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For the latest Scots Whay Hae! podcast Ali spoke to writer Colin Burnett to talk about his new novel Family Man, which is also The Third Book of Aldo, and it's published with Tippermuir Books. Colin talks about all things Aldo, including the first two books A Working Class State of Mind and Who's Aldo?, before telling us where the man finds himself at the beginning of this book, and gives an overview of the plot, carefully avoiding spoilers. The two then discuss Aldo's 'family life' and why he has more to lose then ever, his journey to this point, if having established characters is freeing, how Colin's writing has changed across the series, the importance of a strong sense of place, and why he always returns to Leith. They also talk about writing in Scots, influences, being published, and Colin has some advice for others looking to do likewise. As Colin suggests, Family Man is his most thrilling and fast-paced novel to date, a real page turner, but taken together these 'books of Aldo' have introduced a new and vital voice to Scottish writing, and it was a real pleasure to be able to talk in detail to Colin about them. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to learn more about, and buy a copy of, Family Man: The Third Book of Aldo Click here to buy a copy of Working Class State of Mind Click here to buy a copy of Who's Aldo? Click here to learn more about Colin Burnett Click here to learn more about Tippermuir Books In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

Scots Whay Hae! has once again joined forces with our good friends at Into Creative to present you with another Scots Whay Hae! & Into Creative x Conversations, filmed in Glasgow's legendary bookshop Caledonia Books, which is situated on Great Western Road (and is well worth a visit). This episode is with writer, actor, and playwright Linda Duncan McLaughlin to discuss her debut novel Original Sins (right - published by Into Books), which has rightly been described as a psychological thriller, but it is so much more. Linda gives a reading before the two talk about how the novel has developed over the years (originally starting out as two separate stories), before discussing in detail the central character of Joanne, the research that was required, the importance of place, bringing in a second narrator, and the thrill involved for readers as well as the writer herself. They also discuss Linda being on the shortlist for this year's Bloody Scotland Best Debut Prize, and the panel she will be a part of at the festival. It was such a pleasure to talk to Linda about her writing, and all her other work, and it was fascinating to be able to get such an insight into what is a complex, captivating, thought-provoking, and utterly thrilling novel. Full interview below... Click here to order a copy of Original Sins Click here to learn more about Linda Duncan McLaughlin Click here to learn more about the Bloody Scotland Debut Prize 2026 Click here to learn more about Into Books Click here to learn more about Into Creative Click here to learn more about Caledonia Books With thanks to... Camera: Thomas Haurant Camera: Felix Round Editing: Stephen Cameron Produced by Into Creative

For the latest Scots Whay Hae! podcast Ali spoke to writer Martin MacIntyre to talk about his novel A Summer Like No Other which is published by Luath Press. Martin begins with a reading before he gives an overview to the novel, which is a translation from the original Gaelic version, Samhradh '78. The two then discuss the central characters, the key role the Gaelic language plays in terms of character and plot, (even in this translated adaptation), the use of footnotes, the importance of telling and sharing stories from all parts of Scotland, the tales of 'Ossian' and 'Finn McCool', island living, the move from adolescence into adulthood, and so much more. They also reminisce about the 1978 World Cup, which is the backdrop to the titular summer. Martin then talks about his other work, including poetry, and the podcast concludes with him reading one of his poems in both Gaelic and English. We have been wanting to get Martin on the podcast for a while, so it was a great pleasure to finally get to talk to him about his life and work. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to learn more about A Summer Like No Other and order a copy Click here to learn more about Martin MacIntyre Click here to learn more about Luath Press In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

