New Showreel

So I finally got around to updating my showreel. While I was happy with the one I had before, it was missing a lot of titles that I worked on in the last 3 years so a change was needed. Anyways here it is…

There I am in the edit suite...
There I am in the edit suite…

If you want to talk about working together you can drop me a line at

For more info on any of the listed titles shown in the reel click on the links below
Kara, Páidi Ó’Sé:Rí an Phároiste, Jokerman:Tommy Tiernan Takes on America, The Naked Election, Ras Tailteann:Rothai an tSaoil, Mobs Cheanada, An Ceoldráma, Arkle, Bliain in Arainn Mhór, Showrunners, Derelict, Faster Stronger Higher, King of the Travellers, Killinaskully, The Last Days of Peter Bergmann, Standby, When Ali Came to Ireland, Rewind

I also included shots from the following titles
It Happened One Night
Call Girl
The Weather Report
One Ocean No Limits
Welcome to my World
Meet The Neighbours
On The Fly
An Engagement with Franc
Aoife Scott: The Growing Years

Analogue People in a Digital Age

Twopair Films based in Crusheen, Co. Clare are to premiere their short film ANALOGUE PEOPLE IN A DIGITAL AGE at the Stranger than Fiction Documentary festival on the 28th September in the IFI, Dublin. 
Directed by Keith Walsh and produced by Jill Beardsworth, the 13 minute film is set in Johnny Walsh’s pub in Gort on the day of the analogue/digital switchover last October.


As the analogue age draws to a close, eight men sit at the bar battling to remain relevant in the digital world; the TV in the corner a harbinger of this technological future. Conversations about life, death and quantum physics mix with pints to create a surreal document of the switchover day. The characters in the film are not concerned with Big Data, Google Glass, smart phones or mp3’s. They are tuned to a different frequency, caught between two worlds.


Taking inspiration from that little piece of information that is lost in the transfer from analogue to digital, the film seeks to examine who and what is lost in the relentless rush forward.


The setting of the Irish pub is pertinent as it is itself a symbol of an analogue world that is in danger of being lost in modern society. The film essentially becomes a poetic, allegorical study of people at a certain time and place. The digital represents modernity, change and progress. The analogue represents the past and tradition. The difference between the two is what the film is about. It is about the characters that are living an analogue life in a digital world. 
As one of the characters says: “It’s the not so straight and the not so perfect that is the lovely thing of life”

The documentary will be screened with three other shorts, including The Last Days of Peter Bergmann and is part of the Irish Film Board’s Reality Bites scheme that aims to foster new Irish talent and encourage experimentation and the realisation of fresh approaches to non-fiction filmmaking.

Twopair Films are releasing five trailers, this week from Monday to Friday, on their Facebook page, on Twitter and also on their Vimeo account in the week leading up to the premiere in Dublin.

I was an associate editor on this project.

Dublin Editors to stage a get-together

So Dublin Editors is a new facebook page for post-production people based in Dublin and in Ireland in general. Setup just over 2 weeks ago, the page has gotten a great response with over 60 people signed up for it already. Who know there were so many of us?
Eventually the page will hopefully serve as a hub for the editing community in Dublin acting as a place to meet, to swap ideas, to post jobs, to ask for help. I think its a cool idea and one that should prove really useful on all those fronts.

The group organisers (who ARE those guys?) is holding a get together this Thursday at 6:30 in McGrattans bar, off Baggot Street in Dublin. I am certainly looking forward to attending and meeting some of my editing colleagues. Editing is more often than not a solitary job and it’ll be cool to finally meet people whom I only know by name. So that’ll be great.

You can keep updated on the group on their facebook page here

I’m also looking forward to meeting the mysterious people behind the page. Whoever they are I’m betting at least one of them is rocking a pretty cool beard. Just saying…


Article on Derelict in new Magazine

There is an article in this month’s Digital Filmmakers Magazine on Frank Kelly’s low budget feature film Derelict which I edited last year. In a wide ranging interview with Frank, spread over 4-5 pages he outlines every aspect of production and the challenges he faced when making a film in just seven days. Its an informative and entertaining piece and well worth a read especially if you know anyone preparing a low budget feature film.
It was also nice to get a mention from Frank and see my name in a filmmaking magazine article. Cheers for that buddy
You can watch Derelict on Distrify here.

