Tag Archives: Irish Screenwriters

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Doing it with Passion! Writers in Ireland Series: Niall Queenan

Niall Queenan is a screenwriter from the North West who currently lives in Dublin and graduated from the National Film School at IADT in 2012 with a Masters in Screenwriting. He was recently awarded an emerging screenwriter talent development mentorship from the Irish Film Board, won the gold prize in the thriller/horror category of the PAGE International Screenwriting Awards for his feature thriller script NEXT OF KIN, and the bronze prize in the thriller/horror category of the World Series of Screenwriting Awards for his feature thriller script SHADOW OF THE BLACKBIRD. He was consequently signed by manager/producer Peter Katz of Story Driven in Los Angeles. His feature debut, THE HIT PRODUCER, an independent Irish crime thriller, screened and won awards at a number of international film festivals and recently had a limited cinema release in Dublin. He has worked with Irish director Cathal Black under his Nightingale Films Ltd production company in a script development capacity and also co-produced his recent short film BUTTERFLY. He has completed feature re-writes for Propaganda Italia in Rome, Bee Holder Productions in Los Angeles, and is currently developing a slate of spec genre thrillers.

Impressive work, Niall. So, when did you first begin to write for screen?

Six years ago. My initial forays were a total disaster. I wrote two scripts without knowing a thing about the craft, thought they were gold, and paid a professional screenwriter to critique them. To say he hated them would be putting it mildly. That said, he was very understanding and gave me some really solid advice. Three months later I still felt like it was something I wanted to do, so I started over, read pro screenplays and began to study the craft. The learning continues and I can’t imagine it ever ending.

Did anyone, famous or otherwise, inspire you?

Well, they’re famous in our house, but my father always made up stories when we were kids and it was time to shut us up for the night, and my mother got me hooked on mystery novels, so I imagine the seed was planted there. But it wasn’t until I saw ‘Catch Me If You Can’ that I knew I wanted to write screenplays. Something about that film really captured my imagination and in that case, for whatever reason, I quickly came to the conclusion that the magic had started on the page. From then on the desire has been to write something that will ultimately result in an audience being as engrossed and involved in a story as I had been that evening. So, I suppose you could credit Jeff Nathanson, and also – shocker – Steven Spielberg.

Do you write every day?

When I’m working on something new I write every day. I believe that it’s important to keep your head in the same space while plotting and writing the first draft. If I’m between things or planning to re-write I’ll leave it alone, or work on something else, and let the subconscious mull over whatever it needs to, which I find productive in the long run… plot holes, inconsistencies and bad dialogue always seem to spring to mind during down time. I don’t have a specific daily structure, but I tend to write a lot at night and into the small hours.

Do you have a preferred genre?

I usually write thrillers, be they crime, conspiracy, supernatural etc. I just love being in that headspace, where there’s a sense of mystery, danger or intrigue, and working out how to assemble the pieces of the story into a compelling read.

How long does it take you to complete a script?

Usually somewhere between three and four months to outline it and get a solid first draft down.

And on your first production break? How involved in the process were you?

I’ve had just one film produced, an indie crime thriller called ‘The Hit Producer’, which had a very limited Irish release a few weeks ago. I met the director at a pitching event set up by the writers’ and directors’ guilds, and after swapping scripts/ideas he sent me his treatment for it. We unsuccessfully pitched it as a Storyland project, but by then had come up with enough material for a feature so I wrote the script. The budget (€18,000) came from a lot of blood, sweat and tears on the crowdfunding campaign, which I was heavily involved in, and after that I was on set as and when bodies were needed to chip in during the shoot. I sat in on the edit for a time during post-production and once that was done so was I. So, very much a DIY break, but it has led to other opportunities and was absolutely worth the effort. Big thanks again to all who backed the campaign and in fact gave us that break!

Do you have an agent, or think one is necessary?

I don’t have an agent, but as of very recently I have a manager! I think when you’re an unknown you have to prove yourself, which means writing strong spec scripts, completing assignments and getting your name out there. I expect that once work generates positive word of mouth, and assuming there’s a demand for the writer, an agent gets involved. I think if a writer was in serious demand an agent would absolutely be necessary. The contractual/negotiation side of things alone is a headache that I’m sure few writers want to spend their time dealing with, but want to make sure their best interests are served, so an informed manager/agent is likely vital in ensuring things get done right.

