‘1916 Seachtar na Cásca’ launched by Brian Cowen


Here is an article from iftn about TG4’s new series directed and edited by my mate Dathai. I was lucky enough to work on this show, I did the colour correction, not what I usually do but Dathai asked me to help him out. It was really a privilege as the show is one of the greatest things TG4 have ever done.

UPDATE: WATCH CLIPS FROM THE SHOW HERE

It starts next wednesday and seriously I cannot recommend something higher.

An Taoiseach Brian Cowen TD this week launched ‘1916 Seachtar na Cásca’, a new series profiling each of the 1916 Proclamation signatories. The 7 x one hour series starts on Wednesday, September 22nd.
‘1916 Seachtar na Cásca’, directed by Daithai Keane (Mobs Canada) is narrated by the Emmy winning Irish actor, Brendan Gleeson (Into the Storm) and looks to tell the story of each of the seven signatories of the 1916 Easter Proclamation. Each programme in the series outlines the individual circumstances and chain of events that led each man towards his respective role in the Rising, one of the most defining moments in 20th century Irish history.

This is the first major television series on the 1916 Rising since the 50th anniversary in 1966 and goes in search of the men, their backgrounds and their families. Audiences will learn that one signatory was crippled by polio at the advanced age of 28 whilst another spent eight years studying for the priesthood and yet another spent 15 long years in a British jail before 1900, convicted of Republican crimes.

The series is produced for TG4 by Abú Media and was produced by Pierce Boyce (Clontarf). The script was written by Aindrias Ó Cathasaigh and the series’ music was composed by Ronan Browne (Gangs of New York). This project received funding from the Broadcasting Authority of Ireland’s Sound and Vision scheme as well as benefitting from the Section 481 support schemes for audio-visual production.

Producer Pierce Boyce and director Dathaí Keane joined with TG4 Ardstiúrthóir Pól Ó Gallchóir in presenting a DVD copy of the series to An Taoiseach this week (pictured). ‘1916 Seachtar na Cásca’ will start its broadcast on TG4 from next Wednesday, September 22nd at 9.30pm.

Tarantino gives awards out to friends

From digitalspy

Quentin Tarantino has been accused of favouritism after awarding ex-girlfriend Sofia Coppola the coveted Golden Lion at the Venice Film Festival.

The Reservoir Dogs director has come under fire in the Italian press after the jury he presided over handed the prestigious accolade to Coppola for her movie Somewhere, and gave a career achievement award to his mentor Monte Hellman.

A film critic for Milan-based newspaper Corriere della Sera wrote that “The [jury] presidency of Quentin Tarantino runs the risk of being the most obvious conflict of interest, given that Somewhere and [Hellman’s] Road to Nowhere seemed charming and intriguing but nothing more.”

When quizzed on claims of favouritism at the awards ceremony, Tarantino responded: “I wasn’t going to let anything like that affect me at all. I was just going to literally respond to the film. There was no me steering any direction.”

Adding that the jury had unanimously voted to present the award to Coppola’s film, he continued: “It enchanted us from the first. Being her friend didn’t affect me or make me sway the jury in any way.

“The other members of the jury don’t know her at all. They just loved the film. We kept coming back to it, as one of us said, because ‘It’s a great f**king movie’, all right?”

Danny Boyle’s new film “Too Intense” for some people

From http://www.cinematical.com

Back in 2003, Aron Ralston went canyoneering in Blue John Canyon. When a loose boulder wound up tumbling on top of him, crushing his arm, Ralston found himself alone and unable to seek help. After five days, he opted to resort to dramatic measures, cutting off the pinned appendage. Just reading a brief synopsis of Ralston’s experience is unsettling enough; imagine seeing the story unfold on screen. Apparently it was too much for some at the Telluride Film Festival because according to indieWIRE, two people required medical attention during screenings of Danny Boyle’s film 127 Hours, which is based on Ralston’s story.

On Saturday night, one moviegoer was taken out of a screening on a gurney and just a little later, another viewer suffered a panic attack during a subsequent showing. Here’s Fox Searchlight’s Michelle Hooper’s summary of the events:

From what I understand, an older gentleman was light-headed at the first screening (Galaxy) and the medics helped him calm down. Second screening at the Palm was a young woman (maybe 19 or 20) who had a panic attack. Paramedics attended to both people. I didn’t even know about the second incident until after the screening was over and someone told me (I was sitting in the first half of the theater).

Without belittling the individuals’ circumstances, I’m inclined to believe this is all just one big coincidence. For all we know this older man could have missed a meal prior to his screening and perhaps this young woman is prone to panic attacks. Without knowing the details, it’s difficult to blame 127 Hours for the occurrences.