The magazine is available from select newsagents nationwide, I picked up mine at Reeds of Nassau Street in Dublin

2012 – When Sport was King

Earlier this week we had the broadcast of When Ali Came to Ireland on RTE One and the entire production staff behind making the film were blown away by the positive feedback we received in person and online. All those nice things people said about it really do make the effort involved in making the film seem worthwhile. So thank you so much for that.

Last year was a little odd for me in that the 3 projects I had broadcast were all Sports documentaries, having never done any before (unless you count, the Naked Election, which was a sports doc hidden inside a political one) I ended up spending most of the year concentrating on different sports, I even ended up on the radio talking about Sports Docs. Not that I mind, in fact as a sports fan it’s something of a dream come true to be telling various sports stories. One of those documentaries, Rás Tailteann – Rothaí an tSaoil is repeated tonight on TG4 at 9:50. If you haven’t already seen it, you’re in for a treat, its an amazing hidden history of what was once one of Irelands premier sporting events and a competition that reflects the troubled history of this island. Its informative and highly entertaining even if I do say so myself.

Sport is by its very nature dramatic and you can be assured of it reaching some sort of conclusion, which is a great thing to have when you are crafting a story, finding an ending in other docs can be really difficult. Last year was an incredible year of sport and with so much going on it was only natural that there would be an abundance of sports doc made in this country. Its a testament to the documentary makers working in Ireland today that so many of them were of such a high standard. For next weeks IFTA nominations, the best sports documentary is going to be one of the most hotly contested categories, something that hasn’t been true in the past. I’d like to think that the ones I worked on would be in with a chance but there were a couple of other stand-outs this year.

Jumpboys -TG4 – Dir: Luke McManus

This TG4 documentary follows the intense challenges involved in attaining the highest accolade of the National Hunt horse racing year in Ireland 2012, the title of National Hunt Champion Jockey. The documentary tracks three of Ireland’s top Jockeys, Davy Russell, Barry Geraghty and Ruby Walsh. The jockeys have to overcome severe injuries, dehydration and savage competition from the other competitors. before the close of the jumps season. Airs on TG4 tonight at 21.30 28th November 2012

The West’s Awake – TG4 – Dir: Kieran Hartigan

The West’s Awake is an exclusive fly on the wall documentary which tells the story of Connacht Rugby’s inaugural Heineken Cup journey in the 2011/ 2012 season.
With unprecedented access to the squad and management this one-hour film brings the audience on an emotional and sporting rollercoaster. From the modest Sportsground in Galway to the mighty Stade Ernest Wallon in Toulouse via the Stoop of London and Kingsholm in Gloucester, experience the agony and ecstasy of manager Eric Elwood and the Connacht Squad as they strive to compete against the cream of European Rugby in the face of overwhelming odds.
Join the players; Captain Gavin Duffy, Michael Swift, Ronan Loughney, John Muldoon and Johnny O’Connor as they line out for game after punishing game, the indefatigable manager Eric Elwood as he leads his charges, the die hard fans never wavering in the face of adversity and the pundits as their stories interweave with highlights of the games to tell a story not only about rugby but about passion, culture, community and a sense of belonging.

It’s Not The Taking Part – Setanta – Dir: Andrew Gallimore

This series documents the trials and tribulations of six of Ireland’s Olympic hopefuls as they battle against rivals, injury, money problems, inadequate facilities, the clock, the selectors and overwhelming odds for the chance to compete on the ultimate stage.

Green Is The Colour – RTE

Over the last 130 years Irish football has transformed, developed, grown and prospered in line with our own national identity, from 19th century garrison game to 2012 in Poland and Ukraine.
Presented by Darragh Maloney, this four-part documentary series looks back at some of the major events that shaped Irish football and the national soccer team, featuring the personal accounts of a rich host of footballers, managers, pundits, historians, and journalists. From the origins of the game through to qualification for Poland and Ukraine the series re-visits some of the most memorable moments in Irish soccer.

