The director Ger Leonard has blogged about his alienation from his first feature film Five Day Shelter here.
This is how he describes it: The immune system was removed, and I could not save our film. Our film only exists in the hearts and minds of those of us that believed and kept faith, and it exists too in an abridged form on my hard drive but that can never be seen in public. Those that have seen and heard this film and the "official" one cannot fail to recognise the chasm of care and consideration that divides the two.
DoP Tim Fleming refers to it briefly here.
Rumours concerning the film have been circulating for more than a year and it seems now that there are some hard questions that need answers, not least of which is - how could this happen?
The "official" version of the film is being screened at the Cork Film Festival tomorrow, November 11.
Showing posts with label Irish film. Show all posts
Showing posts with label Irish film. Show all posts
Wednesday, November 10, 2010
Friday, April 23, 2010
Flags of convenience - Updated 20 May 2010
UPDATE - 20 May 2010
I debated this issue with Simon Perry, CEO of the Irish Film Board on the Pat Kenny show on RTE Radio One this morning. It should be avaiable on the RTE Radio One website. The item ran for about twelve minutes from 10.32am (the programme starts after the news at 10am). Link available here (this may change after today).
Simon put a sterling case for All Good Children, saying that it was written and directed by a member of the Irish diaspora. He also stated that the Irish story elements were a creative choice, in departing from the original material, and that it had nothing to do with IFB money going into the film.
This was in response to my saying that people probably think that Irish public money goes into a film because it's Irish to begin with, not that the money goes into a film to make it Irish.
Simon said the film's budget was in the region of €2m. This includes the IFB's €600,000, and the Section 481 that went towards partial post production (mostly sound, I believe) in Ireland.
So, say the Irish contribution is 40% or €800,000 from the public purse. It's fair to ask how much return (spend) did we get for our Eurobucks? What was the gearing?
As far as I can establish, the French regional fund contributed €200,000 and the Belgian fund contributed €115,000. The Belgians estimate a return (spend) of €3 for each €1 they put in. The French regional fund estimates €1.50 spend for each €1 they put in.
Eurimages contributed €300,000 (and notes for the regulations, by the way, that the director is a UK national. The UK is not a party to the Eurimages co-production fund.)
The balance of finance probably comes from broadcasters (Canal+ and FilmFour); possibly investment finance via BackUp Films in France; and there may be some distributor advances from France, Belgium and Ireland.
Finally, the UK Film Council may have rolled over their development funding (they paid for development) as a production contribution since they're certainly claiming to have backed the film. Although when I last looked it's not in their database.
In its 2009 annual report the CNC (France's national agency) gives a budget of €2.3m for the film, broken down as Ireland 43%; Belgium 32%; and France 24% (and yes, that does add up to 99%). That would push the Irish contribution up to €989,000, with €736,000 from Belgium, and €552,000 from France where Canal+ have the first 'window'. These amounts would include the Eurimages contribution, possibly credited pari-passus with each country's percentage involvement.
It is fair to ask if ever an Irish film, developed in Ireland with an Irish story, and shot in Ireland with and by Irish talent, would ever receive as generous support from public funds in France or Belgium? Remember, they only stumped up €315,000 for a film made in their own back-yard.
Given Simon's admonition towards the end of the item (to be very careful when discussing these issues) it's just as well we didn't touch on the Irish budget contribution to some other films filmed outside Ireland, the ones with no Irish story elements and directors lacking Irish forbears.
Reciprocity (and generosity) in co-production is meant to be a win-win situation for all of the countries involved. The reality may well be that the net increase in production or post-production activity is negligible for most of them since what each country gains on one film (casting, employment, post-production etc.) they will have to concede on others.
Countries that insist on gearing their investment to local spend (however 'territorialised' or chauvinistic this may seem) are far more likely to gain from the co-production process.
Original post follows...
This is may be a bit contentious, and/or pedantic depending on your point of view.
A ship is said to be flying a flag of convenience if it is registered in a foreign country "for purposes of reducing operating costs or avoiding government regulations" (Wikipedia). The reasons for choosing a flag of convenience are varied and include protection from taxes, the avoidance of national regulations, labour wage scales or political boycotts.
Let's try to transpose this to the film business -
A film is said to be flying flags of convenience if it is registered in several foreign countries for the purposes of increasing financing or attracting government supports. The reasons for choosing a flag of convenience are varied and include the availability of tax breaks, national and transnational subsidies, cheaper labour and production costs, and the creation of political capital.
This is prompted by a statement by Minister Hanafin -
"Having an Irish feature film selected for yet another prestigious event, is evidence of the consistent high quality output of the Irish film industry. The industry makes an important contribution to the Irish economy with Irish cast and crew employed in the making of the film as well as the Irish production team."
She is responding to the news that All Good Children
has been selected for the Directors' Fortnight section of the Cannes Film Festival. The festival is calling it an Irish/Belgian/French production but many in the UK are calling it a British film, including some trade press. They do so because the director, Alicia Duffy, is a British film maker and because the lead producer on project was Jonathan Cavendish, based in London at Caveman Films.
