On a bitter cold weekend in January, DU Film Society warmed the hearts and minds of budding young filmmakers with their annual Film Network. Over the course of two days, the society organisers cultivated a diverse line-up for students to partake in, showcasing the talents of numerous industry players from all walks of professional filmmaking life. Friday evening began with a panel discussion featuring several industry professionals, this led to a critically engaging conversation centred on the current state of the film industry, particularly the Irish film industry. Saturday’s line-up saw a more focused approach, with industry insiders conducting talks, screenings and masterclasses within their respective field of expertise.
Hosted in the comfy enclave of Trinity’s Samuel Beckett Theatre, the beginning of The Film Network on Friday evening saw a panel discussion debate the contemporary film industry, both in Ireland and abroad. This discussion was bound to be wide-reaching and varied from the beginning with a diverse selection of professionals, all having worked in different environments across the globe. Stunt-man Peter Dillon, who has worked on The Lord of the Rings, The Hobbit and Vikings, sat on this panel. Dillon was joined by Eoghan McQuinn, one of Ireland’s most promising young filmmakers. McQuinn currently works as a script reader in Element Pictures and his ambitious project, period-drama Staccato debuted in foreign festival circuits such as the QFlix Philadelphia and the Kashish Mumbai. The final panel member was Justin MacGregor, Trinity professor and experienced filmmaker in his own right with considerable experience in the Hollywood studio system.
The stage was set for discussion and each member of the panel offered up their own praise and critiques of the film industry, all into the palms of an attentive audience. The subject of technology took hold for some time, with Peter Dillon arguing that in his line of work in the stunt field, motion capture cameras produced an improved refined quality, with 3D cameras proving more mobile which in turn demand stronger performances. Justin MacGregor, on the other hand, placed a caveat on the emergence of technology. Initially, he had hoped for greater democratization in filming with the advent of technology but conceded that he held a love/hate relationship with it. Technology, he summarised gives rise to “lazier filmmaking.” Long gone are the days of savoring each reel of film, leading to an economy of shots where efficiency is paramount. Too often it seems, directors have excess freedom which only leads to a lack of focus. However, this isn’t true for all filmmakers. Whilst it is true that filmmaking has become easier with the help of film creation software, it’s still vital that there’s passion and drive to create quality films. Some of the leading experts hoped that this message got across to these aspiring filmmakers, especially if they want to create their own films. Students were also told that, in the future, they would need to add some movie theater ads to their films before they screened them. This is one way of creating more income for the students if they do ever plan on making it big in the world of film production. It’s vital to make profits, especially when you’ve spent so long working on a film.
In regards to funding, MacGregor was particularly outspoken. He criticised the Irish filmmaking system which has a habit of placing all its eggs in the one basket, in turn handing that basket to a single director. “It’s easy to say – Give it to Lenny,” he expressed in relation to Oscar nominated director Lenny Abrahamson. He outlined the need to spread funding opportunities around, instead relying on a close-minded mentality of placing the entire creative capacity of a nation on the shoulders of one revered director. Eoghan McQuinn weighed in on this aspect, cautioning the use of crowdfunding platforms. He stated how in the small, Irish filmmaking ecosystem, crowdfunding leads to a paradoxical exchange of money where one filmmaker supports another, while the supported reciprocates. McQuinn outlined the need for an extension of funding with more reliable platforms for filmmakers closer to the ground.
Before the discussion reached a conclusion, an audience member questioned the impact of Netflix’s recent upswing in dominance of the industry. MacGregor recognized the popularity of Netflix, while also indicating the uniqueness of the current climate. He outlined how Netflix themselves are still unaware of their direction and are only just figuring out a sustainable business model now, currently “fumbling around in the dark.” One day, MacGregor prophesied Netflix would be just as formulaic as Warner Bros. or ABC, but until that time it is anyone’s game. This represents an acute sweetspot which could lead to the opening of opportunities for many young filmmakers with big ideas. Networking drinks followed this engaging discussion, giving attendees the chance to sample the complimentary wine on offer and rub shoulders with the panel experts.
A brisk and icy Saturday morning greeted Film Network guests on arrival at the Samuel Beckett theatre for the second day of proceedings. Shuffling into their seats, attendees first heard Peter Dillon’s discussion on his career in stunts. A former secondary school teacher, Dillon had always kept martial arts on the side as a hobby. While on a career break in New Zealand, by chance he stumbled across the elusive “Assistant Sword Master” for the first Lord of the Rings film, on the lookout for stuntmen. Dillon detailed the excitement of his job, in particular the complete anonymity that accompanies the stunt sector of films.
The next speaker saw story and development consultant, Rachel O’Flanagan take to the stage. A self-professed “script mid-wife,” O’Flanagan outlined her process of curating stories for maximum audience involvement. She detailed how she is “thematically searching, rather than genre searching” in her field. Her talk centred primarily on the genesis of story, character development, the importance of refined secondary characters, and the understated need for a “final emotion” in a script. Overall, O’Flanagan’s discussion was punctuated by an integral thesis that she stipulated must be proven throughout a script. “Someone wants something very badly – thats act one. They have great difficulty getting it – act two. And whether they get it or not, is act three.”
Gerard Walsh was welcomed to the stage next. Director of South which debuted at the Galway Film Fleadh last year, Walsh proceeds to outline his simplistic process of taking an idea from his mind onto the screen. His presence is almost meditative and one can only imagine the relaxed atmosphere on his sets. He credits the use of self-financing films as a method of reducing the mounting pressure generally associated with filmmaking. He admits that he is simply “not used to the pressure cooker environment of a big budget.” Walsh is relaxed and candid and it is evident how this inimitable demeanour slips into his films.
Following Walsh, editor Emer Walsh took to the stage, detailing her career with credits on offerings such as The Eclipse, Patrick’s Day, and My Name is Emily starring Evanna Lynch of Harry Potter fame. Music video director, Bob Gallagher arrives next. He intrigues the audience with a controversial music video from Girl Band, featuring an explicit autopsy.
The Film Network takes a commercial turn for it’s final act of the day. Andrew Bradford, owner of production company, Sweet Media takes to the stage to discuss the trying business of producing television ads for companies such as Direct Line, The National Lottery, Armani and Aer Lingus. Finally, Liam Ryan is the days last guest. Ryan, with a background in short films is the programmer for the highly anticipated Audi Dublin International Film Festival.
Highlights of the weekend indelibly relate to Justin MacGregor who was a particularly engaging guest. Oratorical in his delivery, he infused his musings with balanced arguments and regular industry anecdotes. Other highlights include the indispensable networking opportunities in the midst of regular, and highly appreciated coffee breaks. DU Film Society set out to create a weekend filled with industry professionals who would gladly give up their time to educate a younger generation on the intricacies of a notoriously difficult industry – and DU Film did just that. For any prospective filmmakers, DU Film Network’s weekend was an exceptional event, filled to the brim with information, passion and perhaps most important of all, inspiration.
