AN INDUSTRY IN THE MAKING

UNLESS YOU’VE had your head buried in the sand for the past couple of years, you can hardly have failed to notice the fact that Ireland is currently awash with film makers and movie stars. In fact, such is the level of activity in this area, you could be forgiven for thinking that the country has become one big movie location! Production companies of varying sizes, both indigenous and international, making everything from small, low-budget films to large-scale multi-million pound blockbusters featuring Hollywood mega-stars, make up this veritable hive of film-making.

Depending on who you talk to – and there are a lot of people only too willing to give an opinion – there are anything between sixteen and twenty-four films currently in production or advanced pre-production in Ireland. Some of these, like Mel Gibson’s big budget epic, Braveheart and David Puttnam’s recently completed War Of The Buttons have hit the headlines and the gossip columns, occasionally for the wrong reasons. Others, like the TV mini-series of The Olde Curiosity Shop and Thaddeus O’Sullivan’s Channel-4 co-production All Our Fault, are being made quietly, with less fanfare or fuss. However, in real terms they are all significant in their contribution to what currently amounts to a very healthy film industry indeed. Other recently completed movie projects include Maeve Binchy’s Circle Of Friends (currently in post-production in London), Beryl Bainbridge’s An Awfully Big Adventure and A Man of No Importance, starring Albert Finney – and that’s not even the quarter of it.

This massive and sudden growth in filming activity hasn’t taken place by accident. The re-activation of the Irish Film Board and the tax incentives for investment in film, provided for under Section 35 of the Finance Act, have given a badly needed kickstart to the industry. Other developments such as the establishment of the independent production unit within RTE and the proposed setting up of Teilifís na Gaeilge should also benefit the wider audio-visual sector considerably in the long term.

The feeling now within the industry – and indeed in the country generally – seems to be that we have at last got something right. Government policy has actually worked for a change and predictions and expectations have finally been seen to produce tangible results. Needless to say, that had not always been the case.

There has, for a long time, been a strong belief within the artistic community that Ireland was ideally placed for the setting up of a permanently viable and sustainable film industry, which would not only provide employment and revenue but which would contribute significantly to the cultural identity of the nation. The success of the Australian film industry was regularly cited as a perfect example of how that objective can be realised. The support from business, and in particular from banks, however, had not often been forthcoming, so that the notion of an Irish film industry remained largely aspirational.

Or to put it another way, while this country had frequently been used as a location for the making of major films, going right back to the days of The Quiet Man, a well thought-out political or commercial strategy was never in place to help develop and foster an indigenous film industry. Whether films were made here or not, depended almost entirely on the whims of overseas production companies and international financiers. These welcome but erratic projects may have brought short-term benefits but there was little long term gain involved.

The establishment of the original Irish Film Board in the early 1980’s helped in a significant way, to lay the groundwork for the current success of Irish film makers. The board provided funds and advice to a new wave of emerging talent and in backing Neil Jordan, who went on to become an Oscar-winning director, it made an inspired decision which has since been fully vindicated.

However, in that incarnation, the film board was never granted sufficient funds to carry out its limited brief and it was abolished amid controversy by Charles Haughey in 1987.

The following years saw hopeful signs of an emerging trend in Irish-made films. Beginning with Jim Sheridan’s Oscar-winning My Left Foot, there followed a batch of commercially successful and critically acclaimed films with strong roots in Ireland – including The Field, The Commitments, Into The West, The Crying Game, In The Name Of The Father and many others. These successes had the effect of, once again focusing attention on Ireland as a source of inspiration for film ideas and stories and as a location for making movies. It also undoubtedly re-opened the debate on the potential of the Irish film industry.

Debate is one thing and action another. There can be absolutely no doubt about the fact that the current healthy state-of-play can be traced back to the appointment of Michael D. Higgins as Minister for Arts, Culture and the Gaeltacht. It was the speed and conviction with which he moved which took most observers by surprise. On taking office, he immediately set about introducing a series of practical measures to improve the film and audio-visual environment and to make this country attractive to both overseas and indigenous film-makers and producers.

The main plank of his policy was to increase availability of funding at all stages of the film making process, including development and production. To achieve this, the Irish Film Board was re-instated and separate adjustments were made to Section 35 of the Finance Act.

This, in particular, would be of immense significance to the film community, giving them a far stronger hand in their dealings with investors and with banks. While Section 35 has been in existence since 1987, a number of important amendments were made to it in the 1993 act, including increased limits for corporate investors and the extension of relief to individuals.