All Good Children is adapted by Duffy from the British novel 'The Republic of Trees' with some British story elements changed to allow for Irish casting. The film was shot entirely on location in France.
I was told last year, when trying to untangle the project's history, that it was originally developed by Little Bird under their 'super slate' deal with the UK Film Council. The UK arm of the company received approximately £1.6million from the UK Film Council under that development slate scheme. [edit: the figure of £1.6m may include monies other than those included in the super-slate scheme which ran for three years, 2005, 2006 and 2007.]
The Irish Film Board made its first (provisional) production loan commitment to the project when it was submitted by Little Bird in August, 2008. It subsequently offered €600,000 in production funding to the project, submitted by Element Pictures, on 18 December 2008.
Little Bird's winding up was announced in late December, 2008. Jonathan Cavendish of Caveman films was a former joint principal of Little Bird, based in the UK, who, according to himself, had had little or no involvement with Little Bird for a few years prior to its being wound up.
So Ireland has paid good money to put its stamp on All Good Children, and we may consider it 'one of our own' for that reason. But it wasn't developed here. It wasn't written here. It wasn't filmed here. And the source material has nothing to do with Ireland. It is hardly, as the Minister says, "an Irish feature film" or the output of "the Irish film industry". And yet we paid for it?
Go figure.
I debated this issue with Simon Perry, CEO of the Irish Film Board on the Pat Kenny show on RTE Radio One this morning. It should be avaiable on the RTE Radio One website. The item ran for about twelve minutes from 10.32am (the programme starts after the news at 10am). Link available here (this may change after today).
Simon put a sterling case for All Good Children, saying that it was written and directed by a member of the Irish diaspora. He also stated that the Irish story elements were a creative choice, in departing from the original material, and that it had nothing to do with IFB money going into the film.
This was in response to my saying that people probably think that Irish public money goes into a film because it's Irish to begin with, not that the money goes into a film to make it Irish.
Simon said the film's budget was in the region of €2m. This includes the IFB's €600,000, and the Section 481 that went towards partial post production (mostly sound, I believe) in Ireland.
So, say the Irish contribution is 40% or €800,000 from the public purse. It's fair to ask how much return (spend) did we get for our Eurobucks? What was the gearing?
As far as I can establish, the French regional fund contributed €200,000 and the Belgian fund contributed €115,000. The Belgians estimate a return (spend) of €3 for each €1 they put in. The French regional fund estimates €1.50 spend for each €1 they put in.
Eurimages contributed €300,000 (and notes for the regulations, by the way, that the director is a UK national. The UK is not a party to the Eurimages co-production fund.)
The balance of finance probably comes from broadcasters (Canal+ and FilmFour); possibly investment finance via BackUp Films in France; and there may be some distributor advances from France, Belgium and Ireland.
Finally, the UK Film Council may have rolled over their development funding (they paid for development) as a production contribution since they're certainly claiming to have backed the film. Although when I last looked it's not in their database.
In its 2009 annual report the CNC (France's national agency) gives a budget of €2.3m for the film, broken down as Ireland 43%; Belgium 32%; and France 24% (and yes, that does add up to 99%). That would push the Irish contribution up to €989,000, with €736,000 from Belgium, and €552,000 from France where Canal+ have the first 'window'. These amounts would include the Eurimages contribution, possibly credited pari-passus with each country's percentage involvement.
It is fair to ask if ever an Irish film, developed in Ireland with an Irish story, and shot in Ireland with and by Irish talent, would ever receive as generous support from public funds in France or Belgium? Remember, they only stumped up €315,000 for a film made in their own back-yard.
Given Simon's admonition towards the end of the item (to be very careful when discussing these issues) it's just as well we didn't touch on the Irish budget contribution to some other films filmed outside Ireland, the ones with no Irish story elements and directors lacking Irish forbears.
Reciprocity (and generosity) in co-production is meant to be a win-win situation for all of the countries involved. The reality may well be that the net increase in production or post-production activity is negligible for most of them since what each country gains on one film (casting, employment, post-production etc.) they will have to concede on others.
Countries that insist on gearing their investment to local spend (however 'territorialised' or chauvinistic this may seem) are far more likely to gain from the co-production process.
Original post follows...
This is may be a bit contentious, and/or pedantic depending on your point of view.
A ship is said to be flying a flag of convenience if it is registered in a foreign country "for purposes of reducing operating costs or avoiding government regulations" (Wikipedia). The reasons for choosing a flag of convenience are varied and include protection from taxes, the avoidance of national regulations, labour wage scales or political boycotts.
Let's try to transpose this to the film business -
A film is said to be flying flags of convenience if it is registered in several foreign countries for the purposes of increasing financing or attracting government supports. The reasons for choosing a flag of convenience are varied and include the availability of tax breaks, national and transnational subsidies, cheaper labour and production costs, and the creation of political capital.