Paddy Don Patricio – TG4

This film deals with the life of Paddy O’Connell, former Belfast Celtic player, Manchester United Captain and manager of Barcelona FC during the Spanish Civil War.

Hill 16 – TG4 – Dir: Shane Tobin

Everyone knows what ‘Hill 16′ is, but how many know the rich history which dates back to World War 1 when its first name was “Hill 60” after a battle in World War 1? Or up to the 80s where barbed wire fenced in the fans from all counties but especially Dublin GAA fans who would make it their own over the years.

and the two other ones I worked on

Faster, Stronger, Higher – RTE – Dir: Ronan O’Donoghue

Sports science documentary Faster, Higher, Stronger sees journalist Ian O’Riordan examine how athletes are using science and technology to enhance their performance, asking whether or not we can ever again truly believe in the purity of sport.
The Olympic Games are meant to represent all that’s good and pure about sport – heroic acts of courage, fair play, and being all that you can be.

When Ali Came to Ireland – RTE – Dir : Ross Whitaker

The film centres on the 1972 fight, in Croke Park, between Ali and the American challenger Al “Blue” Lewis, an ex-convict who miraculously won parole from a life-sentence for murder in his native Detroit. They were brought together in Dublin by an ex-circus strongman from Kerry, a colourful bar-owner who billed himself as “The World’s Strongest Publican”.

heres a really interesting piece on what Setanta have brought to the table since they began commissioning hour long documetaries

There have been others this year that I’ve forgotten and some that I’ve heard about but not yet seen.

Crowdsourcing, No Messages & Steve James

Here’s an article by one of my favourite film-makers Steve James on crowdsourcing for documentaries. He, along with best selling author Raj Patel, is currently in the process of raising funds for his new documentary “Generation Food”, a cross-platform look at stories of people fixing a broken food system today so that everyone can eat tomorrow. You can support the film and find out more about it here

In the article below he raises some interesting points, including how uncomfortable he is with people promoting a work in progress. Which is something I wholeheartedly agree with. While I may use this blog to blatantly promote my work and that of my friends, I have one rule. Promote what you’ve done not what you’re doing. People get very fed-up of constant updates from the set and on how post-production is going so that by the time the project is ready for the world, they are so sick of it they are actively rooting against it.

Crowd-sourcing is something that has been a game-changer for so many people, its especially great for Musicians and its a great way for you to support artists that you believe in. Earlier this year, my esteemed colleague and friend Cian McCarrigle used Fundit to finance his wonderful short film “No Messages”. Last night as the Underground Cinema Award Nominations were announced, Cian like a Mayo version of James Cameron cleaned up with 4 nominations for himself personally out of the films 5 nods. Kudos Cian, well played.

The piece originally appeared in Indiewire

Steve James is the director and producer of the documentaries “Hoop Dreams,” “Stevie,” “Reel Paradise,” “At the Death House Door,” “The Interrupters” and “Head Games,” which is awaiting release. He also co-wrote and directed the narrative feature “Prefontaine.”

“Generation Food” is a collaboration between myself and author/activist Raj Patel that will tell stories about efforts around the world to try to solve the food crisis — through a documentary, a book, a website and mobile apps. On July 8, we launched a crowdfunding campaign to try to raise funds for the very first research trips we need to make on the film, to locations such as Peru and Malawi. So far, we’ve raised half our goal, with a little less then half the time left.

I’ve never done this kind of fundraising before. But for some time I’ve been intrigued to see that people have had success with it and excited that filmmakers now have a way to raise some money for their films that bypasses traditional funding sources. It opens the opportunity to attract private individuals to support their work.

This is a different process for me in a number of ways. Generally, I don’t like publicity on docs in progress, much less ones that are only in development; I’ve always tried to stay under the radar in terms of any press, especially with regard to the subjects of the film. I don’t want them to be thinking about the film or funding or what the public reaction is going to be. I just want them ”living their lives,” with us simply documenting it all. But for “Generation Food,” we don’t think this will be a problem in part because we have yet to settle on specific stories or characters. So being more public with our crowdfunding campaign is fine for now, though we will likely go “more silent” once we start filming in order to protect our subjects.

