The Band Gets Back Together in 'The Ballad of Wallis Island'

Summary

All Of It – Episode: The Band Gets Back Together in 'The Ballad of Wallace Island'

Release Date: April 2, 2025
Host: Alison Stewart
Guests: Tim Key, Tom Basdan, James Griffiths
Podcast: All Of It by WNYC

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Introduction to 'The Ballad of Wallace Island'

In this episode of All Of It, host Alison Stewart delves into the creative journey behind the new film 'The Ballad of Wallace Island'. The film, described as a heartwarming and quirky narrative about culture and relationships, brings together Alison Stewart with the film's co-writers and stars: Tim Key, Tom Basdan, and director James Griffiths.

Alison Stewart introduces the film's premise:

"What would you do if you won the lottery twice? In the new film, 'The Ballad of Wallace Island,' the answer is to buy a house on a remote island and invite your two favorite musicians to reunite for a private concert."
(00:39)

Overview of the Film

'The Ballad of Wallace Island' explores the reunion of former folk duo Herb Maguire (played by Tom Basdan) and Nell Mortimer (played by Carey Mulligan), who were not only bandmates but also former lovers. The protagonist, Charles (played by Tim Key), orchestrates this reunion without informing Herb about the involvement of Nell, leading to unforeseen emotional dynamics.

Critics have lauded the film for being a "crowd pleaser, disarming, joyful and full of compassion for its oddball characters" (Variety), highlighting its blend of humor and heartfelt moments.

Development and Adaptation from Short Film

The conversation begins with Alison Stewart and the guests discussing the film's evolution from a short film made in 2008 into a full-length feature.

Tim Key explains the origins:

"The original film was about a millionaire who wants his favorite musicians to come to his island for a private gig, but he doesn't reveal how private it is, creating awkwardness that eventually leads to friendship."
(02:37)

During the first lockdown, the trio revisited the short film, reigniting their passion to expand the story. Tim adds:

"We always wanted to come back and do more with the characters. The lockdown provided the impetus to revisit the scripts and develop them into a feature film."
(03:08)

Collaborative Chemistry Among Creators

The trio's collaboration traces back to their early days working on commercials and music videos. Tom Basdan recounts:

"Tim and Tom acted in the same commercial, and from there, Tom invited me to join their show 'Freeze,' where their chemistry was undeniable. It felt like a perfect fit to work together."
(04:04)

Alison Stewart probes into whether the partnership was always intended to lead to a feature film.

Tim Key reflects:

"It was definitely our dream. After making the short and receiving a BAFTA nomination, we felt inspired to expand the story, despite some initial creative differences that eventually surfaced over the years."
(05:29)

Character Development and Aging

A significant portion of the discussion revolves around the characters' portrayal and the natural progression of the actors over the years. Tim Key humorously addresses aging in the film industry:

"We waited 18 years to let nature's makeup do its job. It's a waiting game, but we aged enough to embody our characters authentically without relying on prosthetics."
(06:00)

Alison asks about the protagonist Charles, played by Tim, and his initial eccentric appearance.

Tim Key elaborates:

"Charles is an odd duck who initially comes across as irrelevant and quirky. As the film progresses, audiences realize he has depth, a life, and a past that makes him a fully functional human being."
(07:19)

Exploring the Characters

Tom Basdan discusses his character, Herb, highlighting the internal struggles of a musician past their prime:

"Herb feels he's past his peak and is selling out by taking a lucrative, yet unfulfilling gig. This internal conflict drives his character's arc."
(08:50)

James Griffiths touches on the dynamic between Charles and Herb, emphasizing the delicate balance of humor and drama in their interactions.

Music as a Narrative Device

Music plays a pivotal role in the film, serving as a medium to express the characters' emotions and history. Tom Basdan explains the songwriting process:

"Writing the songs was a blend of pre-existing pieces and new creations tailored to specific scenes. This approach allowed the music to reflect the evolving relationships and histories of Herb and Nell."
(12:51)

One of the featured songs, "Give Your Love," is introduced by Tim Key:

"This song is an early creation by Maguire and Mortimer, representing their harmonious past and the tension during an argument at Charles' dinner table."
(14:14)

Tim performs a snippet of the song, highlighting its sentimental value and role in the film's narrative.