This is prompted by a statement by Minister Hanafin -
"Having an Irish feature film selected for yet another prestigious event, is evidence of the consistent high quality output of the Irish film industry. The industry makes an important contribution to the Irish economy with Irish cast and crew employed in the making of the film as well as the Irish production team."
She is responding to the news that All Good Children
has been selected for the Directors' Fortnight section of the Cannes Film Festival. The festival is calling it an Irish/Belgian/French production but many in the UK are calling it a British film, including some trade press. They do so because the director, Alicia Duffy, is a British film maker and because the lead producer on project was Jonathan Cavendish, based in London at Caveman Films.
All Good Children is adapted by Duffy from the British novel 'The Republic of Trees' with some British story elements changed to allow for Irish casting. The film was shot entirely on location in France.
I was told last year, when trying to untangle the project's history, that it was originally developed by Little Bird under their 'super slate' deal with the UK Film Council. The UK arm of the company received approximately £1.6million from the UK Film Council under that development slate scheme. [edit: the figure of £1.6m may include monies other than those included in the super-slate scheme which ran for three years, 2005, 2006 and 2007.]
The Irish Film Board made its first (provisional) production loan commitment to the project when it was submitted by Little Bird in August, 2008. It subsequently offered €600,000 in production funding to the project, submitted by Element Pictures, on 18 December 2008.
Little Bird's winding up was announced in late December, 2008. Jonathan Cavendish of Caveman films was a former joint principal of Little Bird, based in the UK, who, according to himself, had had little or no involvement with Little Bird for a few years prior to its being wound up.
So Ireland has paid good money to put its stamp on All Good Children, and we may consider it 'one of our own' for that reason. But it wasn't developed here. It wasn't written here. It wasn't filmed here. And the source material has nothing to do with Ireland. It is hardly, as the Minister says, "an Irish feature film" or the output of "the Irish film industry". And yet we paid for it?
Go figure.
Friday, April 16, 2010
Tescovision II - the sequel
Following up on my post (below) about Tesco's Irish DVD promotion Tesco have got back to me as follows -
The current range of Irish films on DVD at Tesco were part of an Irish promotion for St Patrick’s Day and runs nationwide. This promotion started on St Patrick’s Week and is still running in stores due to its popularity. There are 37 Irish films in this range, with over 12,000 units sold in the four weeks since St Patrick’s Day. The top five most popular Irish films in the promotion have been:
The Snapper
The Van
Hunger
Omagh
The Quiet Man
Throughout the year we maintain a strong presence of Irish films in our back catalogue DVD section, along with promoting any new Irish DVD releases in our chart.
12,000+ units is pretty good going in a four week period. I've sent in a supplementary enquiring how they are sourcing the films but that may be deemed a commercially sensitive issue.
[update: Tesco tell me the films are sourced through BeaumeX in Walkinstown in Dublin. "We work with an Irish Distribution Company, Beaumex, to source our DVD titles for promotions of this nature – they would work directly with the studios for nominations for the promotion and we would have final choice."]
A number of other questions do come to mind. Are the films' producers seeing any return (however modest) from this, or are distributors finally seeing some payback on rights they may have paid for many years ago? But do they still legitimately hold those rights, in Ireland?
And what of those cases where the production company has been wound up? There are a few Littlebird* titles in there, for instance, who now owns the rights to those titles?
I can update the list of titles with the following (from another perusal of the shelves) -
In Bruges (Universal) €5
Hunger (Pathé) [again, but for €3.50]
Fifty Dead Men Walking €7
Once [unpriced]
Nothing Personal €5
*I will at some stage write about my attempts last year to come by the facts of the demise of Littlebird.
The current range of Irish films on DVD at Tesco were part of an Irish promotion for St Patrick’s Day and runs nationwide. This promotion started on St Patrick’s Week and is still running in stores due to its popularity. There are 37 Irish films in this range, with over 12,000 units sold in the four weeks since St Patrick’s Day. The top five most popular Irish films in the promotion have been:
The Snapper
The Van
Hunger
Omagh
The Quiet Man
Throughout the year we maintain a strong presence of Irish films in our back catalogue DVD section, along with promoting any new Irish DVD releases in our chart.
12,000+ units is pretty good going in a four week period. I've sent in a supplementary enquiring how they are sourcing the films but that may be deemed a commercially sensitive issue.
[update: Tesco tell me the films are sourced through BeaumeX in Walkinstown in Dublin. "We work with an Irish Distribution Company, Beaumex, to source our DVD titles for promotions of this nature – they would work directly with the studios for nominations for the promotion and we would have final choice."]
A number of other questions do come to mind. Are the films' producers seeing any return (however modest) from this, or are distributors finally seeing some payback on rights they may have paid for many years ago? But do they still legitimately hold those rights, in Ireland?
And what of those cases where the production company has been wound up? There are a few Littlebird* titles in there, for instance, who now owns the rights to those titles?