Today we lost one of Scotland’s greatest writers of recent times in Agnes Owens, and I don’t make that claim lightly. One of the most important books in my life has been the 1985 short story collection Lean Tales, which saw Owens joined by James Kelman and Alasdair Gray. It was to become one of those books which, for many, would define a generation of writers and which would inspire the next. I had just discovered James Kelman through a copy of The Busconductor Hines which was published in 1984, and I was desperate for more. With Lean Tales, not only did I get that, but here were another two writers who said something to me about my life. Every story in the collection is a gem, and I still force it upon people to this day. From then on Scottish writing took priority over all others for me (apart from my regular flings with those Russians). Owens, Gray and Kelman, (alongside Iain Banks) are responsible for pretty much everything that has happened in my life since, in one way or another. Back in 2011, in an Indelible Ink column looking at Owens’ brilliant novella Bad Attitudes, I wrote: “There are a few Scottish novelists I would recommend to any aspiring writers who are looking for inspiration in terms of style and technique. These include A.L Kennedy, James Kelman, Alan Warner and Ali Smith. But top of that list would be Agnes Owens. If you want an example of how to tell stories simply and effectively then this is where Owens excels. Her writing is constructed using short sentences, avoiding florid language or flights of fancy, and her style is reminiscent of Robin Jenkins, and even, at a stretch, Ernest Hemingway. No word is wasted, and this allows the reader direct access to the characters’ thoughts and deeds. You are right there with them.” Today, upon learning of her passing, I was asking myself just what set her apart from her fellow tellers of Lean Tales. She was as gifted in capturing character as Gray and could be as brief yet incisive with a sentence as Kelman. My conclusion is that it was her dry, and often dark, humour, as well as a rare and underestimated ability to remove herself from her writing, that made her stories stand apart, and they were often simply more enjoyable to read. Alasdair Gray certainly thought her perhaps the pick of three, someone who should be as well known as her contemporaries Liz Lochhead, Tom Leonard, James Kelman and Gray himself. In The Scottish Review of Books in 2006 he wrote: “Agnes Owens’ work has been recognised by reviewers. Beryl Bainbridge, the only English writer who compares with her, called A Working Mother “A remarkable book, funny and sinister.” When Lean Tales by Kelman, Owens and Gray was published in paperback the Irish Times asked why so little had recently been heard of Agnes Owens, because “she is the best of them”. Is she still left out of nearly every survey of modern fiction because all her novels are short? Then a good publisher should treat them like the great novels of Nathaniel West and publish them in one volume, for if literacy lasts they will be read a century hence when most longer books are forgotten.” In 2008 Polygon Books took Gray’s advice and published Agnes Owens: The Complete Short Stories and The Complete Novellas, and if you have never read any of her work I would suggest that these are where to start. James Kelman once stated that real drama is to be found in ordinary people’s everyday lives. This is what Owens excelled at, writing every day dramas in an extraordinary fashion, and with a wry humour that Kelman, for all his literary brilliance, could never hope to match. I said at the beginning she was one of Scotland’s greatest writers, but I also know she was hugely admired and greatly loved by those who knew her and worked with her. As brave, humorous and modest in her life as she was in her writing, she will be sadly missed and fondly remembered.

Andrew Meehan - 📸 credit Concept & Graft For the latest Scots Whay Hae! podcast Ali caught up with previous guest, writer Andrew Meehan to talk about his new novel Hey Man, which is published with Muswell Press. Andrew gives the first of two readings before he gives an overview of the book, why he is drawn to the theme of friendship in all its forms, gives a brief outline of his central characters Ian and Tommy, and explains the novel's three-part structure. The two then talk about the ways friendships can change over the years, the nature of the ones which can come to change and define us, ageing and the perspective it (hopefully) brings, contemplating and better understanding the person we used to be, and the lives of fictional characters beyond the page. This episode was recorded at the beginning of the recent run of good weather, when grass is there to be cut, and you may hear some evidence of this in the background but hopefully it won't affect your enjoyment of what is an honest and insightful conversation about the fellowship of friendship and those bonds which bind. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to order a copy of Hey Man Click here to learn more about Andrew Meehan Click here to learn more about Muswell Press Click here to hear Andrew on this Scottish edition of Radio's Loose Ends In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