Section 35 is essentially a tax relief measure, designed to allow a company or an individual to make an investment in a qualifying film and to obtain a tax deduction for the amount of the investment, subject to certain limits. For the purposes of the relief, a qualifying film has to be one which is produced on a commercial basis for showing in a cinema or to be broadcast on television. At least 75% of the work on the production of the film must be carried out in the State, though the 1993 act gave the Minister discretion in the case of an international co-production where the 75% stipulation could be relaxed.

According to a leading financial consultant, specialising in Section 35 finance, the measure has proved extremely popular with investors – and therefore with those who are attempting to finance feature films.

“We have found considerable interest in this form of financing since the improvements were introduced in 1993,” he told Hot Press. “Initially, corporate investors adopted a very cautious approach, but having obtained a better understanding of the risks involved, they are able to assess the commercial risks in the same manner as other business decisions.

“The outlook for Section 35 is extremely optimistic,” he added, “and we expect that many more projects will come on stream in the near future.” In this he is not alone. There is a tangible feeling of optimism within the industry, which runs from street level to the very highest echelons. In this respect, the re-establishment of the Film Board is also of great importance. Because it is vital that the benefits of the explosion of activity should be felt in every area of the business.

The function of the Irish Film Board is straightforward and absolutely vital. It is to provide loans and equity investment to independent Irish film makers, and to assist in the development and production of Irish Films. James Flynn of the IFB describes it as a support service. “We don’t actually produce films,” he says. “We assist in a number of films each year, making both development and production commitments.”

Development loans are payable up to a maximum of £25,000, which become re-payable on the first day of principal photography. Their purpose is to bring a first draft of an idea up to the stage where, ideally, a high quality, fully realised and commercial screenplay has been produced.

“It brings projects up to a stage where they can actually be sold commercially,” says Flynn. “We would also focus on the structure of the project and assess the quality of the screenplay and we might even ask for amendments or adjustments to the screenplay.”

The Irish Film Board budget is voted annually by Dail Eireann. In 1993 it amounted to approximately one million pounds and that figure was increased to 2 million pounds for 1994. Many of the projects being considered for assistance by the Film Board would also be availing of Section 35 finance, though James Flynn stresses that the IFB would also be involved in projects that wouldn’t necessarily qualify under Section 35.

The Irish Film Board has a role, too, in the promotion of training and development initiatives in all areas of film making and the board works in co-operation with other semi-state agencies to improve the marketing, sales and distribution of Irish films.

The combination of financial incentives under Section 35 and the re-appointment of The Film Board has proved to be a winning formula. The two initiatives complement each other, supplying that crucial synergy that many people feel was missing in previous years. Raising finance for both the development of film ideas and the completion of the projects was an uphill struggle for film makers. Many projects faltered at the first hurdle. Of the rest, a substantial proportion were ultimately still-born. The current dual strategy has made life a lot easier.

That these measures have been successful in encouraging and attracting new film productions is not in dispute. At one point, during 1991 there were two films being made in Ireland. That figure has increased ten-fold today. If anything, there are concerns now that the extent of film-making in Ireland is so prodigious that it will be unsustainable in the long-term. Hugh Linehan, editor of Film Ireland feels that there is a real danger that hopes for the long term prospects of the industry might be raised prematurely.

“I would have some concerns that there might be an element of overheating,” he says, “and that the level of activity compared to a few years ago is so great and that so much of that activity has been on a large scale, that expectations will be raised and a kind of a false economy could be created. And while it would be wonderful if we can produce Oscar-winning movies with 50 million dollar returns, a lot of the time we will need to be looking at more modest returns. The big movies like Far And Away and Braveheart are the cherry on the cake. While they have a significant impact while they are here, on their own they are not a sound basis for developing the long term indigenous industry.”

A spokesman for the Dept. of The Arts, Culture and The Gaeltacht makes a similar observation. However, he confirms that the Minister is monitoring developments closely and that he will make any adjustments necessary for the attainment of his overall objective – which is to establish a viable film industry in the long term.

“Michael D Higgins has said on a number of occasions that if, over five years, we’ve produced an average of six films a year, then we can say that we have an indigenous film industry,” he says. “The number of projects approved between April 1993 to March 1994 was eighteen, ranging from small to larger productions. Between 1987 and 1992 only eleven film projects were undertaken. Eighteen were made in the year that followed the change in the legislation, so if there is a problem it’s in overheating.”

That, however, is clearly the preferable concern. If films are being made, money is being generated – and with it employment. The longer-term issue relates to how we can make this employment sustainable. But, then, that’s a problem which is troubling even the most secure of long-term labour-intensive industries.