There are tons of instances where viewers suffer health issues while watching particularly intense events unfold on screen. indieWIRE recalls the reaction to Pulp Fiction when it was screened at the 2004 New York Film Festival and vomiting during The Exorcist. There’s also the woman who suffered a heart attack during The Passion of the Christ. I’m sure that list can go on and on, especially now that 3D movies are running rampant and are legitimately making people sick, but I’m also inclined to believe that people must pass away or fall ill during movies all the time; we’re just hearing about these because of the nature of the material. Yes, THR may call 127 Hours “excruciating to watch,” but there are tons of productions out there that garner the same description.

We hope both people are feeling better, but don’t let their conditions deter you from catching James Franco’s performance as Ralston. According to the early reviews, this is one not to miss. Our own Eugene Novikov cites some weak spots, but says it’s “extremely effective as a thriller, and moderately so as a minor character study.”

Operation Transformation Mobs Canada

There was an article this week on iftn (read it here) about all the work Abu Media had coming up. It had this to say about the upcoming Mobs Canada series

‘Mobs Canada’ a 6 x 30 minute historical documentary series will focus on Irish Canadian Mobsters. The series will start shooting around Ireland and Canada on September 23rd. The five week shoot will make use of several Irish locations and then travel over to Montreal, Ottowa and Toronto. ‘Mobs Canada’ will be directed by Dathai Keane (Bothar go dti an Whitehouse) and produced by Brid Seoighe (Garrai Glas) for TG4.

The director of photography will be Colm Hogan (The Listener) and the series will be edited in-house at Abú Media by John Murphy (Operation Transfomation) and broadcast in April 2011. The cast for the project which will feature achive footage, dramatic reconstructions and interviews is TBC.

Which is all good, nice to get namechecked but the thing is I never worked on Operation Transformation nor ever claimed to. So I’m not sure how that got in there.
But what is true is that I will be cutting Mobs Canada and I’m very much looking forward to it. Me and Dathai are great buddies so to finally have the chance to work together is exciting.

If God Is Willing And Da Creek Don’t Rise


Spike Lee is quite possibly my favourite director, when it doesn’t work for him it really doesn’t work and he has made some real stinkers. But along the way he has made some of the greatest films of all time, Do The Right Thing, Clockers, Malcolm X and his undoubted masterpiece, one of the most moving and shocking documentaries ever made “When the Levee Breaks”. Five years on from that he is returning to New Orleans. He talked to
Christina Radish from Collider.com and I have reproduced that interview below. I am very excited about this film

For the HBO documentary, If God Is Willing and Da Creek Don’t Rise, filmmaker Spike Lee returned to New Orleans five years after Hurricane Katrina to see how the ambitious plans to reinvent the city were playing out. In the follow-up to 2006’s When the Levees Broke: A Requiem in Four Acts, he documents the successes and failures in the on-going efforts to restore housing, healthcare, education, economic growth, and law and order to the battered but resilient community.

While making the film, the BP oil disaster occurred, leading Spike Lee to return to include it’s affects on the people of New Orleans. At the Television Critics Association Press Tour to talk about the upcoming August 23rd and 24th premiere, Spike Lee showed just how passionate he was about this matter and how telling this story has affected his life. Check out what he had to say after the jump:

Question: How did you decide where and when to start filming for this documentary?

Spike: We did not really know when we should return because, even though we had finished Levees, the story was still evolving in New Orleans and the Gulf, but for whatever reason, we decided that five years should be it. Our first day of shooting, we were in Miami shooting the Super Bowl. I got in the crew for NFL Films. My other people were shooting in New Orleans, to shoot people watching the game at a bar called Sweet Lorraine’s, as well as the celebration that was going to happen in the French Quarter because we knew the Saints were going to win.

There are very few times in sports when that happens, but the Saints weren’t trying to win a game. They had a cause. No matter what Peyton Manning was going to do, it was not going to help. The Saints were going to win that game. We knew it. The Saints knew it. Coach Peyton knew it. So, we thought we’d film the ending, the first day of shooting. But, BP cut some corners and went around safety regulations, and the thing blew up and 11 people died. That changed the whole outlook of If God is Willing and Da Creek Don’t Rise.

You get a lot of emotion in the argument over tearing down the projects and what will be in place of it. It seems like such a tangled issue because there are well-meaning people tearing down the projects, but nobody can seem to figure out what to do to not displace all of the people. What kind of emotion did you come out with, after seeing all of that?

Spike: Well, the fact is that those projects were not damaged by Hurricane Katrina and the breach in the levees. I think the plan was to get these poor black people out of the city from the get-go, so when this thing dropped into their lap, it was a great opportunity. It was a mandatory evacuation of the city. All the projects were boarded up and sealed tight. People came back and could not get back into their homes, and then they were consequently knocked down.

Do you think there were some people who really thought that the projects don’t work and were truly just trying to help?

Spike: People are still in exile who want to come back and who can’t come back because they have no place to live.

How close were you to being finished with this film when the BP spill happened, and how did that change things?

Spike: We were done shooting, and then the thing blew up, so we had to re-think, re-configure and make another seven trips down to New Orleans. We were just there shooting, as late as three weeks ago, because of the Danziger Bridge indictments. They finally indicted the guy that shot Donnell Herrington. Donnell was in the first documentary, and the capping of the well. So, we had to re-think everything, but we’re done now.