Zoe Alba Farrugia For the latest Scots Whay Hae! podcast Ali spoke to Zoe Alba Farrugia, who is the Head of Programme for this year's Solas Festival, which is at Errol Park, 19th–21st June. Zoe gives some background and history to the festival, stressing that it is so much more than a music festival. She then talks about the different strands, which include Wellbeing & Spirituality, Literature, Poetry & Spoken Word, Children & Families, and much more. The two then discuss the music lineup, and offer just a few highlights which they are looking forward to, before Zoe talks about the joys of working at Solas and how you can get involved. Solas Festival is one of the most warm and welcoming festivals of the year, in a stunningly beautiful setting, and genuinely with something for everyone (they will even be showing the Scotland v Morocco World Cup game on the Friday night) and this chat with Zoe gives you a great overview of what to expect, and the best way to experience everything the festival has to offer. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to learn more about the Solas Festival & buy tickets Click here to find out the programme Click here to find out how to volunteer Click here for relevant details & FAQs In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

Professor Murray Pittock - 📸 credit University of Glasgow For the latest Scots Whay Hae! podcast Ali spoke to Professor Murray Pittock to talk about his latest book The Shortest History of Scotland, which is published with Old Street Publishing Ltd. "From Columba to The Corries, the Picts to Paisley, Doggerland to Devolution – here is the unmissable story of Scotland." Murray tells us how he came to write this book, the challenges in deciding what to include and why (and fitting it into just over 200 pages), and how such restrictions shaped the structure and style. He also explains why he selected quotations from Václav Havel and Edwin Muir for the epigraph, where and why he chose to begin this story, and the challenges in dividing the eras and periods. The two then discuss the relationships with England and the rest of Europe, the Declaration of Arbroath, and the importance of the formation of the royal burghs and how they held the key to trade, the economy, and education. They also touch upon the Enlightenment, early Scottish literature, John Knox, the Darien scheme, and so much more. There is also conversation about the present day and what the future may hold, and the complex yet important issue of selling Scotland around the world. It was such a pleasure to be able to talk to Murray, and the result is a fascinating dialogue about the nation's history and more. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to order a copy of The Shortest History of Scotland Click here to learn more about Murray Pittock Click here to learn more about Old Street Publishing Ltd In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

For the latest Scots Whay Hae! podcast Ali caught up with writer Chris Brookmyre to talk about Quite Ugly One Evening, the latest Jack Parlabane mystery which is published 30 years after his celebrated debut Quite Ugly One Morning, the novel which introduced us to both the writer and his notable creation. Chris talks about his fondness for Parlabane, why he keeps returning to him, and how Jack has changed over the years. He also considers how he himself has changed as a writer, and that working as a part of Ambrose Parry with his wife Marisa Haetzman has been a big part of that progression. The two then talk about the new novel, the cruise liner setting, the unusual 'research' behind it, the concept of the locked room mystery, writing as a form of personal investigation, contemplating the past through his characters, and the inspirations behind the invented children’s TV show The Imaginators which is central to the plot. They also discuss the humour in his work, with Chris talking about his comedy heroes, the comparisons between crime writers and comedians, the art of storytelling, and trying to make sense of the world through the process of writing. He also makes it clear he won't be writing a follow up to the acclaimed The Cracked Mirror any time soon! It's always a pleasure to talk to Chris about his work, and to be able to do so in detail about Jack Parlabane (a character who changed the nature of Scottish crime fiction) was a real privilege. Whether you are a Chris Brookmyre fan or not (or should that be, "not yet)" this is a warm and engaging conversation with one of Scotland's finest writers. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to order a copy of Quite Ugly One Evening Click here to order a copy of Quite Ugly One Morning Click here to learn more about Chris Brookmyre & keep up with his news Click here for the SWH! podcast interview with Ambrose Parry Click here to learn more about Ambrose Parry Click here for the SWH! podcast interview with Chris about The Cracked Mirror Click here to order a copy of The Cracked Mirror In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