There are also known to be concerns within the Department of Finance that money might be taken out of the economy on such a scale as to kill the goose that is laying the golden egg. “That hasn’t happened yet,” according to the spokesperson for the Minister continued, “but a problem arose earlier this year when it was discovered that film companies were getting loans and those granting the loans were benefiting from the tax relief. That loophole has now been closed.

“It has to be borne in mind,” he added, “that the Minister is barely a year and a half in office and he has put in place legislative and structural changes that have had an immediate effect. Like many things in Ireland, when something actually works, a degree of negativity creeps in. There are fourteen indigenous Irish films in production or pre-production. The major success of the scheme is in itself an answer to the critics, but obviously the situation will be kept under close review.

Hugh Linehan puts the current situation in perspective compared to two years ago.

“Irish film makers are now in a situation where they can hope to get up to 20% of their budget from the Irish Film Board and access perhaps 12% or 14% through Section 35 finance and maybe put together some pre-sale agreement with RTE. This means that, as an Irish producer, you can come out of Ireland with up to 40% of your budget already in place. Those sort of options just weren’t available two years ago.

“Irish film makers in the past would go to the US or Germany or wherever, looking for backing and they would be told `Yeah we like the story, we like the idea – who in your country is backing it?’ Now somebody is, and in that respect the whole environment has improved immeasurably.”

The Sweet Edit

When it comes to speed and efficiency AVID represents a breakthrough in editing technology – and it’s available in Ireland.

The film industry is on the verge of a digital revolution. The impact of this seismic shift could be even greater than that which was experienced when videotape revolutionised the format of film. PVL MultiMedia Solutions, based in Waterloo Lane in Dublin, recognised this trend over two years ago and – with a degree of foresight, it must be said – became the sole agent for AVID non-linear editing systems here.

According to Kevin Fitzgerald, Key Account Director with PVL MultiMedia Solutions, AVID comprises a combination of hardware and software which is designed to meet the most demanding, creative aspects of film editing. “The system is used by everyone in the film business, from commercial post-production houses to Hollywood film editors, news departments and corporate video professionals,” Kevin explains.

“What AVID does,” he continues, “is to bring you back to the traditional work methods of film editing with Steenbeck Controllers and bins, which brings back the comfort of working in an environment which is well known and trusted. Beginning with the most basic Media Composer 400 – and rising through an upgradable path right up to the Film Composer and the Media Composer 8000 – the systems feature a wide choice of resolutions, layering effects, real time dissolves, and up to 24 mixing tracks.”

Time-saving and efficiency are vital factors in what is a very intensive aspect of film work.

“AVID technology provides a way for editing to commence right from the video assist,” Kevin adds, “because the edge numbers are common for both the video cut and also the film footage. So, as soon as the shoot is completed, AVID can put together the scenes and sequences which are then used to make a first rough cut, and can then be used to produce a completed cut list.”

AVID is the worldwide market leader, with over 4,500 systems sold throughout the world. To date, twenty-four systems have been sold in Ireland, a reflection of the increasing commitment here to providing the technology necessary to compete with the best. On the international film front, big budget movies such as True Lies, Addams Family Values, The Fugitive, Wayne’s World 2, Wolf and many more have also been edited on AVID systems. As Kevin says, “We in PVL MultiMedia Solutions are committed to the film industry, not only with our non-linear editing systems but also with our range of professional broadcast equipment and our comprehensive hire service.”

So the main benefits of an AVID system are the speed, the ability to change your mind instantaneously and the facility to make up ready versions very quickly. In terms of cost it can save an immeasurable amount of time — you can become more creative and spend more of your time in making better programmes, or films.

Without a doubt, non-linear editing with AVID systems in particular is the way the industry is moving – and those who are unfamiliar with the system or not au fait with the technology, may find themselves at a disadvantage. The answer is to get weaving. Now!

LOOKING TO THE FUTURE

Scott Millaney is a British film producer who has re-located to Ireland.

Ireland is not necessarily a cheaper location in which to make movies. The cost of employing crews and paying for ancillary services like accommodation and catering can be as expensive here as in other countries. But there are other factors which make this country attractive to foreign film-makers. UK film producer Scott Millaney of Film Éireann – a production company currently working on three major projects here – feels that the time is now right for the Irish film industry.

“I was drawn to Ireland a few years ago while researching various projects and I was getting the same sort of feeling that I had working in the music business in the 1970’s,” he offers. “There is an enormous amount of creativity flying around and people are looking towards the future. The vitality and youth of the industry here is exciting as well, and there is a lot of ambition and energy around.”