Casting Carey Mulligan

The inclusion of Carey Mulligan in the film adds a significant layer of depth. Tom Basdan shares how Carey joined the project:

"During lockdown, Marcus Mumford introduced us to Carey. We compiled a hit list of desired cast members, and Carey reconnected with us after a high-pressure email effort. Her enthusiasm and talent made her a perfect fit for Nell."
(16:21)

Alison Stewart remarks on Carey’s seamless integration into the film:

"Carey was fantastic, bringing her full range of talents and a wonderful presence to the project."
(16:58)

Directing with Balance

James Griffiths discusses his directorial approach, balancing humor with emotional depth. Tom Basdan adds:

"My role as a director was to set up the actors for success, creating an environment where they could excel while maintaining the emotional undertone of each scene."
(19:56)

Tim Key reflects on James' guidance:

"Griffiths ensured we stayed focused on the story, preventing us from getting sidetracked by self-indulgent moments. His leadership was crucial in maintaining the film’s direction amidst unpredictable shooting conditions."
(20:49)

Behind the Scenes: Poetry and Chemistry

An unexpected segment features Tim Key’s poetry program, showcasing the creative synergy between the hosts. Alison Stewart and the guests appreciate the natural chemistry:

"Their chemistry is palpable, making segments like Tim's Late Night Poetry Program both humorous and engaging."
(19:05)

Conclusion and Final Thoughts

As the conversation wraps up, the guests share their gratitude and reflections on the project. Tim Key acknowledges James Griffiths’ role as a wise and supportive director:

"Griffiths' wisdom and skill turned our collaborative efforts into a cohesive and successful film, preventing it from becoming a disaster."
(21:52)

Alison Stewart concludes the episode by thanking the guests and highlighting the film’s critical reception and upcoming wide release on April 18th.

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Key Takeaways

• 'The Ballad of Wallace Island' is a heartfelt film exploring the complexities of reunion, love, and artistic integrity.
• The project evolved from a beloved short film to a feature-length narrative, driven by the creators' enduring passion.
• Chemistry among the creators and cast is a cornerstone of the film's success, blending humor with emotional depth.
• Music serves as a critical narrative device, enhancing character development and storytelling.
• Carey Mulligan's involvement brought a significant boost to the film, thanks to dedicated efforts by the creators.
• Directorial balance between allowing creative freedom and maintaining narrative focus was essential in bringing the film to fruition.

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Notable Quotes with Timestamps

• Alison Stewart: "What would you do if you won the lottery twice?" (00:39)
• Tim Key: "We wanted to come back and do more with the characters." (03:08)
• Tim Key: "We waited 18 years to let nature's makeup do its job." (06:00)
• Tom Basdan: "Griffiths has wisdom and skill, turning our collaboration into a cohesive film." (20:49)
• Alison Stewart: "Carey was fantastic, bringing her full range of talents to the project." (16:58)

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'The Ballad of Wallace Island' is now playing in select theaters, with a wide release scheduled for April 18th. The film promises to be a delightful exploration of cultural dynamics, personal relationships, and the enduring power of music.

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This summary is intended to provide a comprehensive overview of the podcast episode for those who haven't listened, capturing the essence, discussions, and insights shared by the hosts and guests.

Transcript

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[WNYC Studios]

Listener supported WNYC Studios.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. What would you do if you won the lottery twice in the new film the Ballad of Wallace Island? The answer is to buy a house on a remote island and invite your two favorite musicians to reunite for a private concert. They say yes because there's a lot of money on the T. The only issue is our protagonist, kind of an odd duck named Charles, hasn't told them about the reunion part. Herb Maguire used to be in a folk duo with Nell Mortimer and they used to be lovers. Nell is played by Carey Mulligan and Herb is played by Tom Basdin. Here's a clip featuring Herb, Nell and Charles, played by Tim Key at dinner reflecting on the duo's history.

[Tim Key]

Morning Hayes as an album. So what I'm saying is that was.

[Progressive Insurance Ad]

The first time that you could see where we were going.

[Tim Key]

Like the first. Trying to do like rock or. Rock.

[Alison Stewart]

Yeah.

[Tim Key]

Did you just say rock? When were we ever trying to do rock? What are you talking about? You. I remember you told Rich Hamner that you wanted give your love to sound like the libertines. I. Come on, is that true?