A version of this article first appeared in PRODUCT magazine In my early teens, with music an increasingly integral part of life, a friend’s dad would periodically sit us down and sermonise as to who and what was worthy of our devotion, and what we should avoid. There was no room for opinion or debate – this was the gospel according to Jim Jackson. Examples included his decree that Bob Dylan had only ever written one bad song (although he never disclosed which one – we would have to work that out for ourselves). Another proclamation which stayed with me was that everything you needed to know about Leonard Cohen could be found on the first album Songs of Leonard Cohen, and, at a push, you could distill that even further to the opening track ‘Suzanne’. I had this in mind as I cracked the spine of Christophe Lebold’s mighty and in-depth biography, Leonard Cohen: The Man Who Saw The Angels Fall. In a way, old man Jackson had a point. ‘Suzanne’ would cast a long shadow over Cohen’s career, but Lebold’s book proves that fatherly decree moot and meaningless, as it was most likely always meant to be. Even those with only the briefest curiosity about Leonard's Cohen’s music would know that already. I can’t claim to be a Cohen completist, but I am familiar with what you could call the classics, and have heard tell of a number of the accompanying myths and legends. In this updated edition (the first was published in French in 2013) Lebold looks behind those to honestly and critically attempt to get to a sort of truth about this most charismatic and complex of men, although his admiration for his subject is never far from the surface (it should be noted that the two became friends before Cohen’s death in 2016, bonding over a shared devotion to Zen Buddhism). Religion plays a huge part in the story, far more than I had realised. Born into an Orthodox Jewish family, this upbringing was felt deeply and Judaism’s faith, symbolism, and iconography would never fully leave him (even when he became an ordained Zen monk in the 1990s) running through all of his work to a significant degree. This need for faith (rather than belief) is central to everything he tries to be, which makes his failures as interesting as his successes, arguably more so. The symbolism of the fall of man, as alluded to in the title, is never far from the subtext. Philosophical thinkers outside of religion are also an important part of Cohen’s quest for greater knowledge, self-improvement and understanding, with Nietzsche and the Existentialists proving a particularly good fit for his particular clash of egoism and self-loathing (always a heady combination) and his attempt to live with it. The early years when Cohen was best known as a poet and novelist were a revelation to me, and I’ll be exploring a number of his publications on the back of this biography. 1963’s award-winning novel The Favourite Game was compared to James Joyce’s A Portrait of the Artist as a Young Man, and his second novel Beautiful Losers (1966) was described as a “hallucinatory masterpiece” – a title which says quite a lot about the writer himself. As a poet, he followed in the tradition of the metaphysical poets, such as John Donne and W.B. Yeats, the intersection of the sacred and the profane arguably defining his life’s work. This identity as a literary figure would feed not only into his later music, but also his self image. In The Man Who Saw The Angels Fall, Lebold steps outside of the well-trodden biographical path to offer a number of fascinating facts and asides. A name I didn’t expect to crop up is that of infamous Scottish writer Alexander Trocchi, the author of Young Adam and Cain’s Book. His appearance is as brief and salacious as those familiar with his life and work would expect. Fans of Cohen’s music will know of his move towards more electronic sounds in the 1980s, but who knew that it was the simple Casio VL-Tone toy synthesiser, as used by the German band Trio on their global hit ‘Da Da Da (I Don't Love You You Don't Love Me Aha Aha Aha)’, which kick-started that interest? Those early to mid-1980s albums sound far more dated than those from the 1960s and ‘70s. But there was always something chameleonic about Cohen, a ‘Zelig’ like character able to shape-shift and fit in with most movements and times. There was the Mediterranean poet, the existential troubadour (and later, the new wave troubadour), the Jewish cowboy, the lounge lizard, and so many more identities to be worn and discarded as deemed appropriate. His appearance in an episode of arguably the defining TV show of the day, Miami Vice, (resplendent in Armani suit) sealed his acceptance by the tastemakers of the ‘80s, a welcome return for a musician who some thought irrelevant after punk and post-punk. But he was always a songwriters’ songwriter, and when the likes of Echo and the Bunnymen’s Ian McCulloch, and The Sisters of Mercy’s Andrew Eldritch (whose band take their name from an early Cohen song) were offering their seal of approval in interviews it meant he remained feted among the more discerning musos. His later albums are, for me, the most interesting in terms of style if not substance. The extraordinary tales behind 1988’s I’m Your Man could make for a book all of its own, where the synth pop choices could be called brave or foolhardy, depending on how kind you’re feeling. It could be argued that for most of the eighties this was a man musically out of time, and it’s important to acknowledge that long-term friend and collaborator Jennifer Warnes’ album of Cohen covers Famous Blue Raincoat played a significant role in his critical restoration. Although Lebold takes time to offer an overview, further justification for his artistic and aesthetic choices at this point would have been interesting. It seems ludicrous to suggest that a book of this depth and scope could leave you wanting more, but there are times when this is the case. The stories behind 1977’s Death of a Ladies’ Man and working with Phil Spector is another section where it feels like there may be more to tell. Which brings us back to where we began, and ‘Suzanne’, then ‘So Long, Marianne’, ‘The Winter Lady’, ‘Sisters of Mercy’, ‘Take This Longing’ (inspired by the legendary Nico), other songs linked to Joni Mitchell, Janis Joplin, and so, so many others. This was a man of multiple muses, and the list of his lovers and paramours is both exhaustive and exhausting. Despite his varied interests and beliefs, Cohen seems destined to be defined by his relationships, particularly with women. Not always romantic – but pretty close to it, to say he preferred the company of women is the biggest understatement in this review. It’s the reasons behind this which are fascinating and significant. As he gets older his raging against aging becomes difficult to read about, often contemplating the end of the affairs before they even begin, something which becomes unbearable for all involved. Leonard Cohen: The Man Who Saw The Angels Fall is a such a comprehensive book that you can take what you want from it. Interested in the personal and prurient? Then his trials and tribulations with relationships, substances, and religion are all detailed. More intrigued by the poetry, philosophy and piety, then that’s all in there too. And if it begins and ends with the music, then the sections on the albums and tours dig deep into the sort of details which many fans will be looking for. But taken as a whole, what emerges is a picture of a flawed but brilliant man, one who, while fully aware of these aspects of his self, fought hard to try and reconcile them. It is the most human of stories, yet one touched by the divine. Leonard Cohen: The Man Who Saw The Angels Fall is published by Luath.

