From Novel to Screen: Six Irish women writers who paved the way…

Always inspiring to see the novels of Irish female authors transfer to the big screen through film adaptations. A few that come to mind straight way are Edna O’Brien , Celia Aherne, the late Maeve Binchy, and Emma Donoghue. But how many others can you name?

I came up with the following Six:

1: Katherine Cecil Thurston: The Masquerader 

Katherine Cecil Madden was born in Cork in 1885. Thurston was her married name. Her novels were successful in both Britain and America. She also wrote The Gambler (1905) and Max (1910) Thurston’s career was cut short at the age of 36 when she was found dead in her hotel room in Cork.

Masquerader

John Chilcote, M.P (1904) Thurston’s political thriller, became the book and film, The Masquerader in the United States. It was filmed four times, the first as a silent film in 1912 under the title The Compact. The second production was in 1920, a Russian/French co-production titled Chlen parlamenta. It was also produced in 1922, and again in 1933 starring Ronald Colman

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2: Dorothy McArdle: The Uninvited

Born in Dundalk in 1889 and from a wealthy brewing family, Dorothy was a journalist, novelist, playwright, teacher, political activist and historian. She wrote The Irish Republic,  a narrative account of the Irish War of Independence, and her novels include The Dark Enchantment (1953), The Unforeseen (1946) and Uneasy Freehold (1941), which later became The Uninvited (1942). She died in 1958.

The_Uninvited_(1944_film)

The Uninvited (1944) starred Ray Miland, Ruth Hussey and Donald Crisp. A supernatural romance, it was directed by Lewis Allen with adaptation written by Frank Partos and Dodie Smith, (yes, she of The Hundred and One Dalmatians!)

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3: R.A. Dick: The Ghost and Mrs Muir

R.A. Dick was the pseudonym of Irish writer Josephine Aimee Campbell Leslie. Very little is known about Josephine. She was born in Wexford in 1898 and died in 1979. She also wrote Duet for Two Hands (1960) and The Devil and Mrs Devine (1974).

ghost-and-mrs_-muir

The Ghost and Mrs Muir (1947) starred Gene Tierney, Rex Harrison and George Sanders. A supernatural romance, it was directed by Joseph L. Mankiewicz with adaptation written by Philip Dunne. Philip also wrote the screenplay for The Last of the Mohicans (1992). A TV sitcom of The Ghost and Mrs Muir ran from 1968 – 1970.

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4: Somerville and Ross: The Irish RM

Somerville (Edith Anna Somerville:1858-1949) and Ross (Violet Florence Martin: 1862-1915) were Irish cousins who collaborated on writing novels and short stories about the Irish society of their time.

The Irish RM

The successful TV series of ‘The Irish R.M.’ was based on their collection of short stories, Some Experiences of an Irish R.M. written in 1899. Other works by the authors include  An Irish Cousin (1889) and The Real Charlotte (1894)

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5: Elizabeth Bowen: The Last September

Elizabeth Bowen was born in Dublin in 1899. Her works include Friends and Relations (1931) The Demon Lover and Other Stories (1945) and Eva Trout (1968). She died in 1973.

The last September

Set against the backdrop of the Irish War of Independence, and centred on the lives of the Naylor family in their Cork country mansion Danielstown, the film was released in 1999, starring Maggie Smith and Michael Gambon.

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6: Time after time: Molly Keane

Molly Keane was born in Kildare in 1904, real name, Mary Nesta Skrine. Between 1928 and 1956, she wrote eleven novels, and some plays, under the pseudonym M.J. Farrell. She used her married name, Keane, for her later novels, several of which have been adapted for television.

Time after time

‘Time after Time’ (1986) was made for TV, and starred John Gielgud, Googie Withers and Trevor Howard. It was directed by Bill Hays, with screenplay written by Andrew Davies, who also wrote the screenplay for Bridget Jones Diary and lately, House of Cards, Mister Selfridge and War and Peace.