I can update the list of titles with the following (from another perusal of the shelves) -
In Bruges (Universal) €5
Hunger (Pathé) [again, but for €3.50]
Fifty Dead Men Walking €7
Once [unpriced]
Nothing Personal €5
*I will at some stage write about my attempts last year to come by the facts of the demise of Littlebird.
Monday, January 18, 2010
Eurimages - Irish round up
Mention of La Mula in my Jan 14 post caused me to reflect on Irish film making and Eurimages, the Council of Europe's co-production fund.
La Mula began as a project developed in the UK with the support of the UK Film Council (£104,673) by British director Michael Radford. But the UK is not a member of Eurimages and under the terms of the scheme a UK angle is of no use to a co-production applying to the fund. The rules lay down that "all projects submitted must have at least two co-producers from different member states of the Fund."
Because of this the presumption has always been that Ireland's membership of Eurimages brings European co-producers to Ireland when they are looking for an English language co-production partner.
As we can see with La Mula that was not the case at the time. The Irish involvement only came after the Eurimages decision was made. There were Spanish and German co-producers attached to the project when it was approved, as well as Radford's own company in the UK.
The other projects with an Irish interest funded by Eurimages in 2008 were:
Circus Fantasticus
By Janez Burger (Slovenia)
Feature Film
Awarded: €300,000
Co-producers:
STARA GARA / PROPELER FILM d.o.o. / CINE WORKS (SI)
KELCOM Ltd / FASTNET FILMS (IE)
Neka Drige Price
By Hanna A Slak (Slovenia), Marija Dzidzeva ("The former Yugoslav Republic of Macedonia"), Ana Rossi (Serbia), Ivona Juka (Croatia), Ines Tanovic (Bosnia and Herzegovina)
Feature Film
Awarded: €190,000
Co-producers: SEE FILM PRO (RS); STUDIO MAJ PRODUCTION d.o.o. (SI); 4 FILM (HR); DOKUMENT (BA); SKOPJE FILM STUDIO (MK); DIG PRODUCTIONS Ltd (IE)
Triage
By Danis Tanovic (Belgium, Bosnia and Herzegovina)
Feature Film
Awarded: €650,000
Co-producers:
STRADBROOK PRODUCTIONS Ltd/PARALLEL FILMS (IE)
ASAP FILMS Sarl (FR)
FREEFORM SPAIN (ES)
In 2009 the following projects with an Irish angle were funded:
As if I am not there
By Juanita Wilson (Ireland)
Feature Film
Awarded: €220,000
Co-producers:
WIDE EYE FILMS Ltd (IE)
STELLA NOVA FILM (SE)
SEKTOR FILM DOOEL (MK)
The Essence of Killing
By Jerzy Skolimowski (Poland)
Feature film
Awarded: €400,000
Co-producers:
SKOPIA FILM (PL)
CYLINDER PRODUCTIONS AS (NO)
ILIADE ET FILMS (FR)
ELEMENT PICTURES LIMITED (IE)
The Last Furlong
By Agnès Merlet (France)
Feature Film
Awarded: €600,000
Co-producers:
FIDELITE FILMS S.A (FR)
OCTAGON FILMS LIMITED (IE)
All Good Children
By Alicia Duffy (United Kingdom)
Feature Film
Awarded: €300,000
Co-producers:
ELEMENT PICTURES LIMITED (IE)
CINEMA DEFACTO (FR)
ARTEMIS PRODUCTIONS SA (BE)
Thor - The Edda Chronicles
By Gunnar Karlsson (Iceland), Toby Genkel (Germany)
Feature Film - Animation
Awarded: €480,000
Co-producers:
CAOZ STUDIO Ltd (IS)
ULYSSES GMBH FILM – UND FERNSEHPRODUKTION (DE)
MAGMA PRODUCTIONS (IE)
All Good Children is an adaptation of the novel The Republic of Trees and was initially developed by (the now defunct) Little Bird. The IFB made a provisional offer of funding to Little Bird for the project in August 2008. Subsequently the project was with Jonathan Cavendish at Caveman Films in London. The film was shot in France in August and September of last year.
All Good Children, Circus Fantasticus and La Mula were all offered production funding by the Irish Film Board on 18 December 2008. The amounts offered were €600,000, €250,000 and €500,000 respectively. As far as I am aware none of these projects has had a significant Irish budget spend. That said, story changes resulted in significant Irish casting in All Good Children.
This preliminary look at Eurimages decisions over the last two years suggests that the basic idea that our Eurimages membership contributes to an inflow of production (and production spend) into Ireland is in fact a good deal more complex.
All Good Children and La Mula between them have an outflow of up to €1.1m in IFB funding, whereas Triage (partly Irish location, casting, and post-production) would have brought an inflow of budget spend (presumably) greater than the IFB's €750,000 contribution to its budget.
Another question arises in respect of the benefit of Eurimages to Irish talent. Only one Irish director, Juanita Wilson, has been supported by Eurimages over the last two years and the majority of projects have not been developed or written in Ireland.
One could deduce from this that Eurimages offers little support to Irish talent and indigenous production, for all that it may contibute positively to production levels in Ireland. However, on the principle that money follows money, might a corollary of this be that the Eurimages scheme has the effect of drawing Irish funding away from Irish directing and writing talent?