Did you do it as an add-on at the end, or did you intersperse it throughout?

Spike: There’s a little bit about it in the beginning, but the last hour is really just on BP, as a whole.

Can you expand on what will be included in the documentary?

Spike: Hours two and three deal with the NOPD and the various people they allegedly murdered in the aftermath of Katrina, the whole revamping of the education system with Paul Vallas and the housing. There is an alarming rate of young black men killing young black men. Right now, New Orleans is on a pace of having 203 murders for this year, which will make them the murder capital of the world.

We go to Haiti to see Sean Penn, who has moved Port-au-Prince. There’s a direct historical correlation between New Orleans and Port-au-Prince, Haiti. What brought about the whole Louisiana Purchase was Toussaint L’Ouverture kicking Napoleon in the butt, prompting him to sell Louisiana. So, we wanted to make the whole correlation with the earthquake. We followed Sean Penn when he came to New Orleans three days after the breach in the levees, and he was in Haiti two days after the earthquake.

We also deal with the great thing that Brad Pitt is doing with his Make It Right Foundation and building houses for the African-American homeowners in the Lower 9th Ward. He’s doing stuff that neither the local, state or federal government is doing. He’s building green houses, solar panels and everything. The people in the community love those houses.

We went to Mississippi, to Gulfport, and dealt with the effects of Katrina. We were not given the love we should have had in When the Levees Broke, so we deal with Mississippi a lot in this one, too.

The title of this film, If God Is Willing and Da Creek Don’t Rise is a message of hope. Is that why you chose it?

Spike: There’s hope, but there’s cross your fingers, too. I really got it from my grandmother. My grandmother lived to be 100 years old. Her grandmother was a slave, yet she was a college graduate in the Spellman class of 1917. She taught art for 50 years and she saved her Social Security checks for her children’s education. Since I was the oldest, I had first dibs, so my grandmother put me through Morehouse College in Atlanta and NYU graduate film school. She also gave me money for She’s Gotta Have It, all from her Social Security checks. And, in her later years, when I would speak to her from Brooklyn while she was in Atlanta, I would say, “I’ll call you. Mama, I’ll speak to you tomorrow night.” And, she’d say, “Spikey, if God is willing and da creek don’t rise.” So, this title is a tribute to my grandmother, but it’s also apropos for all the things that you will see in this four-hour documentary.

Do you have any hope that they’ll ever get anything right in New Orleans?

Spike: It’s not like they’re not trying to get things right. Some of the stuff, they had no hand in. If you connect Levees with this, the big connective tissue is greed. It was the greed of the United States Army Corps of Engineers, who cut corners in the construction of the levee system, consequently leading New Orleans to be 80% underwater. It was greed again that reared its ugly head with BP, who did not want to buy this blowout protector, which only cost half a million dollars. They were behind schedule.

We’ve had enough instances where, any time you try to cut corners, it ends up biting you in the butt, later on. What gets lost is that 11 people are dead because of the negligence of BP because they threw safety precautions out the window. MMS (Mineral Management Service) was not doing their job. They had been corrupted by Super Bowl tickets, sex orgies and whatever, and they weren’t doing their job regulating stuff. And, we have people who get appointed to positions, who are elected, who lay down and pray at the altar of the all-mighty dollar. They’ll put their mother on the corner, if they had to for a dollar, with no regard to what’s right, wrong or moral. All they think about is the money. And, if people have to end up dying and being hurt, they don’t give a fuck, excuse my language. It’s as simple as that.

Right now, all these scientists are coming out of the woodwork saying that we just had the biggest oil disaster in the history of the world, but all of a sudden, abracadabra, presto change-o, 75% of this oil has disappeared? Where the fuck did it go to? I don’t care how many scientists BP buys, that oil did not disappear. We are still cleaning up from Exxon Valdez, 20 years ago, so how, all of a sudden, is everything all right now? You shouldn’t buy that. It’s a lie. BP has been lying from the get-go. At first, Tony Hayward said there was negligible damage. Then, it was only 1,000 barrels. Then, it was only 5,000 barrels. Then, the court made him make everything public. A blind person can see that there was more than 5,000 barrels coming out of that thing. Now, we want to believe that no damage has been done to the wetlands, no damage has been done to the Gulf of Mexico, and 75% of this oil has disappeared? I don’t believe it.

Then, do you not have any hope that things will ever change?

Spike: I’m not going to have any hope if we allow people to get away with murder and people lying to our faces, and we say, “Okay.” In Part 4, there are many people who say General Honoré should have been the one heading this thing. BP told the United States government, “We don’t want Honoré. We want Thad Allen,” because they were chummy.