IN RIBBONS to Screen at Women Deliver World Conference 2016

Delighted in me bones that IN RIBBONS will screen at the prestigious Women Deliver World Conference 2016, which takes place in Copenhagen, Denmark from May 16th – 19th. This global conference unites thousands of world influencers, policymakers, activists, journalists, and young people from over 150 countries to spotlight solutions and focus on how to make the Sustainable Development Goals (SDGs) matter most for girls and women. Founder Jill Sheffield and CEO Katja Iverson articulate concisely the aim of the conference, “Our message is simple and powerful: Sustainable development is possible only when girls and women are healthy and thriving. Women deliver so much more than babies. They deliver for themselves, their families, their communities, and their societies. When you invest in girls and women, there is a ripple effect and everybody wins.”

Screening at the Arts and Cinema Corner, an initiative which aims to transform a section of the conference into a creative space for showcasing international artists and creative work, I can’t articulate enough what an absolute honour it is for all involved to be part of a conference that advocates for women’s rights, health and well-being in such a prestigious and meaningful process. And it is such a credit to the conference organisers through their recognition and showcasing of how the medium of film can have a place in expressing the profound and the important through the universal language of visceral image and action. The only Irish film to screen amongst an amazing selection from all over the world, it will be shown on Wednesday,18th May. In addition to lunchtime workshops with world-renowned directors, producers, and poets, partial film screenings will run consecutively throughout the three days.

An Independent production, part personal money, part crowdfunded and also part funded through a bursary award from Kildare County Council Arts Service, IN RIBBONS is beautifully directed/edited by Marie Valerie Jeantelot. Starring Patrick O’Donnell, Geraldine McAlinden, Melissa Nolan and Rebecca Waldron, line produced and set design by Tom Dowling, sound and music by Neil Horner and cinematography by Basil Al-Rawi, the theme of the film is resilience and through a highly visual and sensory narrative, tells the story of a little girl’s journey to an orphanage in 1960’s Ireland. The film continues to screen at festivals worldwide and has won coveted awards including the Jury Prize at the Worcestershire Film Festival 2015, Best Experimental Film at both the Los Angeles Cinefest, February 2016 and The Seadance Film Festival, Spain 2016, and was also awarded Best Director [Marie Valerie Jeantelot] and Best Sound [Neil Horner] at the Wolves Independent IFF in Lithuania, 2016.

More information on the conference can be found on their website

 

Women in Film : Cinewoman Cahiers Interview

Delighted to be featured alongside IN RIBBONS director Marie Valerie Jeantelot in this lovely interview for Cinewoman Cahiers

Richard Harris International Film Festival

Had a fabulous time at the Richard Harris International Film Festival where ADAM was selected to screen and was shortlisted in competition to go forward to the Newport Beach Film Festival 2015.

Received some lovely feedback on our film…very touching…moving…entirely serious and intensely shocking…

And I am quoted in the Film Ireland article below…

http://filmireland.net/2014/11/05/48803/

Congratulations to the organisers on a wonderful weekend of film-centred events.

Bruce Dern…daring to risk!

I managed to fit in one screening at the Chicago Film Festival – and what a screening that turned out to be. Nebraska, starring Bruce Dern. A wonderful indie movie, directed by the amazing director/producer/screenwriter, Alexander Payne, [Sideways, About Schmidt, The Descendants] shot in black and white, Nebraska is a family dramedy that is funny, satirical and poignant and I dare you not to see a little of someone close to you, and even a bit of yourself, in one or all of these characters.

Dern, playing the lead as the slightly bewildered and bewildering father, Woody Grant, is layered, flawed, likeable, infuriating and so acutely well cast alongside June Squibb [About Schmidt], hilarious and heart-breaking as his long-suffering wife. Will Forte [Saturday NIght Live] and Bob Odenkirk [Breaking Bad] play their two sons with the purest and truest comedy that mirrors relationships, fathers and sons, brothers and mothers, all over the planet. Dern says of Forte, that Payne made a brave and good choice casting him as Woody’s son, and he thinks that Will Forte did an incredible job on the film. I concur. There are some priceless moments that will leave you with an aching belly, I can’t say enough good things about this movie.