La Mula began as a project developed in the UK with the support of the UK Film Council (£104,673) by British director Michael Radford. But the UK is not a member of Eurimages and under the terms of the scheme a UK angle is of no use to a co-production applying to the fund. The rules lay down that "all projects submitted must have at least two co-producers from different member states of the Fund."
Because of this the presumption has always been that Ireland's membership of Eurimages brings European co-producers to Ireland when they are looking for an English language co-production partner.
As we can see with La Mula that was not the case at the time. The Irish involvement only came after the Eurimages decision was made. There were Spanish and German co-producers attached to the project when it was approved, as well as Radford's own company in the UK.
The other projects with an Irish interest funded by Eurimages in 2008 were:
Circus Fantasticus
By Janez Burger (Slovenia)
Feature Film
Awarded: €300,000
Co-producers:
STARA GARA / PROPELER FILM d.o.o. / CINE WORKS (SI)
KELCOM Ltd / FASTNET FILMS (IE)
Neka Drige Price
By Hanna A Slak (Slovenia), Marija Dzidzeva ("The former Yugoslav Republic of Macedonia"), Ana Rossi (Serbia), Ivona Juka (Croatia), Ines Tanovic (Bosnia and Herzegovina)
Feature Film
Awarded: €190,000
Co-producers: SEE FILM PRO (RS); STUDIO MAJ PRODUCTION d.o.o. (SI); 4 FILM (HR); DOKUMENT (BA); SKOPJE FILM STUDIO (MK); DIG PRODUCTIONS Ltd (IE)
Triage
By Danis Tanovic (Belgium, Bosnia and Herzegovina)
Feature Film
Awarded: €650,000
Co-producers:
STRADBROOK PRODUCTIONS Ltd/PARALLEL FILMS (IE)
ASAP FILMS Sarl (FR)
FREEFORM SPAIN (ES)
In 2009 the following projects with an Irish angle were funded:
As if I am not there
By Juanita Wilson (Ireland)
Feature Film
Awarded: €220,000
Co-producers:
WIDE EYE FILMS Ltd (IE)
STELLA NOVA FILM (SE)
SEKTOR FILM DOOEL (MK)
The Essence of Killing
By Jerzy Skolimowski (Poland)
Feature film
Awarded: €400,000
Co-producers:
SKOPIA FILM (PL)
CYLINDER PRODUCTIONS AS (NO)
ILIADE ET FILMS (FR)
ELEMENT PICTURES LIMITED (IE)
The Last Furlong
By Agnès Merlet (France)
Feature Film
Awarded: €600,000
Co-producers:
FIDELITE FILMS S.A (FR)
OCTAGON FILMS LIMITED (IE)
All Good Children
By Alicia Duffy (United Kingdom)
Feature Film
Awarded: €300,000
Co-producers:
ELEMENT PICTURES LIMITED (IE)
CINEMA DEFACTO (FR)
ARTEMIS PRODUCTIONS SA (BE)
Thor - The Edda Chronicles
By Gunnar Karlsson (Iceland), Toby Genkel (Germany)
Feature Film - Animation
Awarded: €480,000
Co-producers:
CAOZ STUDIO Ltd (IS)
ULYSSES GMBH FILM – UND FERNSEHPRODUKTION (DE)
MAGMA PRODUCTIONS (IE)
All Good Children is an adaptation of the novel The Republic of Trees and was initially developed by (the now defunct) Little Bird. The IFB made a provisional offer of funding to Little Bird for the project in August 2008. Subsequently the project was with Jonathan Cavendish at Caveman Films in London. The film was shot in France in August and September of last year.
All Good Children, Circus Fantasticus and La Mula were all offered production funding by the Irish Film Board on 18 December 2008. The amounts offered were €600,000, €250,000 and €500,000 respectively. As far as I am aware none of these projects has had a significant Irish budget spend. That said, story changes resulted in significant Irish casting in All Good Children.
This preliminary look at Eurimages decisions over the last two years suggests that the basic idea that our Eurimages membership contributes to an inflow of production (and production spend) into Ireland is in fact a good deal more complex.
All Good Children and La Mula between them have an outflow of up to €1.1m in IFB funding, whereas Triage (partly Irish location, casting, and post-production) would have brought an inflow of budget spend (presumably) greater than the IFB's €750,000 contribution to its budget.
Another question arises in respect of the benefit of Eurimages to Irish talent. Only one Irish director, Juanita Wilson, has been supported by Eurimages over the last two years and the majority of projects have not been developed or written in Ireland.
One could deduce from this that Eurimages offers little support to Irish talent and indigenous production, for all that it may contibute positively to production levels in Ireland. However, on the principle that money follows money, might a corollary of this be that the Eurimages scheme has the effect of drawing Irish funding away from Irish directing and writing talent?