You’ll see in Part 4 that there’s way in the world BP should be able to tell the FAA who can fly where. There is no way in the world that BP should be able to tell the Coast Guard who can come into the waters. Honoré wouldn’t have gone for that. He said, “Don’t get it confused. Don’t get it twisted. Just because you’re paying for stuff, we’re running this shit.” But, it’s been the other way around. BP has been dictating what’s going on, and that shows you the power of this company. There is no industry in the world that makes as much money as the oil and gas industries.

Did you have any access issues when you went down to shoot Part 4? Were you able to get into the marsh and shoot as much as you wanted?

Spike: Yeah, we shot in the marshes. There were certain areas that we couldn’t go in, by decree of the Coast Guard and Thad Allen.

Did you have any specific confrontations with BP over shooting?

Spike: It wasn’t confrontations. There are just places where you can’t go. I’m not going to go up against the Coast Guard. We just shot where we could shoot. I thought it was more important to interview people who say, “We tried to fly over here,” or “We tried to bring our boat here.” It just amazed me. The power that BP has was really eye-opening, as far as how this whole thing went down. They were running the show.

Why was it so important for you to show what Sean Penn is doing in Haiti?

Spike: Sean Penn doesn’t live in the United States anymore. He lives in Port-au-Prince. His life now is trying to get that country back on its feet, and I’ve got to commend him for that. He’s left everything here and just moved to Haiti, and he’s not living in a palace. He’s living in a tent. I slept three nights there. It’s not like he’s living high on the hog. I respect his opinion because he’s been down there. He’s not Haitian, but for me, Sean Penn has put in his dues. A lot of people talk about stuff from afar, but he’s been down there from the get-go. He was there three days afterwards.

Do high-profile people help, or do they somehow divert from a crisis?

Spike: It depends who you’re talking about. For me, I don’t see any negativity with what Brad Pitt is doing with his Make It Right Foundation, or what Sean Penn is trying to do in Haiti. When we went to Haiti, the bodies had been cleared, but the rubble hasn’t been. There has been no removal of rubble. I want to commend President Clinton because he’s really been in it, too. There is no more attention on Haiti, but people are still there struggling, so I felt it was important that we include Haiti in this piece.

Among the people in New Orleans, what was the reaction to When the Levees Broke? Have these people come to trust you to tell their truth?

Spike: I’m not the go-to guy. Everybody is trying to tell their story and have different ways of telling it. I’ve been very fortunate that Sheila Nevins at HBO has given me the money, along with Richard Plepler, to do this. I was at the Venice Film Festival when Katrina hit. Venice is one of the greatest cities on the Earth. You don’t want to be holed up in your hotel room when you’re in Venice, Italy. But, I was glued to the television, watching those images on CNN International and BBC, of Americans holding up signs on top of their homes surrounded by water, saying “Help me.” When I got back to the States, my partner/co-producer/editor, Sam Pollard, went to Sheila and HBO, and said, “We want to do a documentary on this,” and they gave their blessing. At first, it was only going to be two hours. Then, we went back to Sheila and said, “We need two more hours and some more money,” and we got it.

They say that everything you do in life changes you, in some way. How have you changed from doing these documentaries?

Spike: That’s a hard question. Well, number one, I have friends for life now that I wouldn’t have had if it wasn’t for doing these two documentaries. It has really exposed me to the culture of that region, and the great resiliency of these people who, time after time, get knocked down, but they put one hand on the rope and pull themselves off the canvas. They’re only human beings. Every night, I pray to God because, right now, we’re in the heart of the hurricane season and it is said that this is supposed to be a very active hurricane season, as active as 2005 was. The doomsday scenario is this BP oil and the hurricanes. That’s what everybody is thinking about.

The HBO documentary IF GOD IS WILLING AND DA CREEK DON’T RISE premieres on August 23rd and 24th

The Rocketeer

When I was 11 this was my favourite film in the world, I came upon this aricle by Geoff Boucher on the LA-Times blogs about the film and had to repost it.

“The Rocketeer” was a valentine to the old movie serials but in a way, the 1991 Disney film was also ahead of its time considering the contemporary surge in superhero cinema and the connections to the Joe Johnston-directed film.

Johnston had come to “The Rocketeer” with a proven affinity for retro adventure — he had been the art director for “Raiders of the Lost Ark” and “Indiana Jones and the Temple of Doom.” Right now, he is at work on a fourth Roosevelt-era adventure with “Captain America: The First Avenger,” which is due in theaters next summer and has some common ground with “Rocketeer.” In each story, for instance, a young man finds himself transformed by secret technology into a costumed hero who tangles with Nazis.

“The Rocketeer” faced some major headwinds during its theatrical run with competition from “T2: Terminator 2,” “City Slickers,” “Robin Hood: Prince of Thieves” and “Backdraft” and the reviews were mixed for a film that had some sleek visuals and costumes but, in the view of many, lacked a needed edge in its storytelling. Janet Maslin in the New York Times, for instance, called it “a benign adventure saga that has attractive stars, elaborate gimmicks and nice production values — everything it needs except a personality of its own.”