Thoughts on social media and marketing for filmmakers?

It’s absolutely necessary where you’ve made an independent film or you’re looking for backers for your crowdfunding project, nobody else is going to talk you up, but with hashtags and viral marketing tactics it’s possible to build buzz. That aside, when writing, or developing ideas etc., the less time spent on social media the better… it’s a total time suck unless you’re incorporating social media into the progress of your project in order to engage.

And do you contribute to the marketing of your own work?

I use a few social media platforms like Stage32, Twitter and LinkedIn, and post updates if I feel like something is worth sharing, but outside of that I don’t really “market” myself. To be honest, I’d rather be writing, but if there’s a project I’m involved in out there then I’ll absolutely help the team get the word out.

What’s your opinion of the current world of film? National? International? Indie Film?

Where indie film is concerned, I expect that there are tonnes of gems going undiscovered that word of mouth and cult status in their respective countries will eventually bring to a wider audience. Indie film in the US seems to be defaulting toward a Sundance style formula but there’s still plenty of really interesting stuff being made. In the mainstream, I’m a bit tired of the superhero films because they all play out in the same way – more or less – and few risks are taken. Similarly, everything these days seems to be based on book franchises, or is inspired by true events, and it feels like spec scripts are for writing sample purposes only, which is borderline a crime. Where Ireland is concerned, I wouldn’t be surprised if the 2020’s prove to be our golden age. A widespread confidence in craft is emerging on all levels, which is very exciting, and will hopefully result in greater funding for the respective bodies and lead to more opportunities for Irish writers and filmmakers.

Having just won a PAGE Award – and mighty congratulations on that – what is your opinion on the importance of screenplay competitions?

I think they’re a useful way to judge where your writing is at, and if you win, or place, or make the finals, it definitely justifies contacting producers/managers/agents – or will see them contact you. That said, I think a lot of aspiring screenwriters make the same mistakes I made before and submit scripts that just aren’t ready, in hope of magically hitting the jackpot. Even if you’re confident that the basics of the story work, I would suggest taking additional time to be brutal with your dialogue, and to work the hell out of the descriptive passages. There are tonnes of ways to describe a room, but maybe only a couple that fit the tone of your story, so print it out, red pen it, grab a dictionary and don’t just settle for the easy option before you shell out your hard-earned cash.

And since you have been heavily involved in crowdfunding – what has that experience been like?

I’ve worked on two crowdfunding campaigns, the first was for ‘The Hit Producer’, and the second was for a short film called ‘Butterfly’ – both were hosted by Fund It and, fortunately, both were successful. Crowdfunding is tough, though, and while my experiences of it were ultimately worthwhile, they were extremely time-consuming and exhausting. Engaging your audience on a personal level and putting in the time to talk about their projects is just as important as promoting your own, and it’ll pay dividends when you’re looking for likes/shares/re-tweets. What’s even more key is beginning the process of building your audience a long time in advance of the campaign launch. Trying to get people to notice you when the clock is already ticking is a stress you don’t need, so my advice to anyone considering it down the road is to set up your Twitter/Facebook pages now and start communicating. Talk about the development process, ask opinions, basically involve people so that they’re invested in its progress. I’ve a lot of admiration and respect for those who stick their necks out and decide to crowdfund, and even more respect for those who pledge and green light aspiring creatives. It’s a huge leap of faith and the hope for those who get to move forward is that your backers will ultimately be proud of the work.

Any advice for aspiring film writers, Niall?

Well, I’m still one of them, but from my limited experience I think writers should write the ideas that they personally connect with and can’t stop thinking about, as opposed to writing what people tell them is more suitable for the market/funding bodies. Getting to the end of a script is hard enough, but if you’re not engaged in it, or just doing it for the sake of it, then that’s what will come across on the page. Also, trust your instincts. If something’s bothering you in the script and you just can’t shake it, then cut it or re-write it. For me, re-writing is the best part of writing screenplays… it’s like being given back a test paper and getting to change the answers to something “correct” or at least closer to it, with the benefit of perspective and hindsight.

Is there a film script by another writer that you wish you had written?