[WNYC Studios]

Yeah.

[Tim Key]

Okay.

[WNYC Studios]

100%.

[Tim Key]

It was cool. It wasn't what we would do. It had nothing to do with the music.

[WNYC Studios]

I've got to say, this is brilliant. I'm loving this. I am absolutely loving this. Just Maguire, Mortimer, just exchanging anecdotes. Why not? I feel like David Letterman. I really do. With a chicken Xacuti.

[Alison Stewart]

Variety calls the film best kind of crowd pleaser, disarming, joyful and full of compassion for its oddball characters. The film was directed by James Griffith. Tim and Tom co wrote the story. The Ballad of Wallace island is playing in our area in theaters now. The film enters wide release on April 18th. Joining me now are Tim Key, Tom Batson and James Griffith. Nice to meet you all.

[Tim Key]

Hi, nice to meet you.

[Tom Basdan]

Good to meet you too.

[Alison Stewart]

So this project goes back to a short film you made around 2008. The one and only Herb Maguire plays Wallace Island. Tim, what was the original film about?

[WNYC Studios]

Well, the original film was about was a short film that me and Tom wrote about a millionaire. A lot of the building blocks are Already in there, a millionaire. He wants his favorite musician to come to his island to play a private gig. He doesn't tell him how private it is. It's very awkward. And somehow they kind of melt throughout the film and become friends. And this is a kind of advanced version of that. That's the plan anyway.

[Alison Stewart]

So, Tom, when did you think about adapting a short film into a much larger film?

[Tim Key]

Well, it was one of those projects that the three of us had loved so much when we shot it and look back on very, very fondly over the years. So we always talked about coming back to it and doing more with the characters. But I think it was when in the first lockdown, I think suddenly all of our work just sort of disappeared and then, and then Tim and I kind of made a proper effort to go back to that film and look at the scripts again. So it was probably a combination of things, but it never, definitely never went away for us as something that we felt like we wanted to come back to and had unfinished business with James.

[Alison Stewart]

How did the three of you wind up working together? Let's go all the way back.

[Tom Basdan]

Oh, well, yeah, we've got to go way back. Way back when I actually, I was casting a commercial in my. In my naughty past, doing music videos and commercials and. And I actually, Tim and Tom read for the same part, which. Which I only let them know.

[Tim Key]

Well, I didn't realize that.

[Tom Basdan]

And Tom, Tom and I did this commercial together and then he invited me along to a show that he was doing called Freeze with Tom and Tim. They're sort of double act playing at the back of a pub in London and I absolutely besotted with what they were doing. They're just a lovely chemistry and very playful and yeah, it just felt like it was a really good fit for me.

[Alison Stewart]

Tom, did you always know that this partnership would work? The three of you would work together on a feature length film?

[Tim Key]

I mean, it was definitely our dream, I think. And after we made the short, which, you know, it did really well for us, it got nominated for a BAFTA at the time and, you know, we had a few people who were interested in working with us. I think we felt like something we all really wanted to do and then, you know, for one reason or another, the ideas we were coming up with directly after making the short were different to the short. They were very different ideas and in retrospect they probably shouldn't have been because the short was a really good idea and we probably should have doubled down on that, but we didn't do that and then I think we sort of. We hit a bit of a wall with one of them after a few years and went off to do different things. And I've done a lot of work on stage and on TV and Griff's been living in L. A, you know, 13 odd years anyway, for coming back to the UK.

[Alison Stewart]

Oh, so he's gone then? He's in LA.

[Tim Key]

He's back now. Thank goodness he's back. We lost him for a while. But I think, you know what was really nice was that when we came back to it, it just meant that we'd all done a lot of other stuff and we'd kind of worked. Our approach was going to be. And also I think Tim and I become better at writing and we, you know, we also aged enough to be the right age to play the characters, hopefully.

[Alison Stewart]

What does that mean, Tim, that you aged enough to play the characters?