I think the film actually had plenty of personality — especially in the supporting performances by the stunning Jennifer Connelly and the sly, rakish Timothy Dalton but the problem might be that it needed darker moments to balance out the buoyant humor and that was a direction that Disney didn’t want to go into at the time. If “Rocketeer” had been made with the sort of PG-13 mindset of the “Pirates of Caribbean” films, we might remember it as a signature moment for screen superheroes.

I thought back to “Rocketeer” while watching the “Iron Man” films. Jon Favreau’s hero jetted across the Southern California sky in films that were laced with aviation history, car culture and celebrity commentary — just like “Rocketeer.” But the real way that “Rocketeer” was ahead of its time was the faithful allegiance to the source material; the film was based on the comic books of the late, great Dave Stevens and the differences between the screen and the page were far, far less than those seen in, say, Tim Burton’s “Batman” films or the “Superman” movies starring Christopher Reeve.

“The Rocketeer” and the other Disney films screening this month were keyed by D23, the paid-membership club that gives fans special access to Disney events and even the storied Walt Disney Archives. I talked to Rob Klein at the Disney Archives and he said the Rocketeer rocket pack is one of the great artifacts in the collection — the rare movie prop that looks as substantial and sleek in person as it does on the screen. Klein said “Rocketeer” has a special place in film history and is probably more beloved now than it was the year it first took flight in the public consciousness. “The more you watch them the more you like them,” Klein said. “Some movies you see and you think, ‘Oh I love it,’ but when you go back there’s disappointment and you think, ‘I remember that being better.’ With ‘Rocketeer’ and so many Disney movies, it’s like wine, they get better with age.”

Roger Corman on DVD

Roger Corman — often referred to as the “King of the B Movie” — is something of a Hollywood legend, famous for making low-budget cult horror films like Piranha and Little Shop of Horrors. But Corman has also mentored many now-famous directors — including Martin Scorsese, James Cameron and Ron Howard — and employed many a star before they made it big. (He worked with Sylvester Stallone in Death Race 2000, released the year before Rocky.)

This year, Corman’s films are being re-released on DVD, one a month or so as part of the “Roger Corman’s Cult Classics” series. Ultimately, 50 titles will be released. Corman, who has directed more than 50 movies and produced around 350, started to find success with “creature features” pretty early on in his career. In many cases, he would just come up with a title before fleshing out his ideas. His 1957 movie Attack of the Crab Monsters was just one example.
“I had no story,” Corman tells NPR’s Renee Montagne. “I do this quite a bit: I’ll come up with a title, and then I’ll write the first treatment or outline, and then work with a screenplay writer on the script.”

Make It Fast, Make It Cheap, Entertain The Crowd

To Corman, a filmmaker’s first order of business is to entertain the audience. If there’s any social commentary involved, it should never be too intrusive to the plot. “We then try to make as intelligent a story where we can, off of something that is maybe a little bit outlandish,” he says. “We try to bring a little bit of logic to film.” Corman’s other chief rules: Make it fast, and make it cheap. He’s known, not to say notorious, for being unwilling to spend more than he absolutely must. He’ll reuse movie sets: He shot the 1960 horror comedy Little Shop of Horrors — which featured Jack Nicholson in a bit part — in two days and a night on a borrowed set built for another movie entirely. He didn’t pay a dime for it.

“I had an office at a small rental studio in Hollywood, and somebody had built a rather good set for a picture there,” he explains. “And I said, “Well that’s a really good set you have there. And if nothing’s coming in, I’d like to experiment.’ ” Years later, the filmmaker still has warm feelings when he thinks about Little Shop.

“For many years after it was made, it was shown at midnight screenings. And Warner Brothers made a multimillion-dollar bigger version of it, which was a good picture but wasn’t quite as funny,” Corman says. “Our picture was certainly not as good or big as a Warner Brothers picture, but there was a spirit to it. We were all young people. … We were all just fooling around.”

Chasing Childhood Horrors, In Hopes Of Catharsis

Corman never changed his approach to filmmaking — even when bigger-budget monster films began seeing success in Hollywood. His 1978 film Piranha came out shortly after Steven Spielberg’s Jaws, and Corman says he was bothered a little bit by the success of the film: He and his colleagues, he thought, had done well making similar movies for years. (Even Vincent Canby, then-lead critic for The New York Times, said Jaws was basically a big-budget Roger Corman film.) “It was also a better film,” Corman says now. “And when I saw the film, I thought, the studios are beginning to catch on to what we’re doing — and indeed they did.” For Corman, horror is a genre that appeals to the masses for reasons going back to early childhood. Kids are frightened by monsters under the bed, and when they get older, they tell themselves it was all part of their imagination.

“I think the task of the filmmaker is to break through and hit that horror that still remains in the unconscious mind,” Corman says. “And there’s a certain amount of catharsis there. And I think that’s one of the reasons — if not the main reason — why horror films, novels, even plays, are so popular.”