Friday, February 6, 2009
Ondine, Eclipse lead IFTA award nominees
With eight nominations apiece, Neil Jordan's Ondine and Conor McPherson's The Eclipse lead the film categories in the seventh annual Irish Film & Television Academy (IFTA) awards. Ironically neither film has been released theatrically in Ireland, although a Spring release has been scheduled for Ondine.
It so happens that many unreleased films figure strongly in the nominations this year, although some have received festival screenings over the last twelve months or more. The five shortlisted Best Feature Film nominees are Margaret Corkery’s drama Eamon; McPherson’s The Eclipse; Jordan’s Ondine; Tomm Moore’s animated feature The Secret of Kells and John & Kieran Carney’s comedy Zonad.
Of the five titles only The Secret of Kells has been theatrically released in Ireland. Jordan, McPherson and the Carney brothers have also been nominated in the directing category, as has Jim Sheridan for Brothers, another unreleased title. [update: Eamon is being released exclusively at the IFI on Feb 5th]
In another anomaly The Eclipse (RTE) is nominated in the film categories whereas Five Minutes of Heaven (BBC) is restricted to the TV categories, although the latter film was given a cinema release. There is no mention in the lists of many other, possibly eligible titles like Triage, Occi Against the World, or The Race. They either were submitted and did not make the nominations or they were not submitted and may turn up at the 2011 awards.
In the film acting categories, Darren Healy is nominated as Actor in a Lead Role for Savage (also unreleased), alongside Colin Farrell (Ondine), Ciarán Hinds (The Eclipse) and Stephen Rea (Nothing Personal). The latter film is a Netherlands-originated production, not to be confused with the earlier Irish production with the same title.
Michael Fassbender is nominated in the Supporting Actor category for his role in Andrea Arnold's Fish Tank, with Simon Delaney (Happy Ever Afters), Michael Gambon (Harry Potter and Half Blood Prince) and Aidan Quinn (The Eclipse).
Nominations for the Lead Actress award go to Saoirse Ronan (The Lovely Bones), Amy Kirwan (Eamon), Jade Yourell (Happy Ever Afters) and Janice Byrne (Zonad). In the Supporting Actress category, previous IFTA winners Anne Marie Duff (Nowhere Boy) and Ger Ryan (Happy Ever Afters) feature alongside Nora Jane Noone (Savage) and Dervla Kirwan (Ondine).
The Bass Player: A Song for Dad, Colony, His & Hers, and The Yellow Bittern – The Legend of Liam Clancy are all shortlisted for the George Morrison Feature Documentary Award.
The awards ceremony will take place on Saturday 20th February at the Burlington Hotel, Dublin and will be broadcast live by RTÉ.
IFTA received almost 250 titles submitted for consideration across the 37 film and television award categories. IFTA says that all of the categories have been shortlisted by IFTA members and jury panels of industry experts from around the world.
Film Nominations for the 7th Annual Irish Film & Television Awards
Best Film
Eamon - Seamus Byrne (Zanita Films)
The Eclipse - Robert Walpole, Rebecca O'Flanagan (Treasure Entertainment)
Ondine - Neil Jordan, James Flynn (Octagon Films)
The Secret of Kells - Paul Young (Cartoon Saloon)
Zonad - Ed Guiney, Andrew Lowe, John McDonnell (Element Pictures)
Director
John Carney, Kieran Carney - Zonad (Element Pictures)
Neil Jordan - Ondine (Octagon Films)
Conor McPherson - The Eclipse (Treasure Entertainment)
Jim Sheridan - Brothers (Lionsgate)
Script
John Carney, Kieran Carney - Zonad (Element Pictures)
Margaret Corkery - Eamon (Zanita Films)
Neil Jordan - Ondine (Octagon Films)
Billy Roche, Conor McPherson - The Eclipse (Treasure Entertainment)
Actor in a Lead Role
Colin Farrell - Ondine (Octagon Films)
Darren Healy – Savage (SP Films)
Ciarán Hinds - The Eclipse (Treasure Entertainment)
Stephen Rea - Nothing Personal (Fastnet Films)
Actress in a Lead Role
Janice Byrne - Zonad (Element Pictures)
Amy Kirwan - Eamon (Zanita Films)
Saoirse Ronan - The Lovely Bones (Paramount)
Jade Yourell - Happy Ever Afters (Newgrange Pictures)
Actor in a Supporting Role
Simon Delaney - Happy Ever Afters (Newgrange Pictures)
Michael Fassbender - Fish Tank (Artificial Eye)
Michael Gambon - Harry Potter and Half Blood Prince (Warner Bros)
Aidan Quinn - The Eclipse (Treasure Entertainment)
Actress in a Supporting Role
Anne Marie Duff - Nowhere Boy
Dervla Kirwan - Ondine (Octagon Films)
Nora Jane Noone - Savage (SP Films)