Another difference is that unlike any of my other films, “Generation Food” really needs development funding now so we can find the right stories around the world to cover. Aside from “The New Americans” (a seven-hour PBS series on immigration), the projects I’ve made haven’t required that kind of development to go out and find those stories. Rather, the ideas for the films started with me knowing the story I wanted to capture.

Ask any filmmaker: Films that follow stories of “ordinary people” (read: not famous) over long periods of time often have a hard time attracting early funding, even if the filmmaker has a good track record. For most of my films, I’ve had to go out and start shooting before I could get the rest of the funding. That was the case with “Hoop Dreams,” “Stevie” and “The Interrupters”: We started them quietly out of Kartemquin Films, only really going to funders once we had something to show and a firm idea of what the film might be. And then much further down the road, we went public when the film was set for some kind of premiere.

So that’s another difference with “Generation Food.” With this campaign, we’re building early awareness among people who are truly invested, beyond dollars, in the film. We’re already seeing on the “Generation Food” Facebook page that going public early can lead to a real groundswell of support. I love the idea of sharing some of what we find in the research phase with a select community of people early on as a perk for their donating, and then gauging their feedback. We’ve also received some really great thematic questions to ponder from people who care passionately about this issue. That’s all new and exciting to me.

Crowdfunding or not, it seems to me that this is where the marketing of films has been going and will continue to go. Even with a traditionally funded film such as “The Interrupters,” it would have been impossible for that film to have its continuing impact without the Internet and social media – especially given the miniscule amount of money we had to spend on marketing. Crowdfunding seems like an outgrowth of that community-building trend. We looked at all the sites and picked Indiegogo because it seemed to have a broad reach and we’d get to keep the money we raised even if we didn’t make our goal. It will all help!

Crowdfunding isn’t without its drawbacks. It’s been a learning curve. We’re finding that a tremendous amount of work goes into mounting a campaign, putting the perks together and getting the word out. It’s a labor-intensive undertaking, and I’m very thankful that my partners have taken the lead on it. There’s also no guarantee of success, just like any other type of fundraising. I’ve had my share of films for which finding funding has been extremely painful. You don’t escape that. But with crowdfunding you’re at least more in control of your fate.

Another potential drawback is that it probably doesn’t work for every type of story — it just wouldn’t have been right for “Stevie,” for example. He’s the kind of main subject that most people, I think, would have a hard time being inspired enough by to make a donation. However, in hindsight, I think “The Interrupters” would have been a success if early on we had put together a video featuring one interrupter that showed what he was doing. We’ve found that people feel very strongly about the issue, even though back when we were making the film we often wondered, “Who is actually going to want to see this movie?” But that’s hindsight.

So crowdfunding should not be viewed as the savior of documentary filmmaking. You need other opportunities for filmmakers to tell stories that aren’t necessarily issue-oriented or about heroic subjects. That’s the hardest funding to get from regular means anyway, and it may be even harder this way. Plus, traditional sources of funding — foundations, broadcasters, distributors — still need to do their part. They shouldn’t be let off the hook, so to speak, in the brave new DIY world.

And that’s because, given how expensive it is to make a feature documentary, the level of support most filmmakers can muster from crowdfunding isn’t going to fully fund their film. (Yes, I know there are exceptions, but that’s precisely what they are.) Key funding early on — or on the home stretch to finishing — can truly save a film. When I was starting out and banging my head against the wall trying to secure initial funding, crowdfunding would have been a godsend.

So overall, I think it’s a great avenue. I can’t imagine a better film for this approach than this one, especially at this key phase. This project will be community-based in how it is delivered. Raj Patel has contacts around the world, and he has a tremendous network helping this get off the ground. Raj and team member Meredith Palmer, in particular, have been absolutely inspired in their efforts to seek out support and draw attention to the project. Recently, Raj was even able to get a couple of generous donors to put up matching grants that really gave the campaign a second wind. With this support, we hope to find the kinds of compelling stories that will put us in a much stronger position to go to traditional funding sources when it comes to financing the actual production.