Six Degrees Of Roger Corman

There’s no corner of pop culture that Roger Corman hasn’t touched — or taken inspiration from. Here’s a quick look at just three areas where the connections he’s made might surprise you.

Oscar Connections

Roger Corman took home an honorary Oscar of his own in November 2009, but his operation has long been producing Academy Award winners. Some examples:

• Francis Ford Coppola (Best Director, The Godfather Part II) Got his start when Corman hired him to turn old Soviet sci-fi footage into the 1960 film Battle Beyond the Sun.

• Jack Nicholson (Best Actor, One Flew Over the Cuckoo’s Nest, 1975) Made his screen debut in Corman’s The Cry Baby Killer (1958).

• Janusz Kaminski (Best Cinematography, Schindler’s List, 1993) He shot The Terror Within II for Corman just two years before his Oscar for Steven Spielberg’s drama.

• James Horner (Best Score and Best Song, Titanic, 1997) Wrote an epic score for the 1980 space opera Battle Beyond the Stars; Corman has recycled it in countless films.

• Sandra Bullock (Best Actress, The Blind Side, 2009) Corman’s 1993 environmental thriller Fire on the Amazon is one film she doesn’t brag about. Maybe it’s the sexy nude scene.

Corman’s Best Cameos

Corman enjoys appearing in the films of former proteges. Some standout roles:

• The Howling directed by Joe Dante (1981) In a barroom scene, Corman spoofed his own tightwad image, checking the coin return of a pay phone for loose change.

• The Silence of the Lambs, directed by Jonathan Demme (1991) Corman looked authoritative as the head of the FBI in this Best Picture winner.

• Philadelphia, directed by Jonathan Demme (1993) Corman aced the key role of a canny businessman whose testimony on the witness stand puts Tom Hanks in a bad light.

• Apollo 13, directed by Ron Howard (1995) Corman played a congressman quizzing NASA about cost-containment.

• Looney Tunes: Back in Action, directed by Joe Dante (2003) Corman was cast as a film director peeved by Daffy Duck’s shenanigans.

Corman has always found inspiration in the big events of the day. Some examples:

• War of the Satellites (1958) When the Russians launched Sputnik, Corman conceived this outer-space quickie. Shot in three weeks, it screened in drive-ins soon thereafter.

• The Intruder (1962) Corman tackled the serious issue of school desegregation when few others dared. William Shatner stars as a stranger who arrives in a small Southern town to stir up trouble.

• The Wild Angels (1966) Corman’s inspiration was a magazine cover depicting a biker funeral. The Hells Angels played themselves, and this classic biker flick led directly to 1969’s Easy Rider.

• Quake (1992) San Francisco’s Loma Prieta earthquake prompted this woman-in-distress thriller. As soon as the ground stopped shaking, Corman sent a crew to shoot authentic footage of the rubble.

• The Hunt for Noriega Circa 1990, when Panama’s deposed military dictator eluded his captors, Corman sprang into action. A writer was hired, but the deal got canceled one day later when Noriega was found.

From www.npr.org

Review of Rewind

This is a review of the movie Rewind which I edited. The review was part of the Irish Times round-up of the Galway Film Fleadh by Donald Clarke

“Do you fancy yet more sinister goings on in further windswept, leafless country roads? If so, you might wish to seek out PJ Dillon’s fine debut as a feature director. Rewind stars Amy Huberman as a former alcoholic – now married to a suburban money-bags – whose life comes to shreds when a dangerous old boyfriend saunters back into town. Co- written by Ronan Carr, creator of the much-loved short Coolockland, Rewind has just enough story to occupy its lean 80 minutes: the reformed character is lured away for an ill-fated road trip. Rewind is, however, particularly remarkable for Dillon’s own flinty cinematography and for two fine lead performances. Huberman, shaky, mad-eyed and icy, confirms that – all that Bod-marrying noted – she fully deserves fame in her own right. Playing the bad penny, Allen Leach, hitherto cheekily charming in Man About Dog and Cowboys and Angels , demonstrates an unsuspected ability to lurk with menacing intent. The picture deserves to be seen commercially.”

You can see the film’s imdb page here and give it a thumbs up if you like

The piece also gave good mentions to Sensation and Come On Eileen both produced by the good people at Blinder Films but somehow failed to mention “The Pipe” which was the main talking point of this years Fleadh

World Premiere


Today marks the world premiere of the movie Rewind which i edited. The film will screen tonight as part of the Galway Film Fleadh at 10:30 in the Town Hall Theatre.
The film is a dark psychological thriller starring Amy Huberman and Alan leech. It centers around Karen, a recovering addict who has settled into a successful new life with her husband and young daughter. When Karl, an old boyfriend recently released from prison, turns up unexpectedly, Karen’s buried past comes back to haunt her.
If Karen is to protect her family, she needs to take a road trip into her past, and confront her demons.
The Director and I will be in attendance, I don’t think Amy will take a break from her honeymoon for it though

Irish Tv Production

This is an article from IFTN about stuff curently shooting. Hopefully I’ll get to cut some of them!