Scottish Opera's revival of The Marriage of Figaro works as the perfect gateway opera for those who are unsure if it's an art form for them. The storyline will be recognisable from books, film and TV in terms of style and structure - literally a comedy of errors, as individuals are manipulated, lies are told, identities are mistaken, and just when it looks like it's all going wrong, it resolves before the final curtain falls, with hopefully lessons learned. Set from dawn till dusk, what unfolds is a day of farce and folly which pokes fun at the pomposity and privilege of the ruling classes, so much so that in its day it was banned in a number of European cities (including Vienna, where Mozart was based at the time). Deemed by many as seditious, suggesting, as it does, that servants could get the better of their masters, this was a tale which chimed with the times - the French Revolution only a few years away. It opens with workers of all ages bringing in the wheat just as morning has broken, an unassuming bucolic start to the day which doesn't hint at the intrigue to come. We then move inside with the betrothed Susanna and Figaro discovering they have been assigned a bedroom close to their employer Count Almaviva's own lodgings, ostensibly for everyone's convenience, although convenient exactly for what and who soon comes into question. It all revolves around the horrific notion of droit du seigneur or "right of the lord" (also know as jus primae noctis) with Count Almaviva intending to claim this right over Figaro's fiancé. The two lovers are determined to foil their master without it leading to punishment and/or banishment, but ultimately go about it in different ways. As Figaro becomes increasingly jealous and vengeful, Susanna makes more subtle plans with the cuckolded Countess Almaviva. As those plans unfold secrets are revealed, lies are uncovered, and pride is pricked and punctured, and as darkness begins to fall all outcomes are possible. The Marriage of Figaro is a character driven opera, something this production respects. Costume, sets, and general staging are all perfectly judged allowing the players to shine, and each and everyone does, including a charismatic and engaging chorus. However, special mention must be made of Ava Dodd as Susanna, who is maid to the Countess Almaviva, and Alexandra Lowe as Countess Almaviva herself. They manage to cut through the comedy to express their pain, anger, disappointment, and strength. Compared to the petulant and often pathetic men, and despite Figaro's name being in the title, this is their story. One of my favourite operas for all the reasons mentioned above, it may well be one of yours even if you don't yet know it. If you've seen a production before, then this is a great reminder of what makes it a true classic. If it's new to you, then this could be the beginning of a beautiful relationship. Here are some images from the production (with thanks to Scottish Opera - credit Mihaela Bodlovic): Click here for further information, and to get tickets - Scottish Opera These are the remaining dates: Theatre Royal Glasgow: 13, 15, 20 & 23 May 2026, 7.15pm 17 May 2026, 3pm 22 May 2026, 3pm (Access performance) Festival Theatre Edinburgh: 29 May 2026, 7.15pm 31 May 2026, 3pm 2, 4 & 6 June 2026, 7.15pm 5 June 2026, 3pm (Access performance) His Majesty’s Theatre, Aberdeen: 11 & 13 June 2026, 7.15pm Eden Court, Inverness: 18 & 20 June 2026, 7.15pm