Ger Ryan - Happy Ever Afters (Newgrange Pictures)
Feature Documentary
The Bass Player: A Song for Dad – Niall McKay (Media Factory)
Colony – Morgan Bushe, Macdara Kelleher (Fastnet Films)
His & Hers – Andrew Freedman (Venom Film)
The Yellow Bittern – The Life & Times of Liam Clancy – Alan Gilsenan (Crossing the Line Films)
Short Film
If I Should Fall Behind - Morgan Bushe (Fastnet Films)
Moore Street Masala - David O'Sullivan (Fish Films)
Runners - Rob Burke, Ronan Burke - (Black Sheep Productions)
Sunshower - Liam Gavin (Samson Films)
FILM & TV CRAFT / TECHNICAL CATEGORIES
Costume Design
Joan Bergin - The Tudors (World 2000 Entertainment)
Consolata Boyle – Chéri (Pathé)
Alison Byrne - Cracks (Optimum Releasing)
Eimear Ní Mhaoldomhnaigh – Ondine (Octagon Films)
Director of Photography
Tom Comerford - Savage (SP Films)
Suzie Lavelle - One Hundred Mornings (Blinder Films)
Ivan McCullough - The Eclipse (Treasure Entertainment)
Ruairí O'Brien - Five Minutes of Heaven (Big Fish Films)
Editing
Mairead McIvor - Savage (SP Films)
Emer Reynolds - The Eclipse (Treasure Entertainment)
Isobel Stephenson - Pure Mule - The Last Weekend (Accomplice Television)
Ken Wardrop - His & Hers (Venom Film)
Make Up & Hair
Five Minutes of Heaven - Pamela Smyth (Big Fish Films)
The Take - Lorraine Glynn, Morna Ferguson (Company Pictures)
The Tudors - Sharon Doyle, Dee Corcoran (World 2000 Entertainment)
Zonad - Eileen Buggy, Barbara Conway (Element Pictures)
Original Score
Brian Byrne - Zonad (Element Pictures)
Neil Hannon - Wide Open Spaces (Grand Pictures)
The Henry Girls - A Shine Of Rainbows (Sepia Films)
Stephen McKeon – Savage (SP Films)
Production Design
Tom Conroy - The Tudors (World 2000 Entertainment)
Susie Cullen - The Take (Company Pictures)
Ashleigh Jeffers - Occupation (Kudos Film and Television)
Anna Rackard - Ondine (Octagon Films)
Sound
The Eclipse - Ronan Hill, Jon Stevenson, John Fitzgerald (Treasure Entertainment)
Five Minutes of Heaven - Ronan Hill, Jon Stevenson, John Fitzgerald (Big Fish Films)
Ondine - Brendan Deasy, Tom Johnson, Sarah Gaines (Octagon Films)
Savage - Patrick Hanlon, John Fitzgerald, Fiadhnait McCann (SP Films)
It so happens that many unreleased films figure strongly in the nominations this year, although some have received festival screenings over the last twelve months or more. The five shortlisted Best Feature Film nominees are Margaret Corkery’s drama Eamon; McPherson’s The Eclipse; Jordan’s Ondine; Tomm Moore’s animated feature The Secret of Kells and John & Kieran Carney’s comedy Zonad.
Of the five titles only The Secret of Kells has been theatrically released in Ireland. Jordan, McPherson and the Carney brothers have also been nominated in the directing category, as has Jim Sheridan for Brothers, another unreleased title. [update: Eamon is being released exclusively at the IFI on Feb 5th]
In another anomaly The Eclipse (RTE) is nominated in the film categories whereas Five Minutes of Heaven (BBC) is restricted to the TV categories, although the latter film was given a cinema release. There is no mention in the lists of many other, possibly eligible titles like Triage, Occi Against the World, or The Race. They either were submitted and did not make the nominations or they were not submitted and may turn up at the 2011 awards.
In the film acting categories, Darren Healy is nominated as Actor in a Lead Role for Savage (also unreleased), alongside Colin Farrell (Ondine), Ciarán Hinds (The Eclipse) and Stephen Rea (Nothing Personal). The latter film is a Netherlands-originated production, not to be confused with the earlier Irish production with the same title.
Michael Fassbender is nominated in the Supporting Actor category for his role in Andrea Arnold's Fish Tank, with Simon Delaney (Happy Ever Afters), Michael Gambon (Harry Potter and Half Blood Prince) and Aidan Quinn (The Eclipse).
Nominations for the Lead Actress award go to Saoirse Ronan (The Lovely Bones), Amy Kirwan (Eamon), Jade Yourell (Happy Ever Afters) and Janice Byrne (Zonad). In the Supporting Actress category, previous IFTA winners Anne Marie Duff (Nowhere Boy) and Ger Ryan (Happy Ever Afters) feature alongside Nora Jane Noone (Savage) and Dervla Kirwan (Ondine).
The Bass Player: A Song for Dad, Colony, His & Hers, and The Yellow Bittern – The Legend of Liam Clancy are all shortlisted for the George Morrison Feature Documentary Award.
The awards ceremony will take place on Saturday 20th February at the Burlington Hotel, Dublin and will be broadcast live by RTÉ.