New and returning Irish projects are shooting countrywide this summer and look at Irish chefs learning to fly fish, Children who can ‘Dig It’ and Irish mobs in Canada. The country will also welcome international stars including Sean Bean, Eva Green, Joseph Fiennes and many others.

New Productions Underway

Loosehorse Ltd. are this summer shooting ‘On the Fly’, a 6 x 35 minute series where Irish chefs take to the waters in an effort to learn the fine art of fly-fishing and produce an edible dish from their catch. The series, directed by Peter Murphy and Sarah Barrow is produced by Fintan Walsh and features the culinary skills of Kevin Thornton, Derry Clarke and Anita Tomas. The series will film until September and is funded by the BAI for Setanta Sports Ireland.

Moving onto much dryer land Mind the Gap are testing the archaeological knowledge of Irish children all over the country. ‘Ireland – Dig It!’, a 4 part series for RTÉ Young Peoples that goes into production soon and will film in authority museums around the country. The BAI funded series is directed by David Donaghy (The Frontline) and Simon Hepworth (Dick and Dom in da Bungalow) and produced by Bernadine Carraher (Happy Birthday Oscar WIlde) & Anne Heffernan (Irish Tenors & Friends).

Cameras will start to roll of the set of ‘Camelot’ on Monday, June 28th. The series, from the producers of ‘The Tudors’ will be in production until November and will see many established international actors in the form of Joseph Fiennes (Shakespeare in Love), Eva Green (Casino Royale), Jamie Capbell Bower (Sweeney Todd) and Tamsin Egerton (4.3.2.1.) filming in and around Dublin and Wicklow for the Arthurian series.

Across the border, the Northern Irish epic fantasy series ‘Game of Thrones’ for HBO will see Sean Bean (The Lord of the Rings: The Fellowship of the Ring), Jennifer Ehle (Possession), Lena Headey (300), Nikolaj Coster-Waldau (Black Hawk Down) and many others filming in and around Belfast’s Paint Hall between June and December of this year.

Mind the Gap is currently going in pre-production with an unnamed disability comedy series that will look to exploring the relationship between disability and comedy. Directed by Conor O’Mahony (cinematographer, Guy’s Dog) and produced by Anne Heffernan, the series will be directed by comedian Adam Hills (Spicks and Specks) with the first programme expected to film in Belfast next week.

Animation gets Punky

As to animated productions Monster Animation is in pre-production with a new series which is currently going by the working title of ‘Punky’. The 20 x 7 minute series which is due to go into production in late July centres around a girl called Punky and her family. It is written by Andrew Brenner (The Cramp Twins), directed by Ciara McClean and produced by Gerard O’Rourke (Not There Yet) and will be animated by Celine Halpin, Kelly Gunning, Jenny O’Brien and Simon Crane. Brown Bag Films are in production with ‘The Octonauts’ a series which follows a team of heroes – Captain Barnacles Bear; Lieutenant Kwazii Kitten, and Medic Peso Penguin – who dive into action whenever there is trouble under the sea. The 52 x 11 minute series is directed by Darragh O’Connell (Granny O’Grimm’s Sleeping Beauty) and produced by Gillian Higgins (Wobblyland) with funding from Chorion/BBC.

TV3 will see the production of two new series this summer. ‘The Irish Abroad’ is a reality TV show which will look at the experiences of Irish holiday-makers who like to party and this will film in late July. The series crew is TBC. The broadcaster is currently in production with ‘Style Wars’. The series, directed by Rachel Moriarty and produced by Ruth Roden (The Irish Township) and Eoin Kavanagh (Total Exposure) of Toto productions, will follow several aspiring fashionistas who will be faced with challenges judged by fashion designer Peter O’Brien, fashion expert Angela Wood and model, Caprice.

Finally Abú Media are currently in pre-production with ‘Mobs Canada’, a follow up their ‘Mobs Mhericea’ series, this one focussing on Irish Canadian Mobsters. The 6 x 30 minute historical doc is directed by Dathai Keane (Bothar go dti an Whitehouse) and produced by Eileen Seoighe (Bothar go dti an Whitehouse) and Brid Seoighe (Turas Teanga) for TG4. The director of photography will be Colm Hogan (The Listener) and the series will start its three month’s shoot in August around Galway, Dublin and Canada. It will then be edited in-house in Abú Media and broadcast in January 2011. The cast for the project is TBC.

Returning TV Series

Adare productions are going into production with the second series of ‘Jig Gig’ and the third series of ‘Livin’ with Lucy’ this summer. The former starts shooting this week in the RTÉ studios for a month and is directed by Brian Graham and produced by Tom Evans. It will be broadcast mid September. ‘Livin’ with Lucy’ sees presenter Lucy Kennedy (The Podge and Rodge Show) moves in temporarily with various Irish celebrities. Directed and produced by Ciaran Kelleher, it will go into production in early August and broadcast on RTÉ later this year.