There are hundreds. ‘Taxi Driver’ by Paul Schrader, ‘Once Upon A Time in the West’ by Sergio Leone & Sergio Donati, ‘The Usual Suspects’ by Chris McQuarrie, ‘Catch Me If You Can’ by Jeff Nathanson … those are the first that come to mind.

Can you share with us what you are working on now?

I’ve written a very rough first draft of a psychological thriller which I’ve been working on with the assistance of script editor appointed by the Irish Film Board as part of their emerging screenwriter talent development initiative. I’m also developing a high-concept single location thriller that I’m very excited about, and a handful of other genre ideas.

Would you consider directing your own work?

Yes, at some point, but I think before trying I’d like to shadow someone else just to get a better idea of what to expect, and maybe make a really cheap short or two, just so it’s not all new. Even at that, I’d definitely be dependent on the crew’s technical expertise, but I love the idea of working collaboratively with a creative team to achieve a particular vision with a view to ending up with something unique that holds up over time.

And just for fun…six people, living or not, that you would like to share your favourite beverage with?!

For the sake of seeing just how crazy things would get… Charles Bukowski, Oliver Reed, Jack Nicholson, Richard Pryor, Elizabeth Taylor and Chris Farley – all while at the height of their infamy.

 

You can find Niall on Twitter, LinkedIn, and Stage32

 

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Doing it with Passion! Writers in Ireland Series: Sean Ryan

Sean Ryan, from Waterford, has written numerous short and feature-length scripts. He has also worked as a writer-for-hire on adaptations and as a script doctor on feature screenplays. His films Revenge (Action/Western) and The Lunch Break (Black comedy) screened at the opening day in Cannes Le Marché du Film festival 2013, and along with Choices (Drama/Thriller) have won awards at The Cinerockom International Film Festival, 2013. Choices also won best narrative short at the Cannes Artisan Festival and the platinum award at the 2012 Oregon Film Festival. Change (Drama) won Best Short Film at both the Jersey Shore Film Festival and the Ocean County Library Film Festival and Audience Choice Awards at both the Texas Black Film Festival and the Jersey Shore Film Festival. His script Fading Numbers (Drama/War) was placed in several national and international contests, including the KAOS BSSC, and with his family, Sean travelled to Canada in 2011 to meet the two Auschwitz and Tluste survivors that inspired the script. Tears In The Rain (War/Drama) was also a finalist in the BSSC contest in 2013. In the same year, he worked closely with the Department of Theatre, University of Alabama and their advanced film making students who produced his script, G.P.S. (Thriller) as their final year project. The University plan to use more of Sean’s screenplays for future projects. He has worked as a producer on Choices and Speed Dial (Comedy) and completed his directorial début on Connection(Drama), which screened in festivals in 2013/2014. Now concentrating on feature scripts, his final short film was Failing Hope (Drama) which starred Rowan Blanchard, Scottie Thompson and Elizabeth Regen.

Sean has several features due for release in 2015 and 2016. Decommissioned (2015 – Action/Thriller) starring Johnny Messner, Vinnie Jones, Estella Warren, James Remar and Michael Paré; 4GOT10 (2015 – Thriller/Western) stars Johnny Messner, Dolph Lundgren, Danny Trejo, Michael Paré and Vivica A. Fox; SWAP (2016 – Action/Sci-Fi/Thriller) starring Johnny Messner, Tom Sizemore, Mickey Rourke, Jon Foo, Taylor Cole and Michael Paré. Currently in production is Fragmented (Thriller), starring Tony Todd, and Darkness (survival horror) and Awakenings (Horror/thriller) are presently in preproduction stages. Sean featured on RTE Radio’s ARENA program about his attendance at the premiere of his produced featurette screenplay, Too Good To Be True  (Comedy/Drama) in New York.

Impressive list of credits, Sean, so when did your writing for film career begin?

About 12 years or so ago. The first short film I wrote I sold for a few bucks and it has yet to be made. My first feature film was this year (2015).

And how did that first production break come about?

For short films was because of hustling and hard work. I kept writing as much and as often as possible. Pitching every short script anywhere and where I could find indie producers looking for material. Until I landed a production.

Did you have an agent to help you along?