Bruce 2 Chicago

Bruce was present throughout the screening, speaking both before and afterwards and so generous with his time (Not many of that ilk left these days – Legend!) as he received a well-deserved career achievement award, especially important to him as it was coming from the people of his hometown. He seemed genuinely grateful to be there, and said so in that distinctive drawl and with that instantly recognizable smile!

On the beginnings of his career, the seventy-seven year-old told an enthralled audience that “People in the movies were talking to me…I had to find a damn school! You had to go to New York, and you had to join the Actors Studio and you had to work for Mister [Elia] Kazan”. Dern began studying under the legendary filmmaker in 1958, and Kazan soon put him under contract, alongside the likes of Rip Torn and Geraldine Page, the latter, he considers to be the best actress in his career. His obvious talent ensured that Dern was cast in such iconic films as Marnie [He had a great respect for Hitchcock, recalling with fondness that the great director always knew the names of every person who worked in his movies and would thank them individually when the film wrapped] They Shoot Horses, Don’t They?, The King of Marvin Gardens, Coming Home, The Great Gatsby, Hang ‘Em High and so many more.  

Dern needed little prompt to keep talking, entertaining a very large crowd at the sold out premiere. He also recalled Kazan’s words of advice to him as a young and budding actor. “If you’re going to play Cowboy number three, be the best damn Cowboy number three you can be”, and told a poignant story of playing yet another one in the series Gunsmoke [The Jailor, 1966]. On hearing that Bette Davis would be playing his mother, he became upset, wondering why, with her amazing career behind her, she was doing this small part. ‘Who else would pay for my cigarettes?’ was her matter-of-fact response. Dern holds a great fondness for Davis too, having worked with her on Hush Hush, Sweet Charlotte.

Bruce Dern Chicago 2013

More recently, Dern has appeared in Monster and Django Unchained. He spoke of his belief that his character in Nebraska was his best role yet, and though it took ten years for Alexander Payne to get the film made, Dern wanted the role from the moment he read the script. He also paid tribute to his co-stars, and to the screenwriter, Bob Nelson, adding that all of the terrific lines in the film came straight off Nelson’s pages. Dern also paid humble tribute to those who came before him. “When we first came to Hollywood, we had the chance to work with legends,” he said of his generation of actors. “They were bigger than life. We’re not legends”.

I beg to differ! Down-to-earth, humble and pragmatic, this inspiring actor’s simple philosophy for life and art is that YOU DARE TO RISK!

That’ll do for me.

In Ribbons: Part Two of an update for our Investors and Supporters

So how did you spend your May Bank Holiday Weekend?

Rebecca Waldron

Rebecca Waldron

Patrick O'Donnell

Patrick O’Donnell

Geraldine McAlinden

Geraldine McAlinden

Melissa Nolan

Melissa Nolan

Marie-Valerie Jeantelot, Basil Al-Rawi, Stewart Lambert and Adrian Moylan

Marie-Valerie Jeantelot, Basil Al-Rawi, Stewart Lambert and Adrian Moylan

Tom Dowling

Tom Dowling

IN RIBBONS has wrapped! THANKYOU zaps to the brilliant cast and crew that assembled and worked so diligently to visualise my script into something that we all believe will be quite wonderful…and very beautiful. Thanks also to our extras, to building managers for the sanction of our locations, and to everyone who invested in our project. Donations have ensured that we have been able to pay up-front, or to pledge fees for work done, all of which will be honoured by the producers. Keep an eye on our Facebook page for more updates: https://www.facebook.com/inribbonsmovie

Featured photographs: Errol Farrell. 2013

IN RIBBONS…Part one of an update for our investors and supporters

The project has been quietly and steadily gathering momentum, attracting support, investment and mind-blowingly talented people, either willing to give their hard-earned cash, or time and talent to realising my dream, and that of director, Marie-Valerie Jeantelot; to get IN RIBBONS onto the big screen.

First off, the production team is now a force of nature, and frankly, I’m humbled to be working with the likes of them!