[WNYC Studios]

Well, the phrase we're after, I think is nature's makeup chair, where rather than applying prosthetics, we just sort of sat around for 18 years and wait, waited, waited. So we looked about right. It was a waiting game. I mean, I saw. I saw some people talking on stage before their film about five years ago where they said it took them 10 years to make it and now they're the right age for the characters. And I think we've sort of bettered that by about eight years. I think it does take a while to make films sometimes, and I think sometimes there must be some films where you lose it after seven or eight years because you're not the right age anymore. Whereas our one, that was the least of our worries. As. As it got, as time wore on, I think, yeah, we became more. We looked and. And acted more like our characters. And also the film was sort of about nostalgia at its heart. So I think it all kind of happened for a reason. All of those years kind of folded themselves into the finished feature film.

[Alison Stewart]

Tim, when you see Charles right away in that sweater, so many sweaters, but in the initial sweater that he's wearing, tell us what's going on with him.

[WNYC Studios]

Well, I think in your intro you called him something and I wasn't that impressed, but I can't remember what it was. Mr. Duckhead or something.

[Alison Stewart]

He was an odd duck. He was an odd duck.

[WNYC Studios]

He is an odd duck. Yeah. Yeah. I think when we meet him, it's interesting because you just sort of do this, you know, we go away and we shoot the film and we like the characters, you know, all of the characters, and we like the story. And then you watch it in front of an audience and, you know, people kind of respond to this guy, I think, because he's kind of. He is a bit of an eccentric, but I think, like. Like all the other characters, he goes on a bit of a journey in the film. I think you may be underestimate him at the start because he just. He sort of, you know, quacks away and doesn't really say anything of any significance. He's just sort of talking and irrelevant what the content is. He just sort of has to be talking. And I think as the film develops, you realize that actually he has a life and he has a past and he's a kind of fully functional human being with qualities the same as the other characters. I think you don't really notice them. Maybe in the first five minutes you just think, what's this guy doing, as you say, in his enormous cardigan? But, yeah, I think. I think that's what I love about. About playing it and about, you know, what you. You know, the finished product is. Yeah, he's kind of. He's underestimated and then kind of makes. Makes a move.

[Alison Stewart]

Well, Tom, your character is a fancy pants when we first meet him.

[Tim Key]

Very much so, yeah, he is. He's slumming it a bit, coming to the island to play this gig. But going back to what you were saying about us being the right age for the characters, I think that's an important thing, especially with Herb, that he. You get the sense that he's passed his peak as an artist, that he had his most successful, most prolific period probably about 15 years or so earlier. And when we meet him in the film, he's someone who's doing this grubby gig for a big paycheck, and he's kind of convinced himself it's okay, but really he's. He's selling out and he's not thinking about that or he's trying to ignore the elephant in the room that he's. He's just now taking loads of money for. For a private gig. But he.

[Tom Basdan]

Yeah, he's talking about my career to. I feel like there's a. Just leaning into that a little bit.

[Alison Stewart]

Well, James, how did you take the odd duckness of Charles? I'm staying with that. And the fancy pants ness of Tom. And how did you use that tension in the beginning of the film to set it up for us?

[Tom Basdan]

Well, I mean, it's. Tom and Tim have a wonderful. As we've talked about, the history. A wonderful history and therefore a Fantastic chemistry. It's very easy for me to sit back and watch them do their thing. I think the hardest thing is just to make sure that we sort of modulate all the funny and keep the sort of drama or at least the emotion kind of bubbling along there as well. So, yeah, it's a joy, to be honest, to be working with them. And it is a balancing act because we really want Charles to be kind of annoying for Herb, but not annoying for us, an audience. And it is, you know, the guys are very, very creative on set and, and bring a lot of ideas and, and a lot of kind of wonderful puns and alternatives and, you know, other, other lines. So, yeah, it's just about kind of modulating that in the edit and making sure that we're kind of staying on track.

[Alison Stewart]

The story we're talking about, the Ballad of Wallace Island. It's in select theaters now with a wide release on April 18th. I'm speaking to its co stars and co writers Tim Key and Tom Bazdan, as well as director James Griffiths. We'll have more after a quick break. This is all of it. You're listening to all of it on wnyc. I'm Alison Stewart. My guests are the co writers and the stars of the film the Ballad of Wallace Island. That's Tim Key and Tom Baston, as well as director James Griffith. So when Herb comes to Wallace island, he doesn't know that Nell's going to be there. And Nell comes knowing that Herb will be there.

[Tim Key]

Yeah.

[Alison Stewart]

Tim, what does that say about each of them?