Film Éireann’s current plans include a film on the life of Irish boxing legend Jack Doyle, a World War II spy story set in Tokyo and a film about Lord Lucan. They have successfully raised £19m to finance these projects and shooting is expected to begin this autumn. Does Millaney feel that there might be a fad for making movies here that could diminish in time ?

“Fashion is always a difficult thing to gauge but there is definitely a fashion for Ireland at the moment,” he says. “It’s certainly not cheaper to make movies here. If you worked it out on a balance sheet, it mightn’t make sense. Two years ago everyone was going to Prague to make their movies. There was this lovely backdrop of medieval buildings there and film makers were going for it in a big way.

“But there is a difference here now. Section 35 has brought a lot of outside interest. The thing is to sustain the industry beyond that. Ireland is in a unique situation at the moment. It’s an English speaking country bu, unlike in the UK, there is the political will to develop and maintain a strong film industry. There isn’t that political will in the UK. They have an industry of sorts but it could be ten times better.

“I’m not a politician but I’m not sure that the ‘will’ can be there permanently. And if people build studios and production facilities on the strength of Section 35, they could find them empty if some other country brought in something similar to Section 35, and we weren’t in a position to compete. The party would then be over and the industry would simply pack its bags and get out.

“There has to be some kind of continuity and it amounts to developing our own talent and not being dependent on outside talent. Once we get going, we’ve got to sustain it. There has to be a five or ten-year plan. There needs to be a big non-political investment, like creating better post-production facilities or a film lab to make the thing permanent. Those people are out there who could make that kind of investment but they might be slightly wary that things won’t remain as they are now.”

Despite his concerns, Millaney is confident however, that the future is rosy and has voted with his feet and set up roots here. “I’m committed to Ireland,” he says. “I’ve moved over here permanently and brought my family and I plan to stay here.”

That, certainly, is a hopeful sign.

The West’s Awake

With Teilefís na Gaeilge in the advanced stages of planning, Údarás na Gaeltachta is forecasting a growth in production on the Western seaboard.

Údarás na Gaeltachta operates in Gaeltacht areas in much the same way that the IDA operates in the rest of the country. Its role is to attract industry, encourage employment and to identify training needs and requirements with the Gaeltacht area. The film and audio-visual sector is one sphere which has been closely studied with a view to encouraging increased activity in the West of Ireland – and the judgement is that this will bear fruit.

Terry O’Laoghaire of Údarás Na Gaeltachta was involved in the feasibility study which was carried out in relation to the proposed Irish language television service, Teilefís na Gaeilge. A wide range of opportunities for the independent sector were identified and he is confident of expansion of the industry in the West of Ireland.

“TNG is going to require a significant amount of broadcast material when it comes on the air in spring 1996,” he says. “It will be a bit like the Welsh service, in that it will commission programmes externally, either from RTE or from independent producers. All that material will have to be filmed and post-produced and we will be concentrating on expanding facilities in Gaeltacht areas.

“We will be involved in a grant-giving capacity,” he adds. “As of now there are approximately sixteen independent production companies operating in the Gaeltacht. Some of those would be one-person operations, while Gael Media would be the biggest, employing about ten people.”

He points out that most of the companies wouldn’t want to be dependant on TNG or RTE for their markets, and that they will have to seek to produce material for sale elsewhere.

“A number of them are already talking to Scottish and Welsh TV about doing Co-productions,” he says. “There is one company in Spiddal called Eo productions who have already done a co-production which has been broadcast in Scotland and Wales, as well as on RTE.”

Interestingly, the most promising area in terms of co-productions is in children’s programmes and TNG will have a particular emphasis on this vital area of programming. “That’s where the battle for the language will have to be fought,” says O’Laoghaire.

As regards the current boom in film-making in Ireland, O’Laoghaire points out that very little of that activity has yet taken place in the West. “We would like to see it expand on the Western Seaboard,” he says. “There is a bit of interest from a number of companies, but we would like to see more.”

CASTING COACHES

Ron & Ros Hubbard are among the most successful casting directors on this side of the Atlantic. Now they’re opening a Dublin office.

Ron & Ros Hubbard are London-based casting directors with a particular interest in Irish actors. They have been involved in many of the big film successes of recent years, including The Commitments, Far And Away, Into The West and Patriot Games and, therefore, know particularly well the strengths and weaknesses of the Irish acting profession.

Ros Hubbard explains how the whole casting process works. “The producers usually contact us,” he says, “and we read the script, break it down and we have lots of meetings and we make suggestions – and then we go to casting. We bring in people who we feel are right for the part. They meet the director and they either get it or they don’t. In essence, it’s as simple as that.