I have had a couple in the past, before I had any feature films produced. This was to help either sell a spec script or land a write for hire assignment. Neither happened, so I have been pitching my own work and writing specs that I think could/would make good films. I think a great active agent or manager would make a massive difference in getting work out there, onto the right desks. But it’s not enough to just have an agent, you need the right one, who works as hard as you do.

So you contribute to the marketing / PR of your work?

If I get the chance yes. But more often than not you don’t get the opportunity – which is a pity.

And social media?

It’s an important tool. Social media is like someone organised the Internet and for most, social media is the internet. So having a presence and a voice on it, is important. It’s free advertisement space (mostly). So why not use it?

On inspiration – did anyone influence you to write?

Stephen King. After leaving school I had no real interest in books until my sister suggested I should try King’s IT. I read nearly everything he wrote after that. Even read some of them twice.

Do you write every day?

I try to write around five pages a day and try to make them five good pages. But I have learned over time that it is very important to plan everything in your head first. Break down scenes; work out what makes those characters interesting before you touch a keyboard. But if I can manage a couple of hours a day and make five good pages, I’m happy. Any more is a bonus. I try every genre and don’t limit to one. I also try to write films I want to see. That could be comedy or science fiction. The characters are at the heart of every great story. The genre is just one element.

And how long does it take you to complete a script?

It depends. A first draft I can lay down in a month but the rewrites could take as long if not longer. But from a blank page to about 100 pages of a script, takes about four weeks.

What are you currently working on?

I’m adapting a write-for-hire script and rewriting a spec of mine called “Redacted”. I’m finding it hard to make the final act all that it can be, but I think I finally have it in my head, just need to get it down on paper.

Write what you know? Agree or Disagree?

My last film was about drug lords, agents and corrupt lawmen, so do I know any of that in real life? No. I think writing what you know can help you to connect with the material, but I think the key is just to write every day and treat it like exercise. The more you do, the better you will get.

Judging from your bio, you obviously place some importance on film competitions and awards…

They can really open doors but I can’t help but feel they are like playing the lotto with a really, really expensive ticket. The odds of placing are fantastic and most aren’t going to open any doors for you. It might help with your personal sense of achievement, which is healthy. Just don’t depend on writing that script that will win that competition and land you a million dollar deal. Write for enjoyment. Write from the heart. If success comes, it comes. If awards comes then great, but write for yourself.

Is there a film script by another writer that you wish you had written?

Schindler’s List or Jaws. Either or both. If I could have written them I think then I could say I’m a screenwriter.

Any advice for aspiring writers?
 Three things: Don’t limit yourself/don’t keep you eggs in one basket. Don’t be afraid to write and rewrite and finally never, ever give up.

Thoughts on film in general?

Film wise there are way too many remakes, reboots and superhero movies. Not that most are not solid films, it just seems to be a case of “I’ve seen it all before” and I find myself too rarely getting excited about seeing something. I think the issue with all the reboots and remakes is that the studios think it is minimising the risk. If it worked well once, it will work again, but as we’ve seen this is more often not the case.

And Indie Film? 

Indie film is the future in my opinion. It’s the heart of cinema that will continue to beat long after the big movies and massive budgets will become too risky. There is a massive demand for content these days with streaming and alike. Indie film can deliver small, low risk, big heart films that studios won’t produce because financial return is all that interests them (being in a business). A lot of indie films remind me of the first films that some of cinema’s greats made when they were starting out, like Godfather, Terminator and alike. Films when they were hungry to prove themselves and taking risks.

Would you consider crowdsourcing to fund your own work?

I would consider it but it kind of conflicts with me as I’ve supported a lot of crowd funded films yet never received any perks. Which just hints it’s a little bit of take your money and run. Also you are asking people to give you money so you can potentially make money from their money. I think the only fair model is that everyone that invests is treated like an investor. Not perks, but they should get a return on their investment and should 100% not have to pay to see they film they help get made.

If you’ve ever had any: How to you handle negative reviews?

Film is subjective so you won’t make something everyone will like. Which is fair enough but you will meet people that love to hate and will be very vocal of that fact. But I always remember a quote from the great Paul Newman who told Tom Cruise that negativity is like white noise, just ignore it. Listen to every review and remark, just don’t live by them.