[WNYC Studios]

Oh, I don't know. I mean, it is a bit. It's a bit of an anomaly. I think. He couldn't have. I think it's just a practical thing from, from his side of things. I mean, he can't invite Nell on her own. I don't think. I think she wouldn't come without. Without Herb. So I think it's just at some point he's sort of, you know, burnt the midnight oil and worked out how his scheme should work and then just sort of sent the. Sent the appropriate emails. But, you know, they get into that in the film. It's sort of more a sort of Herb question for Herb, really. But in the film, you see these. The. The makeup of a. Of a duo start to unravel and you. We do get into that a little bit about what they are on their own and what they are together and even to the extent that there starts to be some discussions about percentages and how important they are to one another and Whether they can exist on their own and things like that. So, yeah, the answer to your question is it's complicated.

[Alison Stewart]

Tom, you wrote the songs for the film. You and Carey Mulligan sing them. Did you know that you had certain songs that you wanted in the film or did you write and then, oh, this is a place a song should go?

[Tim Key]

Yeah, it was a bit of both, to be honest. I had a few songs, I guess, in the bank before we got into preparing, you know, in pre production for the film. And I had a sense of which ones might work at certain times. So when we were writing the script, I had an idea about what I might play in certain scenes and what Herb and Nell might sing and what they might connect over. And then I'd say about half the songs I wrote in the kind of couple of months leading up to the shoot when I'm, you know, really sort of targeting specific moments and. And trying to write songs that give a particular energy or a particular feel for a scene. So it was a combination. But I think, you know, the big difference in the short and the feature is that Herb, you used to be in this band with, now with Carey. And it meant that when writing the songs, I could give them all a kind of history. I could sort of tell the story of their relationship and how they felt about each other through the music, both in terms of the lyrics and. And the kind of feel of the songs. And that was very helpful.

[Alison Stewart]

We're gonna listen to one of the songs, Give youe Love. Can you give us a little context before we hear it?

[Tim Key]

Okay, yeah. So this. This is. This is an early Maguire Mortimer song that they. They would have written when they were, you know, that when the two of them were very much loved up and a harmonious item that they kind of. Yeah, they. They. They find themselves playing for Charles at the dinner table in his house, slightly off the cuff as a way of settling an argument.

[Alison Stewart]

This is Give youe Love from the Ballad of Wallace Island.

[Tim Key]

If you need some affection and you're feeling all alone Reach on through your reflection Pick up the ph but you can stay if you're staying yeah, I don't need to know we'll just keep the music playing and let the evening flow Til we know Till it shows us where it wants to go oh, give you your love Give me your love to me, honey Give me your love, love Give your love to me, honey Give your love Give your love to me the love I need oh, yes, indeed.

[Alison Stewart]

It's a lovely song, by the way. It is A beautiful song. You know, Carey Mulligan obviously wasn't in your original. She came to the project through her husband, Marcus Mumford. Can you tell us, James, how that came about?

[Tom Basdan]

Well, I think it's another slightly lockdown story actually. I think from speaking to Marcus. He was a huge fan of Tim's poetry show and, and it was a lovely moment actually when we, when we all met and there was an exchange of albums signing. Tim handed off, handed over his, his vinyl and Marcus, his, his vinyl. So yeah, I think they were. Marcus was a fan of the work and, and Carrie, I think everyone, they'd been listening to the radio show during lockdown. So Tim can probably talk about how that then transpired.

[WNYC Studios]

Oh yeah. So we made a hit list of who we wanted to be in the film. And you know, you obviously kind of go quite ambitious because obviously none of it will ever happen. And Carey Mulligan was at the top of our list. And I said I had her email because she'd reached out to me once to host an event and I'm not very good at hosting events. So I politely declined. But now I had her email, crucially. So I wrote her a very, very high pressure email that had to be perfect. And the same day she replied saying she'd love to read the script. And yeah, we got a script to her and we got the short film to her. And you, you know, you just don't know what, whether, whether you're on anyone's radar. You know that we just admired Carey Mulligan from afar. And I'm not saying she admired us per se, but we were at least a tiny flicker on her radar where when she was interested in reading it and deciding whether she could, you know, stomach it. And she was fantastic. We got her and we got the kind of, the full. All the talents of Carey Mulligan and all of the. Carey Mulligan, the person who has just been wonderful to work with.