“We need to have a lot of contact with the agents and a lot of feedback from the actors themselves,” he says. “A lot of Irish actors, particularly the older ones, are inclined to sit back a bit and wait for the world to come to them. Ireland – and in particular Irish actors – have to realise that they are just a small part of a big international pool of talent. For instance, a lot of the technicians who were on The Commitments with us have gone on to do a lot of international films because they are good. That’s the way one would like to see the Irish film industry develop.

“I also find there is a lot of reserve. They expect people to know what they have done in the Abbey or the Gate or Glenroe. It’s such an insular place that people coming from an international background don’t know who they are, no matter how big they are in Ireland.”

Ros also stresses the importance of the auditioning process for actors in winning parts. It’s something which established theatre pros often don’t relish – but it has to be done.

“They have to hang their ego on the coat-hanger on the way in to the audition,” she says. “Irish actors are afraid of being belittled in some way by the audition process. It’s not easy for anybody. It’s not a pleasant experience, but that is how it’s done. There is no other method and, nine times out of ten, you’re winging your way out to Los Angeles.

“But if we didn’t respect Irish artists we wouldn’t be using them,” she insists. “We feel we have failed if we don’t bring in an Irish actor for an Irish part. We have a very patriotic attitude.”

Hubbard feels that there is unlimited potential for Irish talent in the movie and television industry.

“There is great innate talent, especially among young actors,” she says. “We certainly could do with a lot more choice with the older actors at the moment. It’s a nightmare because there is so much theatre work around. No actor can afford to give up a season in The Gate or The Abbey for one or two days filming in Cavan or Skibbereen.”

Ros Hubbard Casting are in the process of setting up an office in Dublin. They will be located, appropriately, in the Irish Film Centre where they will have another casting director, Mary Maguire, who will be permanently based in Ireland. It’s a reflection of their ongoing commitment to the Irish industry which certainly augurs well for the future.

Inspecting Wexford

The Wexford Film Commission plans to put the sunniest county in Ireland on the film map.

While others are busy commemorating the twenty-fifth anniversaries of the moon landings, the deployment of troops in Northern Ireland and the Woodstock Festival, the good people of the Dingle peninsula are celebrating a more significant anniversary — for them at any rate. 1969 was the year in which the classic David Lean film, Ryan’s Daughter, was made on location in the area. The movie, starring Robert Mitchum, brought an enormous immediate financial benefit to the local community. But the effect has been longer term too, and to this day, there remains a spin-off effect in terms of tourism in the region.

The truth is that film making is good for the economy at grass roots level, with service industries benefitting hugely from the movie action which is currently happening here. A recent survey carried out by Coopers & Lybrand revealed that up to 54% of the spend on a movie takes place on location. This fact has now been recognised by a number of local authorities and several have taken the initiative to promote their locality as a potential location for the making of films.

With this in mind, Wexford corporation has established the Wexford Film Commission, with the express aim of making the County of Wexford “film-friendly” and to promote the region as an attractive location for film making. The Commission will be run as a limited company with representatives from Wexford corporation and county council, as well as from commercial and Trade Union interests in the county.

The medium term goal of the Wexford Film Commission is to link into the international marketing strategies of the IDA and an Bord Trachtala and to liaise directly with the newly re-established Irish Film Board. A brochure which will outline the potential of the area as a filming location is planned and it will be made available to all the relevant agencies involved in both the indigenous and international film industry.

It is a positive move which reflects the fact that we are now taking the creative industries seriously as a way of generating both wealth and jobs. What’s important now is to apply every resource at our disposal to maintaining and building on the momentum which Michael D. Higgins has set in motion. In that regard, initiatives like the setting up of the Wexford Film Commission could yet prove to be critically important.

THE PANAVISION THING

They make the best lenses in the business, and they’re available here. Patrick Brennan visits Panavision’s Irish base in Ardmore Studios.

“Panavision is synonymous with Hollywood. A lot of the big features are shot in Panavision, using Panavision equipment. If you watch the credits at the end of the film more often than not you’ll see filmed with Panavision.

“Some people might disagree with me but as far as I’m concerned cameras are cameras. They’re pieces of metal to put film through but the lenses are a different story. There’s no question that Panavision lenses are the best in the world. Even people who aren’t Panavision would say that they make the best lenses there are.”

So says John Higgins, general manager of Panavision Ireland Rental, explaining why over eighty percent of film makers now use Panavision lenses when shooting their films. Here’s the background. In the mid-eighties Panavision decided that it didn’t make sense for them to be dependent on other companies for lenses and so they developed the Primo lens series.