Blinder Films will return with their RTÉ series ‘The Savage Eye’ later this year also. The series which see comedian Dave McSavage impersonate prolific Irish personalities is currently in pre-production and is expected to shoot later on in the summer to be broadcast towards the end of the year. The 6 x 30 minute series will be directed by Kieron J Walsh (Sensation) and Damien O’Donnell (East is East) and produced by Katie Holly (Shrooms) and Kieron.

Caboom’s alternative puppet panel show, ‘Special 1 TV’ for Setanta Sports also returns and sees the cloth alter-egos of Wayne Rooney, Jose Mourinho and Fabio Capello once again meeting to discuss the trials and errors of the beautiful game, with special emphasis this year on the World Cup. The show is directed by Damian Farrell (I Dare Ya) who produces it alongside comedian Mario Rosenstock (Apres Match) who lends his acting talents to the football panel. The series’ director of photography is Joe Edwards (Luke Kelly: The Performer). The BBC – funded series will shoot until July 4th and the editing will be carried out in Caboom by Dan Gannon. Brown Bag Films are working again with ‘Olivia’, a series that centres around a fun-loving pig. The second instalment of the 26 x 11 minute ‘Olivia’ series is directed by Tim Bjorklund (Teacher’s Pet) and produced by Gillian Higgins with funding from Chorion/Nick US.

Loopline Film’s ‘Muintir na Mara’ for TG4 will see Pádraig Ó Duinnín continue his personal and spiritual voyage along the coast of Ireland. The fifth instalment of the six part series is directed by Martina Durac (Bodyblow) and will finish shooting at the end of June. Screentime Shinawil’s ‘The Apprentice’ will also make a revisit to our screens this year. The series is directed and produced by Linda McQuaid (You’re a Star) with Larry Bass (Fame: The Musical) as the executive producer. Finally Sideline’s Model-scouting TV series returns under the new title of ‘The Model Scouts’ this year. The second series fro RTÉ will continue to shoot this summer and is directed by Sarah Share (If I Should Fall From Grace: The Shane McGowan Story), produced by Una Shinners (Heavy Metal) and executively produced by Regina Looby. The 8 x 1 hour series started filming in March and will continue to shoot in blocks throughout the summer with the wannabe models this year trying to impress IMG’s Jenny Rose and David Cunningham.

Documentary Production

Where documentaries are concerned Léirithe Sónta have just finished the first stage of shooting of their 52 minute docu-drama ‘Mise Raiftearaí an Fíodóir Focal’ in Oswego, Upstate New York, Brooklyn and in Cross Co. Mayo. The project, a comprehensive account of the life and times of legendary 19th century Gaelic poet, Antoine Ó Reachtabhra is written by Tadhg MacDhonnagáin (Aifric) and directed by Seán Ó Cualáin (Mairtin O’Cadhain: King of Words). The doc features Andrias de Staic in the role of Raiftearaí and PJ Dillon (Kings) as the director of photography. Produced by Eamonn Ó Cualáin (Mairtin O’Cadhain: King of Words) the final stage of shooting will take place in Mid August and will shoot in Lough Corrib and the Headford Road. Funding in the project came from TG4/BAI/Foras na Gaeilge which will broadcast on TG4 this Christmas.

Ongoing documentaries include Park Films’ ‘Lola Ya Bonobo’ which is exploring the work of Claudine Andre and her NGO sanctuary for Bonobo chimpanzees in the Congo. ‘Lola Ya Bonobo’ is directed by Rory Bresnihan (The Man Inside) and produced by Anne Marie Naughton (Tara Road). Also, Athena Media are continuing to shoot their documentary, ‘Pat Falvey: My Private Everest’ which centres around the life of Pat Falvey, an Irish man who against the odds has climbed Mount Everest four times. The project is directed and produced by Helen Shaw (Is It Just Me?) and the project’s cinematographers are Barry MacNeill (Xposé) and Niall Foley (Greenfingers). It is expected that the project will be completed in December of this year following its post production which will be carried out in Dublin’s Lotus Media.

Finally, production is ongoing also on the set of Akajava Film’s ‘Wonderland’ about ‘Shamrock and Swastika’ director Irina Maldea’s experiences of growing up in the communist film industry of Romania. The project was granted funding by the most recent Eurimages grant round. ‘Wonderland’ started shooting in April of this year. The cameras will roll for six months in locations such as Romania, Korea, Austria and Ireland and it is expected that the film will receive a theatrical release here in spring 2011. The documentary is funded by IFB, BAI, Arts Council of Ireland, TG4, Media, Eurimages, Finland’s YLE and Austria’s Cine Styria. It is produced by Brendan Culleton (Diarmuid and Strongbow) for Akajava Films and Barabara Caspar (Who’s Afraid of Kathy Acker?) for Austria’s Fragile Films. The director of photography is Dan Curean and the documentary will feature dramatic reconstructions, interviews and archive footage.