And finally, Sean, is there anyone, living or not, that you would like to share your favourite beverage with?!

I would like to go for a pint or two with my Mum and Dad, so we could talk about life. What they have missed out since they passed away, in terms of their grandkids and children and to just experience once again what once we took for granted, time together.

You can check out Sean’s links here: IMDb  FACEBOOK   TWITTER  and BLOG

 

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Doing it with Passion! Writers in Ireland: Shane McCabe

Shane McCabe was born in Dublin and graduated with an honours degree in economics from Trinity College.  He is also a graduate of the Gaiety School of Acting, and has been involved in the industry for a number of years. His short film LUCKY ESCAPE screened at numerous Academy Award® accredited festivals worldwide and sold to NBC Universal, (Italy), HBO, (Central and Eastern Europe), top comedy website Atom.com, UK Broadcaster Channel 4, NBC Pan Asia, Shorts TV in the United States, and all of Latin America and the Caribbean via the Latin American Discovery Channel.  Lucky Escape has over 2.3 million views on YouTube and Shane has just signed a deal which will see both Lucky Escape and his most recent short THE PRESCRIPTION hosted on Amazon, Amazon Prime and Hulu. The Prescription, his three minute comedy, set in Dublin, had its World Premiere at the 2014 Edmonton International Film Festival and recently sold to HBO and his feature, KOPKILLER, a supernatural thriller, won Best Crime/Mystery category at the 6th Annual GSIFF Screenplay Competition 2012.  Shane’s Latino-themed thriller, NEXT OF KIN, was a Quarter Finalist at the 2014 AMPAS Nicholl Fellowship in Screenwriting, and has recently attracted the attention of Colombian actress Sofia Vergara. His latest script, MONEY TALKS, has just received development funding from the Irish Film Board.

 

How long have you been writing, Shane, and when did you get your first break into film?

In and around 2000/2001 and the first breakthrough came in 2005 when the Irish Film Board produced my short film, Never judge a book under their Short Cuts Scheme.

Do you write everyday?

No. But I will try to sometime. I don’t structure my day when writing. I write when I feel the time is right.

Is there a genre that you prefer to work in?

I write in many genres, from comedy to dark thriller, but I do tend to favour supernatural thrillers.

And how long does it take you to finish a script?

It depends on the project. I wrote my last script in eight days, but I did have a well fleshed out treatment to work off. I am currently working on a project I started three years ago. The lead-in time is always different. But the average time from Fade in to Fade out is three to four weeks.

On negative reviews – ever had any?

Luckily I haven’t been too often in that position. My short film Lucky Escape has over two million views on YouTube and there are negative and positive comments so I just take the rough with the smooth.

Do you have an agent, Shane – or think it necessary to have one?

No and Yeah, I am currently talking to various reps in the US and UK.

Do you engage in your own PR?

One hundred per cent yes. I do all my own marketing and spend as much time as possible on it. Social media is a good tool if it is used wisely.

Did anyone, famous or not, inspire you to write?

Yes. Quentin Tarantino. I loved his structure in Pulp Fiction and in Reservoir Dogs.

What’s your opinion of the film industry right now?

It seems all the good writing is gravitating to television now. Film is more and more about the franchise or super hero/comic book genre.

And on competitions and awards?

I rate competitions highly. The reason is twofold. Winning or being placed is a great shot in the arm and winning or placing in the big ones opens doors to getting your script read and/or representation. I was an Austin FF finalist in 2010 and a Nicholl Awards quarter finalist for the last two years.

What about Indie Film and publishing?

Indie is tough. You need a knockout hook and/or a name to get the finance. Also, I have considered crowdsourcing for film and I have self-published one of my scripts, Breakthrough, as a book.

Any advice you can offer to emerging talent, Shane?

Never give up. Write, then rewrite, then write again. Personally I like to have two projects going at once. Time spent away from a script is as valuable as time spent writing it.

Write what you know – agree or disagree?

Yes and No. Write what you’d love to see on the screen.

Is there a script by another writer that you would have liked to have written?

Yes, LA Confidential. This is beautifully structured, plotted, and executed.

Want to share what you are working on now?

Yes. It is a film called Money Talks a thriller with some very dark humour.