Basic lens technology was focused on broader application in still photography but Panavision could see that that wasn’t going to satisfy the needs of directors – and so they invented the Primo, a lens that can handle backlight flaring, accommodate a wide range of contrast and – most important of all – interpret colours in a consistent way.

What this means in practice is that if a director or cinematographer wishes to change the size of a lens in the middle of a scene, or use a different 50mm lens at different locations, then they don’t have to worry about the subtle but still critical changes which might show in lenses designed for still photography. Obviously the time saved in, consequently, not having to adjust these colour changes is enormous.

* * * * * *

Panavision make cameras and lenses. One of the more unique aspects of Panavision, however, is that you can’t buy their equipment. You can only rent it. Panavision Ireland Rental are currently based at Ardmore Studios in Bray, County Wicklow. Between cameras, dollies and grip equipment, hot heads, steadicam, videos and everything else that goes into supplying film makers with all they need to create movies, including a giant freezer to keep the film stock at the correct temperature there is in excess of twenty million pounds worth of hardware in the Panavision rental store at Ardmore, which means of course that the Irish film maker is now relatively well taken care of.

“Panavision started off very, very small in a little place next door,” continues John Higgins. “And it was by accident really. A small English company called J.D.C who were aligned to Lee Lighting got into financial trouble and Panavision came in and took the whole lot over. It’s at the point now, thanks to the support of a good few of the production companies here, where the Americans have too much in to pull out. On the other hand, if they don’t get the work, irrespective of what they may have invested, it’s business to them and if they start losing money then it’s lock up the door and let’s move on. The production companies know that and that’s why they support us here.”

* * * * * *

“There’s no doubt that Section 35 has helped greatly. It’s put a stir in the business that was never there before. We’re now in a position where we’re starting to make money at last, even though the costs are phenomenal. But because of what Michael D. has done we can hire more people. We’ve also done a very big deal with Kodak where it’s now a Kodak/Panavision co-production. So Michael D. Higgins and Chris O’Grady deserve all the praise in the world.

“Without a doubt Braveheart wouldn’t have been made here but in Scotland. Before Section 35 if you’re using a scale from one to ten ,in 1992 – which was the worst year for a long, long time – everyone said we were down to a scale of one. Now you’d have to say that you’re up at nine. But we’ve still a long way to go to get our lads into the big positions because it must be inevitable that the U.K. will put something into place soon. Whether people would still come here then would be open to question. So on the back of Section 35 hopefully we can create our own internal business.

“Panavision encourage all sorts of indigenous business and all sorts of indigenous training and we’ll go to the ends of the earth to try and help film makers. People can get lost between the arty-farty side of things and the business side and some people get a helluva shock when they hit a real film set. You’re dealing with a production manager whose calling the shots. You’ll have to be up at seven in the morning and you might have the shit run out of you. The Colleges have never really linked up with us, though we’ve made several attempts.

“Most important of all, we’re working with Fás and Chris O’Grady, who’s been very good, in an attempt to come up with some kind of training scheme whereby people can work on the film set and learn about camera and lens maintenance and so on. Panavision are very big backers in the ‘States of training. We’ve submitted a set of suggestions to Chris O’Grady and hopefully something will come of it. We’re willing to back him with whatever he does. Both he and Michael D. Higgins are doing a wonderful job at the moment and so Panavision will put up a reasonable sum of money for training, and make the facilities available here.”

• Patrick Brennan

INSURANCE

Insurance is an absolutely vital aspect of modern film making – because if you don’t have adequate cover when disaster strikes, there may be no way back.

The financial aspect of making films can be mind-boggling, even to hardened financial wizards. The dream of every movie producer might be to complete his or her project ahead of schedule and under budget, but unfortunately it is seldom an attainable objective.

With the stakes so high, every possible potential pitfall has to be guarded against in order to protect the investors and backers against unforeseen disaster and catastrophes. It is therefore vital for a film producer to take out adequate insurance cover – quite simply you have to go into every project aware that the unthinkable might just happen . . .

Philip O’Dwyer is managing director of NetWork Insurances a company which specialises in providing cover for the film and television industry in Ireland. He is currently involved in the Mel Gibson film Braveheart, but he has been involved along the way in insuring everything from commercials and pop promos to independent productions commissioned by RTE. He is fully aware of the huge variety of problems that can arise – and just how badly things can go wrong.

