a very fine actor. He could easily be my younger brother.
Alan Cumming: Playing it wasn’t in reaction to anything. I just really liked the script. I liked that it was a Scottish story. It’s like a rom-com, but not really—more of a brotherly rom-com. It had a really nice tone to it. I just went with my gut. But it was nice to play something different—“butching up” a bit.

Brian, was it the same for you? Your role feels unexpectedly warm and sweet.

Brian Cox: Contrary to popular belief, I’m not an ogre who constantly says “fuck off” to people. I have another side to me, which people don’t always see. And Sandy was a great role, it was perfect for me, in terms of being the supporting element, the brother desperate to reconnect after such a long time.

Were you always attached to the film as director, or did that come later?

Brian Cox: No, I was sort of—I can’t say blackmailed—but I was pushed into it. I’d been doing a radio show called McLevy, playing an Edinburgh detective with Siobhan Redmond, who’s also in the film. David Ashton, who wrote McLevy, wrote this film. The producer, Neil Zeiger, said, “Well, you’re going to direct it.” I said, “Really? I’ve never directed a movie before.” I’d directed theater, but not film. So I had to learn a lot in a very short period of time.

How was the experience of directing?

Brian Cox: Hard to describe. Working with the actors was a joy, especially with a cast like Alan and the wonderful Shirley Henderson. My difficulty was the other stuff. I’ve got an egalitarian attitude to film, unlike many conceptual directors. I want people to do their best work, without interference.
The DP, Jamie, [Ackroyd] was exceptional—mainly worked in commercials before, but this was a big drama for him, and he did brilliantly. For me, the discovery was letting go of any rigid concept and trusting the people around me. And it was wonderful working in Scotland, with a crew that was about 95 percent Scottish.

Alan Cumming: It just felt great shooting in Scotland. I’m spending much more time in Scotland these days, and I loved being there. Driving through the Trossachs [Scottish national park] every day was stunning. And working again with Shirley Henderson, who I first acted with 38 years ago, gave the shoot a real sense of history.

Like Alan’s character Donal, both of you left Scotland and found international success. What’s it like to be the returning son?

Alan Cumming: I think you have an interesting relationship with your country if you leave it. You understand more about what makes you Scottish when you’re away. When you first leave, there’s “tall poppy syndrome”: Do well, and people say, “Who do you think you are?” But over time, that changes.
I think both Brian and I have become “national treasures” in a way, and people are very warm when you show pride in being Scottish. Last night, a waiter in Glasgow said, “I didn’t think I’d be serving a national treasure today.” It’s ridiculous, but endearing.
Brian Cox: Absolutely. For me, as a Dundonian, it’s a different identity from being Glaswegian or Edinburgh. Scotland has its problems—poverty, especially child poverty—which makes me sad, because it’s very different than the country I grew up in. But one of the great things about Scotland is that it’s much more multiracial than it was when we were kids, and that’s a good positive thing. But it’s also the land. The land just pulls me, you can’t get away from it. It’s your home. When I was a wee boy, I used to look out at [Dundee’s river] Tay and think: “I’m gonna get across that one day.” I didn’t realize how much I would relish, as I got older, the chance of coming back to it.

You said directing was a challenge. Would you do it again?

Brian Cox: Because I’m a glutton for punishment—and a lapsed Catholic, and Catholics love punishment—I think I would. I learned so much, especially about how valuable editors are. They see problems and solve them in ways I’d never considered.
It was tough. I despaired quite a lot because of my own sense of inadequacy. The acting didn’t bother me, but the directing did. Still, I’d do it again. I learned a lot, and I’d love to keep exploring filmmaking.
Alan Cumming: I once co-directed a film [2001’s The Anniversary Party with Jennifer Jason Leigh] and I enjoyed how it forced us to open up the conversation. Directing shouldn’t be about being “god.” It’s a collaborative medium. On this film, Brian was directing, but Jamie the DP and others were very involved, which made it stronger.
Brian Cox: Exactly. It’s more egalitarian than people realize. There’s so much talent around you, and you want to let it flourish. Jamie created a style for the film that I couldn’t have found alone.

Finally, has directing changed the way you approach acting?

Alan Cumming: I always feel like whatever I do—acting, writing, producing, directing—it’s all storytelling. I’m the same person in all of it. You just want to tell a story well, in your authentic voice.
Brian Cox: Not really, except I think I’m rather good in the film.
Alan Cumming: I think when you direct yourself, you’re more prepared. As a director, you have to be. So when you act, you don’t obsess—you just do it. That’s what I found.
Brian Cox: Absolutely right. That’s what I did too. I didn’t give a bugger about my acting—I just got on with it. It was actually liberating.