And finally, Shane, anyone, famous or not, you would like to share your favourite beverage with?

Only one name comes to mind: Nelson Mandela. He is one of the greatest leaders of all time. His ability to leave his twenty-seven years of captivity behind him and embrace those who imprisoned him is a lesson for all human beings.

Check in with Shane on Facebook: https://www.facebook.com/shane.mccabe.75

 

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Doing it with Passion! Writers in Ireland Series: Frank Kelly

Frank Kelly studied animation production at Ballyfermot College of Further Education. He began writing screenplays during college and formed a writing partnership with Thomas Kennedy when he graduated in 2000. Together they founded Pale Stone Productions Ltd and completed their first short, Emily’s Song in 2006. It was screened at 30 international film festivals, broadcast on RTE and Channel 4, won the Crystal Heart Award, UNICEF Award and special Mention at Oberhausen Short Film Fest. Frank went on to make Bill, For Short in 2008, distributed by Network Ireland Television, and Slán agus Beannacht in 2009, both screened at festivals around the world. He began production on 140 the same year, a global documentary that was shot in 23 countries around the world. Completed in January of 2010, it had its world premiere at the Newport Beach Film Fest and its European Premiere at the IFI in Dublin. It won the Bronze Palm Award at the Mexico International Film Festival. Frank completed Raise My Hands in 2010, which screened at 15 international film festivals. He completed his first dramatic feature in 2012, Derelict, which had its premiere at the Underground Cinema Film Festival in Dublin, where it received an honorary mention. Since then Frank worked on the BBC documentary Michael Woods’ The Great British Story, and completed a short film, Joe & Sarah for Ablevision Ireland. Now living in California in the United States, Frank works at Apple and writes episodes of The Tom and Jerry Show for Warner Bros. He is also in pre-production for his next feature film, I Am Ireland.

Welcome to the series, Frank. To begin, can you recall when your love of writing and film first manifested?

When I was a kid, I got into films at a young age and would re-write the films I liked, then I’d write my own sequels. I remember when all my friends started to get into video games – this was when computers still had wood panelling – I borrowed my cousin’s Commodore 64, and I’d use it to write, even though I couldn’t save anything, I just loved seeing the words appear on the screen.

Did anyone famous or otherwise, inspire you to write?

There was a drama society in school, which I was not actually part of. But the teacher of it came into our class and asked us to stage a play. So I wrote and directed it, and afterwards he pulled me aside and said he really liked it. It was the first time I’d had that kind of affirmation and it propelled me forward. But I was writing before that. It must have been Back to the Future. When I saw that film, aged 9, I knew then I wanted to make films. I had no idea how films were made, but I wanted to do whatever it was. For me, the Back to the Future script is still a perfect screenplay. Economy in story, brilliantly structured, highly entertaining but with depth and character. So I suppose Bob Gale and Bob Zemeckis were a huge inspiration on me.

Do you write on a daily basis?

Yes. I work full-time and have two small kids, so I don’t write as much as I used to. When I was younger I would write about 4 hours a day, actually sitting at a computer and writing. Then I’d have a notebook that I always wrote in, park myself in a cafe somewhere and write several pages of ideas and thoughts. These days I don’t have that luxury. But I try to write at least one page. If I sit down with the idea of writing just one page I find I’ll usually write a lot more. I’m much better at using what little time I have.

How long does it take you to complete a script?

Six months to a year.

And your preferred genre?

My films are generally straight drama. For me it’s the human interaction over the situation. I like to get characters in a room and get them talking. I find that very compelling. And I like the play of language. It’s a challenge to write natural sounding dialogue that also has to be plot driven. You don’t want to feel like the writer or director is steering the car, you want to feel like the brakes are off and the characters are hurtling down the hill – and if they survived it to the end it was pure luck!

You produce your work as well?

I’ve produced all my own films. I worked on the first script for a long time until I felt it was ready. Then gathered a cast and crew, raised as much money as I could and went into production. I’ve always found it difficult to get any outside support, but I’ve never let that stop me from writing or trying to get films made. My first short film, Emily’s Song, came out in 2006. It was my first experience watching my words come to life, seeing actors perform them and seeing something I imagined on my own, fill a room. There was no going back after that!

How do you raise the finance to fund your projects?