“There are lots of examples of disaster striking movie projects,” he says. “When Apocalypse Now was being shot in The Philippines, the village they had built, which cost 1.5 million, was totally wiped out when the monsoon season arrived early. The whole village had to be re-built – ironically to be burned down during the final scene – and that cost was borne by the insurance company. Similarly, when the actress Natalie Wood was tragically drowned, the film she was working on was three-quarters completed, so the script had to be re-written to exclude any facial shots.”

Time equals money – and if you’re making a movie delays equal even more money. That’s the kind of nightmare scenario which insurance is intended to cover.

Quite clearly, it’s something about which first-time film makers should be aware.

“In order to obtain a specific insurance quote I would need to see the budget for the entire project,” Philip O’Dwyer says, “including the wages, the script, shooting schedules and locations and whether there are any potential hazards like aerial and underwater photography.”

Insurance in the film industry is divided into several areas, the first being public and employers liability, which protects the personnel involved on the project as well as the owners of the property on which the shoot takes place. Another big area is “negative insurance”, which covers the film negatives. O’Dwyer explains: “Each day the film is rushed off to the laboratory and if it hasn’t come out OK there may have to be a re-shoot. This happens more often than you might think and the consequences can be catastrophic if adequate cover isn’t taken out.”

So the message is this: don’t shoot without insurance. Otherwise you might just end up with blood all over the film set. And what’s worse, it just might be yours.

FILM-MAKERS IRELAND

FILM MAKERS IRELAND, established in 1987, is the representative organisation of independent film and television directors and producers. As such, it has a vital role in organising, analysing and lobbying on behalf of programme makers and film producers.

Against that background, FMI has established an ongoing relationship with all of the relevant institutions and groups, including The Irish Film Board, RTE and the unions, with a view to establishing procedures and practices conducive to the development of the industry both from the creative point of view and as an economic activity.

“Our intention is to create an environment for the development of the indigenous industry and to establish Ireland as a competitive base for attracting further production into the country,” says Mark Kenny of FMI. “Those who have not already joined but wish to do so should contact me at the FMI office which is located at the Irish Film Centre.” Some people might call that an offer you can’t refuse!

The Galway Film Centre

• The Galway Film Centre was founded in 1988 by a group of enthusiasts with the objective of providing a facility for independent film-makers which was based in the West of Ireland. The Centre also houses the MEDIA Antenna Desk and The Galway Film Fleadh.

The aims and objectives of the centre are:

(a) to provide training and information for aspiring film -makers and those wishing to pursue a career in the audio visual industry.

(b) to provide equipment and production facilities at non-commercial rates to independent film makers.

(c) to integrate film-making into a training programme for schools and colleges.

(d) to increase public awareness of film by holding discussion groups and advanced work-shops.

(e) To act as a lobbying voice and campaign for the development of Irish film and, in particular for a de-centralised and regional approach.

(f) to provide support for the establishment of Teilfis na Gaeltacthta.

The centre issues a quarterly magazine, Film West, which is available to members free of charge. This magazine contains wide-ranging coverage of film issues as well as news and views on the growing community of established and emerging film-makers. Each year, the Centre – in conjunction with RTE – offers a script-award to interested film-makers.

• Derry Media Access, a film and video workshop based at Derry’s Foyle Arts Centre,was founded five years ago with the purpose of creating training opportunities and jobs for young people in the North West of Ireland. Supported by Derry City Council and the Arts Council of Northern Ireland, it now has in excess of two-hundred members.

DMA runs both accredited and informal training courses across a wide range of formats, employs seven people and owns the widest equipment base of any similar workshop in Ireland. According to Paul Boyle of DMA, the organisation provides a unique opportunity for young people to become involved in the audio visual area. “We are offering people the chance to make videos and films for nothing,” he says. “And we are not restricted by borders — anyone in the North-West can avail of our facilities. The only stipulation is that they become a member.”

DMA has full production facilities in broadcast format MII, 16MM, SHVS, VHS and Super 8mm. The equipment base includes six cameras, 5 edit suites, portable sound mixers and recorders, mikes, lights and animation facilities. The organisation and its members produce films and videos, from beginners level through to broadcast standard and there are work placement links with all of the third level colleges and universities in Northern Ireland. There are schools liaison courses, a unique careers library and advice service, an actors register, DTP capabilities and the DMA publishes Northern Ireland’s only dedicated film and video related news-sheet, Montage.

• The Nerve Centre is a multi-media centre established in Derry in 1990 to provide a link between young people, the arts and technology. The Centre is designed to explore the new possibilities which are being presented by the rapid advances in Information Technology. The Centre provides high quality training and equipment for young people interested in developing skills as musicians, songwriters, recording engineers, video-makers or animators. The Foyle Film Festival 1994 is another project initiated by the Nerve Centre crew and it will run from 11th - 18th November. The festival will include films under the following headings: Northern Ireland in Film, Images of Derry since `68 and Classic European Cinema. The Nerve Centre is presently developing a series of new introductory and full-time courses in computer animation, graphics and interactive multi-media for launching in 1995 and is keen to hear from anyone interested in these areas.