IFTA received almost 250 titles submitted for consideration across the 37 film and television award categories. IFTA says that all of the categories have been shortlisted by IFTA members and jury panels of industry experts from around the world.
Film Nominations for the 7th Annual Irish Film & Television Awards
Best Film
Eamon - Seamus Byrne (Zanita Films)
The Eclipse - Robert Walpole, Rebecca O'Flanagan (Treasure Entertainment)
Ondine - Neil Jordan, James Flynn (Octagon Films)
The Secret of Kells - Paul Young (Cartoon Saloon)
Zonad - Ed Guiney, Andrew Lowe, John McDonnell (Element Pictures)
Director
John Carney, Kieran Carney - Zonad (Element Pictures)
Neil Jordan - Ondine (Octagon Films)
Conor McPherson - The Eclipse (Treasure Entertainment)
Jim Sheridan - Brothers (Lionsgate)
Script
John Carney, Kieran Carney - Zonad (Element Pictures)
Margaret Corkery - Eamon (Zanita Films)
Neil Jordan - Ondine (Octagon Films)
Billy Roche, Conor McPherson - The Eclipse (Treasure Entertainment)
Actor in a Lead Role
Colin Farrell - Ondine (Octagon Films)
Darren Healy – Savage (SP Films)
Ciarán Hinds - The Eclipse (Treasure Entertainment)
Stephen Rea - Nothing Personal (Fastnet Films)
Actress in a Lead Role
Janice Byrne - Zonad (Element Pictures)
Amy Kirwan - Eamon (Zanita Films)
Saoirse Ronan - The Lovely Bones (Paramount)
Jade Yourell - Happy Ever Afters (Newgrange Pictures)
Actor in a Supporting Role
Simon Delaney - Happy Ever Afters (Newgrange Pictures)
Michael Fassbender - Fish Tank (Artificial Eye)
Michael Gambon - Harry Potter and Half Blood Prince (Warner Bros)
Aidan Quinn - The Eclipse (Treasure Entertainment)
Actress in a Supporting Role
Anne Marie Duff - Nowhere Boy
Dervla Kirwan - Ondine (Octagon Films)
Nora Jane Noone - Savage (SP Films)
Ger Ryan - Happy Ever Afters (Newgrange Pictures)
Feature Documentary
The Bass Player: A Song for Dad – Niall McKay (Media Factory)
Colony – Morgan Bushe, Macdara Kelleher (Fastnet Films)
His & Hers – Andrew Freedman (Venom Film)
The Yellow Bittern – The Life & Times of Liam Clancy – Alan Gilsenan (Crossing the Line Films)
Short Film
If I Should Fall Behind - Morgan Bushe (Fastnet Films)
Moore Street Masala - David O'Sullivan (Fish Films)
Runners - Rob Burke, Ronan Burke - (Black Sheep Productions)
Sunshower - Liam Gavin (Samson Films)
FILM & TV CRAFT / TECHNICAL CATEGORIES
Costume Design
Joan Bergin - The Tudors (World 2000 Entertainment)
Consolata Boyle – Chéri (Pathé)
Alison Byrne - Cracks (Optimum Releasing)
Eimear Ní Mhaoldomhnaigh – Ondine (Octagon Films)
Director of Photography
Tom Comerford - Savage (SP Films)
Suzie Lavelle - One Hundred Mornings (Blinder Films)
Ivan McCullough - The Eclipse (Treasure Entertainment)
Ruairí O'Brien - Five Minutes of Heaven (Big Fish Films)
Editing
Mairead McIvor - Savage (SP Films)
Emer Reynolds - The Eclipse (Treasure Entertainment)
Isobel Stephenson - Pure Mule - The Last Weekend (Accomplice Television)
Ken Wardrop - His & Hers (Venom Film)
Make Up & Hair
Five Minutes of Heaven - Pamela Smyth (Big Fish Films)
The Take - Lorraine Glynn, Morna Ferguson (Company Pictures)
The Tudors - Sharon Doyle, Dee Corcoran (World 2000 Entertainment)
Zonad - Eileen Buggy, Barbara Conway (Element Pictures)
Original Score
Brian Byrne - Zonad (Element Pictures)
Neil Hannon - Wide Open Spaces (Grand Pictures)
The Henry Girls - A Shine Of Rainbows (Sepia Films)
Stephen McKeon – Savage (SP Films)
Production Design
Tom Conroy - The Tudors (World 2000 Entertainment)
Susie Cullen - The Take (Company Pictures)
Ashleigh Jeffers - Occupation (Kudos Film and Television)
Anna Rackard - Ondine (Octagon Films)
Sound
The Eclipse - Ronan Hill, Jon Stevenson, John Fitzgerald (Treasure Entertainment)
Five Minutes of Heaven - Ronan Hill, Jon Stevenson, John Fitzgerald (Big Fish Films)
Ondine - Brendan Deasy, Tom Johnson, Sarah Gaines (Octagon Films)
Savage - Patrick Hanlon, John Fitzgerald, Fiadhnait McCann (SP Films)
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