All of my films, seven in total, are self-funded and crowdfunded! I made a film called 140 which was entirely crowdfunded and crowdsourced. I’m working on a film at the moment called ‘I Am Ireland’ which is crowdsourced. I’ve always found that going down the traditional avenues to get funding just delayed and annoyed me. I could spend 6 months jumping through hoops only to get a 2 line standard rejection email at the end of it. I found if I just made my own films I could use all the time and energy much more usefully.

Do you have an agent? Do you think it necessary to have one?

I don’t. I’m not sure that it’s necessary at my stage, but at some stage, yes. A successful friend of mine once said that the industry is a swanky party, and when you’re unknown, it all depends on who you walk in the door with. I think agents can open doors.

So how do you manage the marketing and PR?

I do it all myself. I design my own posters, write loglines, send out press releases to media, set up social media campaigns. I don’t exactly enjoy it, but it’s necessary if you want people to see your work.

Social media is important to the process then?

As an independent filmmaker it’s essential. It’s how I build my audience and a community around my films. It helps spread word of mouth and it reaches people who I never would have been able to reach.

And the significance of film festivals and awards?

It’s important in the marketing and life of the work. I’ve found in the past that films of mine that have won awards or got into more festivals get more attention and have a longer life. Those that haven’t won awards tend to have shorter lives. If it gets the film seen I think it’s a good thing. Plus festivals are fun to go to, you meet a lot of like-minded people, which is nice having spent months, or years, alone in a room working on this thing.

What about reviews? How do you handle them?

I had a review once that said my film was “Too Irish”. I had nothing to say to that! I try to take negative reviews or comments on the chin. Sometimes I agree, I see the mistakes, can take it constructively. I remember I was in a pub once after a screening of my film Derelict. I’d spent two years making this film, spent a ton of my own money on it, and I was finally screening it in my hometown, Drogheda, in the Droichead Arts Centre. A proud moment. The screening went great, it looked good, sounded great, the place was packed. So this person I know, half cut, comes up to me and decides to tell me everything she thought was wrong with the film. Some of it was valid, some of it was stuff I was trying to do that she just didn’t like, but in the end I just made an excuse to walk away from her. I look forward to the day she spends two years and all of her money making a film so that I can witness perfection and learn from her example.

From a global perspective, what’s your opinion of independent film production these days?

It’s an exciting time for Independent film. There’s never been more opportunity to just make a film. But in saying that, it does feel harder to get a film out into the world then it did 10 years ago. The traditional ways of getting work out are all but gone, so independent filmmakers are inventing ways of getting their films seen and making money with distribution. It’s equal part exciting and terrifying! I think Indie film is in good shape. There are a lot of exiting films being made – you look at a hit like The Babadook, one of my favourite films this year, an independent film, with the financing partly raised on Kickstarter. Another Kickstarter film, Blue Ruin, was a big indie hit last year. There are incredible filmmakers out there who are finally finding a way to get their films made and out into the world, whereas before they might have been denied the chance to tell their story because a reader in some funding body wasn’t into their script. I think we’re going to keep seeing amazing and original work because we’re find ways to not just cut through the red tape, but to by-pass it altogether.

Do you have any advice for aspiring writers, Frank?

Write. That’s all you have to do. And write everyday. It’s a muscle that gets stronger with exercise. Books and films don’t write themselves. Read a lot, watch a lot, observe a lot, sit in cafes and think a lot, drink a lot of coffee, live a lot! That’s important. Don’t think you can just be a writer, that’s rare, so much of your inspiration for stories and characters will come from everyday life, and working that shitty job you need to pay the rent will give you more ideas than you can imagine, so don’t be afraid to join the real world once in a while.

Is there a film script by another screenwriter that you wish you had written?

Haha! Many! I wish I could write something like Some Like It Hot, it’s just perfection. If  I could get anywhere near anything Billy Wilder and Izzy Diamond wrote, I’d be doing alright!

Write what you know? Agree or Disagree?

I agree. But I think that piece of advice can be misinterpreted. You might know Vampires more than anyone else, so write Vampires. Write what you’re inspired to write, and you will come to know it.

Name six people, living or not, that you would like to share your favourite beverage with?!