[Tim Key]

Yeah.

[Alison Stewart]

I wanna sidebar for a minute. April is National Poetry Month and you have this program on the BBC, Tim Keys poetry program, which is not just poetry. Tom provides musical accompaniment. I wanted to play a little bit of it for. So people can hear a little bit of it. Let's, let's play that.

[WNYC Studios]

Hello and welcome to Tim Keys Late Night.

[Tim Key]

Hang on a minute.

[WNYC Studios]

Oh my God. Already. You should have thought of that.

[Tim Key]

What does that mean? You said I should carry a fold out chair around with me everywhere.

[WNYC Studios]

Yes, possibly just sit down.

[Tim Key]

Just on what?

[WNYC Studios]

I don't know, stand up or sit on my Samsonite suitcase. Just do something.

[Tim Key]

God.

[WNYC Studios]

Oh my God. Honestly. Right. Hello and welcome to Tim Key's Late Night Poetry Program.

[Tim Key]

Is it called that?

[WNYC Studios]

Yes, it is.

[Alison Stewart]

It's very funny.

[WNYC Studios]

That's very. It's very surreal to think that you're playing that to American people now.

[Alison Stewart]

They love you.

[WNYC Studios]

We just quietly do that in the uk.

[Alison Stewart]

It struck me as I was listening to that James, they have such chemistry. Like we're talking about Julie, not here. They have such chemistry, the two men on the screen. When do you know when to step in as the director and say, hey, I need you to do this, I need you to act this way, or when do you just know when to step back and let it happen?

[Tom Basdan]

Well, I think I always consider my job as trying to set people up for success and just allow. Create an environment where people can really do actors, comedians, whoever I'm working with and crew, to be honest, can all do their best work. And so I just have an instinct for it. I think I love what they do. They have a great musicality to what they do, but it's always character first. And I think we all kind of, we aligned very early on in our, in our early work and Kerry and Sian and AK the same that we all kind of seeking the truth really in those moments. So I think if we just ask ourselves, do we believe it and does it make us laugh? Obviously, I think that's always going to happen. But I think the guys just, and I certainly just want to commit to the situation and, and then reap the rewards of that. Really trust the writing, trust the material and then watch them do their thing. It's. It's a real privilege watching them and I just, I just want to see them do really well. Is my, my gut feeling is like I just want this to work for them, but I do, you know, I step in occasionally when I get bored, obviously.

[Alison Stewart]

What piece of advice did James give you as a director? What did he give you as a director that you kept to your heart?

[Tim Key]

Well, I mean, to be honest, the main thing with this shoot, but most shoots really is that, you know, you don't have a lot of time, you don't have a lot of leeway when it comes to getting what you need. And I think, you know, Griff's real skill on this is just reminding us what the story is stopping us from having too much fun doing something self indulgent, which is kind of. Which is very easy to do, particularly when you're, when you're trying to be funny. It's Very easy for the performers just to be making each other laugh and to lose focus on what the scene is about. Particularly when, you know, you're shooting in weather that's changing all the time or against the tide that's going out, anything like this, you know, it's so important that you're focused on what the scene's actually doing. So I think that's where, you know, Griff's very, very good at making sure that Tim and I have fun, but we also have our eyes on the whole thing and don't lose. Lose sight of what we're actually there to capture.

[Alison Stewart]

Tim, you want to add anything as we finish up?

[WNYC Studios]

No, it's exactly that, really. I mean, you kind of. We wrote the film, so we kind of. We should feel comfortable doing it. We should know what our characters are because we do lots of things in other people's work. So it's. It was Griff allowing us to have that. That we were able to be comfortable and be able to find what we found funny. But with, as Tom sort of describes him, actually it sounded more like a father figure there looking after his children, which reflects badly on us. But there is that element where Griff has wisdom and has a lot of skill in making that happen and turning it into a film rather than a disaster.

[Alison Stewart]

Tim Key, Tom Bas and director James Griffiths. The name of the album, the name of the movie is the Ballad of Wallace Island. Thanks for being with us.

[WNYC Studios]

Pleasure.

[Tom Basdan]

Thank you. Thank you. Thank you very much.

[Alison Stewart]

And that is all of it for today. I'll be back here tomorrow.

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