Tom Dowling has come on board as Production Line Manager. Tom has over 21 years experience working in the Irish film industry, with responsibility for scheduling, budgeting and health & safety procedures in the art departments of many major feature films, such as, Michael Collins, In America, Becoming Jane, Laws of Attraction, The Old Curiosity Shop, Adam and Paul, Omagh, as well as a number of TV series, such as Ballykissangel and Bachelor’s Walk. Over the years Tom has worked alongside Academy Award winners, Josie MaCavin, Gianni Quaranta and Brian Auckland-Snow, as well as Oscar nominated Production Designers, Anthony Pratt, Nathan Crowley and Eve Stewart. Tom has been working diligently of late, scouting for locations for the IN RIBBONS shoot, and we are getting very close to pinning down those locations.

Marie-Valerie Jeantelot, our Director, is quite simply, a visionary of extraordinary talent. Having written and directed her own short films, Nail Chain, Yinyang, and a documentary, Brown Gold, since completing her HND in Film & TV production in 2011, Marie-Valerie has worked on several productions such as, Derelict, and Barry’s Bespoke Bakery. Also, a talented artist, Marie-Valerie’s storyboards keep on attracting us into the world she is creating for IN RIBBONS, and are proving to be very collectible keepsakes for our investors!

Basil Al-Rawi, our cinematographer, is a graduate of the National Film School at IADT.  He has worked on a variety of projects including artist films, commissions, shorts, music videos and a feature film, with many being selected for the Galway Film Fleadh, Cork Film Festival, Darklight Festival and IFI Stranger Than Fiction Documentary Festival amongst others. Basil co-produced and shot ‘Opus K’, an independent Irish feature film which premiered in Galway in 2011 and showed as part of the IFI’s Ireland on Sunday season. His photographic work is not confined to the moving image; he exhibited a photographic series during the PhotoIreland Festival in 2011, and at the Ambika P3 in London in September 2012. Basil has recently graduated with an MA in photographic studies from the University of Westminster. He has also been keeping busy, currently working with Marie-Valerie on test shoots for IN RIBBONS.

Neil Horner, on music and sound design, is a classically trained guitarist. He attended the Royal Irish Academy of Music and New Park School of Music. He has worked on a number of award-winning shorts, features and documentaries, and his music and sound design draws heavily on the subtle but unnoticed sounds and rhythms of the natural world. I have heard snippets of the soundtrack that Neil is working on for IN RIBBONS, and quite simply, it is captivating.

Amy O’Neill, our make-up artist, is based at Make Up For Ever, working with many clients from the fashion, theatre, music and celebrity world. She has worked on shoots for Expose, Fred Perry, TV Now, Stellar, Kiss, RTE Guide. She also worked on ADAM, the short film. She also specializes in body art and theatrical make-up and Amy has just returned from Paris, where she studied with Parisian artist, sculptor and theatre make-up specialist, Dany Sanz.

Caitríona Costello, the third co-producer to come on board the IN RIBBONS team, is an independent film producer. She set up Red Splash Productions in 2011, and has produced short films, a feature documentary and currently a feature film. Caitríona has a background in business and accounting. She holds a BA (hons) Degree in Production Management, and has produced short films, Bayonet, Something Unexpected, and the documentaries, Gloves and Glory and Bee no More. Caitríona is currently working on funding opportunities for IN RIBBONS.

And then, there is me…writer and also co-producing,  you can read more here:https://carolinefarrell.wordpress.com/2012/09/15/about-caroline/?preview=true&preview_id=1298&preview_nonce=c525b5d3f9

The IN RIBBONS fundraising campaign at http://www.inribbons.com/. If you would like to see more on the project, or get connected by becoming an investor, please check it out.

Featured Photo is the copyright of Tom Dowling. 2013. On a recent recce with the IN RIBBONS crew…next time, I’ll be updating you on the cast and the latest news on the production.

Breaking Bad was never so good…

I may have arrived late to the Breaking Bad party, but I’m making up for lost time, and loving it!  Excellent writing and amazing performances from the likes of Bryan Cranston, Aaron Paul, and Dean Norris.