WIND OF CHANGE

Windmill Lane Pictures are planning to keep the post-production work on Irish films in Ireland.

WHILE THERE has been a major boom in film production over the past couple of years, some aspects of the industry are still lagging behind. Critically, James Morris of Windmill Lane Pictures points out, as much as 90% of the post-production work on all the films made in Ireland is done out of the country.

“Most directors go home to edit,” he says. “It’s the only time they see their families. So we always saw post-production here as being linked to Irish directors, as opposed to foreign productions which might use Irish crews and studios but never stayed for post-production work. The point is that even people like Neil Jordan and Jim Sheridan would have done a lot of post-production work in London.”

One of the reasons for this, he explains, is the fact that Ireland has never had a film processing infrastructure. That situation is set to change in the near future, partly due to technological innovations.

“Digital technology has meant that the location is no longer as important when it comes to post production,” he elaborates. “We are now able to take negatives, and transfer them to digital tape, do very high quality optical work, special effects and so on and then transfer them back to film with no loss of quality.

There has been a great leap forward, too, in the area of cost.

“Because technology has become more practical, cost-wise, it makes it possible for us to invest in more equipment,” James Morris expands. “In parallel with that, the way the Irish film industry is going, it looks like there could be sufficient activity and continuity for us to invest more in the post-production area. We have as good as you will get in terms of TV post-production, but we have been lacking in film facilities.”

That situation is changing, essentially because James Morris is confident that there will be an increased demand from the indigenous sector, as a result of the changes taking place in the Irish film making environment. There are more Irish films being made, more in the pipeline and the overall mood is extremely positive. It’s important, in that context, that the facilities here should keep pace – and that’s what Windmill Lane have in mind.

“We see ourselves as looking to Irish film makers as opposed to depending on foreign productions for our future,” James Morris comments. Now who’d have thought he’d have been in a position to say that, even two years ago?

MEDIA FRIENDLY

Media Desk is an important connection for those who are striving to fund Irish film projects.

Funding for film-making is an extremely complex area and financial assistance and backing normally comes from a variety of sources.

The Irish Film Board can assist in the early stages with development loans and Section 35 capital can be raised for production costs. However, in each instance, there are specific criteria which must be met and projects will only be funded after rigorous scrutiny.

There is also, not surprisingly, funding available through the European Union and Media Desk has been established to provide advice and information on the type of assistance that is available from Europe. Siobhán O’Donoghue of Media Desk explains some of the services which it can offer the film-maker.

“Media Desk is essentially a contact point between the European funding lines and the writers, producers and directors here in Ireland,” she says. “We have an open office which gives advice, information, documentation and consultancy services. MEDIA is an acronym for measures to encourage the development of the industrie audio-visual. Funding can be by way of loans for development, post-production, distribution and training etc.

“There is also the European Script Fund which is based in London. This is an important source of funding — a lot of Irish films made this year like Moondance, All Things Bright and Beautiful, and High Boot Benny would have received assistance from the European Script Fund in their early stages.”

It isn’t only specific film projects which can be funded. The European Commission is very aware of the need to protect the European cultural space from the potential domination of the behemoth that is the US film industry. In that context, small territories like Ireland are particularly vulnerable.

“There is a project called SCALE,” Siobhán O’Donoghue explains, “which is a scheme to help the audio-visual industries in small countries. A lot of the key production companies like Littlebird would have received SCALE loans.

Media Desk also represent and provide information on EURIMAGES — a council of Europe co-production fund which helps co-productions between EC countries. “Moondance for example would have received EURIMAGES co-production finance,” says O’Donoghue, “so it has an important role to play, obviously where the appropriate kind of project is concerned.”

Media Desk are also involved in activities to raise awareness and improve communication in the industry here. Among a range of events planned, they are organising a documentary workshop for producers from both north and south of Ireland. In association with the European Film Academy, which grants the European equivalent of the Oscars, they are also hosting a director’s circle, to explore and analyse the role of the director in the film-making process.

“This is an important area,” says O’Donoghue. “Because here in Ireland there is a strong tradition of writer-directors like Neil Jordan and Jim Sheridan and the role of directors needs to be looked at.”

Quite clearly, Media Desk is an important contact point for anyone who’s serious about getting film projects off the ground. You know where to go.