For the latest Scots Whay Hae! podcast Ali spoke to musician and composer Kenny Inglis. Kenny was a recent artist of the week on the Scots Whay Hae! Show (which is on CamGlen Radio every Sunday between 7-9pm, and available to catch up with after that) but we thought he had so much more to say, and that this was the place to say it. Kenny spoke about his unusual road into making music, working in record shops, setting up his own studio, playing in bands, life on the road, and how he ended up working on soundtracks for film and TV, before explaining the difference between making music for other people compared to for himself. He then goes on to talk about his current projects, solo as Imperfect Stranger (whose Dancing Bear EP is out now) and as a member of indie-electronic duo Cinephile, who release their first music in many years later this month (band pic below). The two then discuss the changes in making and releasing music which have occurred over the years Kenny has been involved, format changes and how that affects the process, and the importance of culture both to individuals and wider society, before Kenny offers advice to those looking to make their own musical mark. It's an enthralling listen, one which will have an appeal way beyond fans of Kenny's music. We hope you find it as interesting as we suspect you will. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to learn more about Kenny Inglis Click here for the music of Imperfect Stranger Click here for the music of Cinephile Click here to learn about Kenny's project Hearing With My Eyes Click here for all the old Scots Whay Hae! Radio Shows In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.

For the latest Scots Whay Hae! Podcast Ali spoke once again to Ann Campbell who is the Festival Director of the Dunoon Film Festival which this year runs between 8th - 10th May, and has the themes of 'Film, Food & Fun. Ann talks about those themes and how the programme relates to them before the two go through just some of the highlights of this year's festival, which include The Orkney Dive which celebrates the sustainability and value of scallop diving and low-impact seafood in Scotland, the 1915 adaptation of Alice In Wonderland which will have a live music score from Paul Harrison and band, the Made In Argyll strand, a variety of short films, and so much more. And Ali gets excited about the Saturday night showing of The Breakfast Club and the promise of an '80s indie disco! Ann also explains how the programme is put together, the childrens' programme, their relationships with schools and other institutions, the importance of local talent, and the partners who play a vital role in bringing the festival together. It's a warm and informative conversation which we hope will inspire you to take a trip doon the watter to attend what is one of the most varied and welcoming film festivals around. If you aren’t yet a subscriber to the Scots Whay Hae! podcast you can do so, (or simply listen) at iTunes, on Podbean, with Spotify, on Pocketcasts, or wherever you get your podcasts. Or, if you want it right here, right now, you can listen on SoundCloud… ..or on YouTube… Click here to learn more about this year's Dunoon Film Festival 2026 Click here to follow Dunoon Film Festival 2026 on Instagram Click here to follow Dunoon Film Festival on Facebook Click here to keep up with events in Dunoon In the meantime you can always check out our back catalogue of over 420 interviews with some of the most interesting names in Scottish culture.