Billy Wilder, Martin Scorsese, Steven Spielberg, Guillermo Del Toro, Hayao Miyazaki and Stephen Fry.

And finally, can you tell us more about the projects you are working on right now?

I’m working on two things at the moment, a crowdsource documentary called ‘I Am Ireland’ about Irish Immigrants around the world, their experience and their relationship with Ireland. And 10 Days in December, which is a feature script about two people from different worlds who fall in love during Christmas in Ireland. It’s a true story and close to my heart. I hope to shoot a proof-of-concept at the end of this year and raise enough funding next year to put that feature into production.

You can follow Frank’s progress via his Blog and Facebook page:

Website: www.frankkelly.blogspot.com

Facebook: facebook.com/FrankKellyFilmmaker

 

 

 

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Irish Women in Film: Eleanor McSherry

Eleanor McSherry is currently the mid-west correspondent for Film Ireland Magazine online content and is a producer and scriptwriter with Sidhe Film and Theatre.  She also teaches a six-week short script course, script-doctor workshops, a play-writing course at the Limerick Writers Centre and gives guest lectures at Limerick Institute of Technology on Radio Advertising Scripts.

Eleanor has been shortlisted for the Galway Film Centre / RTE’s Short Script Award (in 2009 and in 2010) For Filmbase / RTE’s Short Script Award in 2010 and for the Waterford Film Festival’s Short Script Award 2012. She worked as co-producer on the short films Skew-whiff and Stamp, with Sidhe Film and was production assistant on the short film Captured with Fresh Film Festival’s Hothouse film. She did PR for Concy Ryan’s RTE’s 2011 Storyland entry, The Outlaw. 

Eleanor works on the committee for the PRO for LIT Film Festival 2012 and is the International Short Films co-ordinator for the Fresh Film Festival.  She also works at PR for Dóchas: Hope for People with Autism, the Mid West Special Needs Parents Association and co-ordinates the World Autism Day campaign in Limerick.

Great bio, Eleanor, and welcome to the series! Let’s begin by telling us how and why you got started in the film business.

As a child I used to watch all the 1950’s musicals and films on RTE on a Saturday and Sunday afternoon.  I love film and wanted to write my own.  At night, I used to tell my sister, when we were very young, the plots of sequels of my favourite films.

At this stage my script-writing is not full-time, as I am finishing my masters is philosophy.  I didn’t go straight into college after school.  I went out and worked.  I got married and had three kids.  So I didn’t start writing until later.  When I hit thirty I went back to college and got my degree.  The first short script I entered into a competition for funding got me shortlisted with the Galway Film Centre.  I haven’t looked back since.

So, in terms of your script-writing skills, are you self-taught?

I have a couple of script courses under my belt and I have a 2nd class honours in Media and Communications and Philosophy.  It didn’t incentivise me to write…I think no matter what qualifications you have, if you haven’t got talent, how it looks won’t make a jot of difference.

What and/or whom have been your seminal influences?

My seminal influences have been Martin Scorsese, Richard Harris, Ken Loach and Maureen O’Hara.  All are independent thinkers and go-getters who are not afraid to make the films that they want.  They also all have made me feel something when I either watch their films or see them act.  This is talent pure and simple.

Living or dead, name six people you would love to have as guests around your fantasy dinner table.

All of the above four people, Steven Spielberg and Michel Foucault (Philosopher).

 What is your opinion of the current Irish film scene?

I think it is very vibrant and full of talent.  It is still very much who you know, not what you know and that is a great pity.  Funding is hard to come by and even then when you get it, there are too much strings attached. This is why a lot of our talent is leaving and going elsewhere.

And the highlight of your career so far?

My highlight so far is getting my first script shortlisted, ‘twas cool.  I’m not finished yet and there will be plenty more to come!

So have you decided what your ultimate goal is yet?

Just to make films that evoke emotion in my audience.  I love when you come out of a good film or watch one on TV and you feel fantastic or sad or disturbed or like you can take on the world.  I want to do that!  I want people to come out of my films and be moved.

Any advice to offer newbies coming into the business?

Don’t worry about money, just make films.  Then hopefully if you’re any good the money will come later!  Be realistic about what you can do.  No one gets that Hollywood blockbuster first go. And remember when writing a short film, that shorts win Oscars!