AND…I was lucky enough to attend a Galway Film Centre screenwriting event earlier this year, with the man himself, creator and screenwriter, Vince Gilligan, in attendance for the event, Deconstructing Breaking Bad.  A very entertaining and informative session, and Vince himself, a down-to-earth, practical speaking gentleman, was inspirational in the telling of his own journey as a writer.

Vince won a screenplay competition in 1989 when just out of college. Mark Johnson (Rainman) was doing the organisers a favour by sitting on the judging panel. He liked Vince’s script and asked him to show him what else he had. That was his first break into the business…and though Vince is quick to point out that it was pure luck, I would throw in my tuppence worth here and say that yes, luck plays a part, but you have to put the work in and take the actions, (for example, submitting to competitions!) that lead to that “pure luck” moment ever happening! It is so important to build up a body of work, that, in the event of that lucky break coming your way, you have more to show than just one script!

Vince went on to sell his script, Home Fries: http://www.imdb.com/title/tt0119304/, and with the money he made from that, was able to support himself while writing scripts between 1990-1995, Wilder Napalm, http://www.imdb.com/title/tt0108569/ being his most successful.

Writing for the X Files

Vince hadn’t written for TV when the first season of X Files came out, but as a viewer, the series hooked him in. Needing to find new work, he happened to be talking to his agent, and mentioned how much he liked the show. By chance, his agent told him that she was related to the creator, Chris Carter, by marriage, and that next time Vince was in LA, she would organise a meeting. (More Luck!) He met with Chris, essentially to gush about how much he loved the X Files. He says that he had no burning ambition to write for it, he was just a fan, and that when he was asked to pitch an idea, on the spot, Vince was taken by surprise. The night before, he had been looking at his own shadow on the hotel room wall, imagining what would happen if the shadow started moving independently.  He pitched this as an idea, they liked it, and he was asked to write an episode – which he did,  Soft Light, and they bought it.

Genesis of the Breaking Bad idea…

Vince worked on the X Files for seven years, but when it came to an end, he was out of a job, and turning 40…a mid-life crisis of sorts. He was joking on the phone with a writer friend of his that to make some money, maybe they should rent a Winnebago and set up a meth lab. From that the idea sprung – Breaking Bad – which is essentially about a man at an end-of-life-crisis.

With his pre-existing relationship with SONY, Vince pitched his idea for the show like this: 50 year old guy, dying of cancer, decides to make crystal meth to make money for his family…The boss at Sony told him that it was the worst idea he has ever heard, but he paid him to write the pilot episode anyway. It was decided though, that the show was too “edgy” to pitch to the big networks. FX Channel accepted it however. They were looking for a show to follow Mad Men. AMC, who up until that point were just showing old movies, were looking to make a show that could bring in revenue, so they and Sony became joint financiers. If he were to pitch the show now, it would be more like: Take Mr Chips and turn him into Scarface! It’s about transformation and change. The good guy turns into the bad guy, but it will have a finite end with season five. Only 16 more episodes will be made…

Writers Room:

The show is a character piece, about one man, and the story builds on the writer’s understanding of this character. Vince likes what feels like invention, the act of creating – a jigsaw analogy, and says he stole the methodology of his writing room from his X Files days. He sits with six other writers, five days a week. He tries to keep it to a 10-6pm day with a one hour lunch break, but sometimes writers have to come in on Saturdays and Sundays, and when the pressure is on, they could work until 10 at night. Basically, they sit around a table, debating, joking, firing stuff at each other, and it is mostly good-natured. He has a number of women writers on the team, and one assistant who records everything they say.

Everyone in the room is very honest.  It is a SAFE room, were all ideas are heard, crazy and all. In the roll of helmsman, Vince is aware that there are smarter people than him in the room. They don’t have all the episodes written before the first one of the season is shot.  The process is brick by brick, telling it organically. It generally takes two weeks to write an episode. The teaser is always 3-5 minutes before the episode and should be a little movie onto itself – hooking in the audience. Vince directs as many episodes as he can. He is often not fond of the writing process, but LOVES to have written!

And his advice on writing a TV series…

Think of the audience as being smarter than you are. Keep ahead of them!