PFO

I got a PFO letter this week. I have a stack of them. A large pile that I used to keep pinned to the wall beside my desk, but that now inhabit the bottom of a box somewhere. I also have several gigs of PFO emails.

Ah, the rejection letter. It's a daily subjection as a filmmaker and writer to be faced with rejection. Daily rejection? Think about that. To be told "No" "Not Good Enough" "Go Away" "Not A Chance" "PLEASE F*&@ OFF" on a daily basis. I imagine it's a lot like what it feels like to be a chugger. (Though that doesn't make me hate them any less!)

But, alas, it is part of the process. It gets easier to take. But is no less annoying. I suppose it helps develop a thick skin and enforces the resolve to keep going. To prove them wrong? a little bit, yes. But it's always about the work. Making something good and enjoying it, because that's why you're in it in the first place - for the love of the work. Not for the approval of funding bodies.

In fact, I'd like to start sending them PFO letters back.

Dear Funding Body,


          Well I don't need you stupid money anyway. I'm still going to make my film. :b'


Yours Sincerely
A Jilted Lover.

Does make me sound a bit like a jilted lover doesn't it?! Well, maybe not then. Best to just brush it off. Just figure on the fact that your work is not going to be for everyone and keep doing it anyway.

The project I'm referring to was of course Derelict (as well as every other project I've ever thought of, developed, wrote and made) but that's shooting in 4 weeks time. So you make it happen. No one else. Just you. People may step in to help if you're lucky, but still and always it's down to you to make it happen. Rejection is part of acceptance. Makes becoming all the sweeter.

Now, I have work to do, so if you don't mind - PFO.

;)

2001: A Filmmaker's Odyssey

2001 really was the year that changed my life forever. For lots of personal reasons, but also for film.

I graduated college in 2000 having studied Animation for 4 years at Ballyfermot College of Further Education. I started out top of my class, an extremely enthusiastic student, but I didn't stay that way. I probably graduated bottom of my class, if I'm entirely honest. For lots of reasons, and not to play the blame game, but it was the kind of college where you were pretty much left to your own devises, they weren't so big on the guidance thing, and left to my own devises I'm easily distracted.

One such distraction was screenwriting. I became obsessed with it. I've always been a film fan and I've wanted to make films for as long as I can remember. And I've always been a keen writer. But again, never really guided. Sounds odd, but I discovered screenwriting quite late. When I did, I knew this was my way in. College took a backseat from then on.

I went to LA straight after graduation. Spent several weeks looking for work in some of the top studios in the world with a half-assed portfolio and the worst reel you'd ever seen. Not surprisingly I didn't find work, so I came home early. My girlfriend at the time had already decided she was going to spend a year in Australia, backpacking. I could come, or not, but whatever I decided she was going. So I guess that meant I was going.

She went ahead by several months. I stayed behind working on a factory production line trying to safe enough money to join her. I was lucky though. I was sat alone in the far corner of a large factory on a near empty floor on a self-running test machine that I only had to load every 30 minutes. It gave me months to write. I actually loved it. I wrote three short scripts and two feature scripts. They were terrible. I knew even then. But I was writing. And more to the point I discovered that I enjoyed it more than Animation. I loved making up stories.

I finished working there in January of 2001 and by that time I had made the decision not to pursue Animation any further and instead follow my first love, no, not the girlfriend in Australia, but Film.

When I landed in Australia I was of course thrilled to see the girlfriend, and her me... for about 12 hours! The next day I dropped the bombshell "I'm not doing Animation anymore, I want to make films." The look on her face should have told me that was the end, but I've always been a little naive that way. It took several more months for the penny to drop.

During the following oblivious months I wrote, like never before. I poured over screenwriting books, I bought notebooks and took endless notes and I even bought myself an old type-writer from SVP (SVP would play a hand in my career again of course!) and I set to writing the screenplay I was going to direct when I got back to Ireland. It was a kidnap thriller called Blood . Dirt . Money even had the full-stops like that and everything!

A huge influence on the script, and me, was the film Memento by Christopher Nolan. It truly inspired me and informed me. It changed how I looked at films. I realised this was the kind of film I wanted to make. Something contained, taught, dark, something that kept the audience guessing and enthralled. That first draft of B.D.M probably lifted a lot from Memento, in fact, I know it did, as well as a lot of other films. Looking back it was something of a patchwork of borrowed scenes! But I managed to finish the screenplay before we left Sydney. Little didn't I know that when I typed 'The End' it meant more than just the end of the script.

I came back to Ireland early. The girlfriend stayed behind to spend some time with her sister, or so I thought. I had suspicions something else had been going on for a while. She would cry for no reason. Disappear to meet friends, who would then show up completely unaware of any such meeting, strange misplaced apologies. When she eventually did get back I popped around to see her and was sitting at the table flicking through a magazine when I came across her named, written across a L'Oreal advertisement, but with a different second name, and not mine!

I remember her telling me years ago that it was something all girls did, write their name with the second name of a potential husband to see if it looked good, sounded good (she always thought my second name sounded funny with hers!) I never forgot the name, and it was only years later when I heard the name of her now husband that it was all confirmed. We broke up that week.

But none of that matters now. She's married. I'm married. Everyone's grown up and happy. It's just relevant to the year that changed my life. 2001. My odyssey!

After that I decided I would focus on writing. I got in touch with Thomas Kennedy. Told him I wanted to make this script I had and if could advise me. He read it. Never mentioned it again. But asked if I wanted to write something else with him. From that first meeting came Emily's Song, our award winning short film. Ten years on the writing partnership continues, that although we've been interrupted by marriages and kids and careers and soon immigration, it is still going strong - I'm meeting him tomorrow in fact, we're still working on Iscariot!

So that was the year that changed my life. Had I not made that decision I would have the films I've made, the friends, the collaboration the measure of success I've had. Had the girlfriend not made her decision I would not be happily married to a wonderful, supportive, strong woman with whom I have the most beautiful daughter.

And ten years on I finally get to make my kidnap thriller. Except this time is called Derelict and hopefully the script is a bit better!

Pistols at Dawn.

Sold Slán agus Beannacht to RTE. Great! Delighted. I'm glad this film will be broadcast and everyone's work will finally get seen by a large audience.

Derelict is moving forward nicely. Things are coming together. On target for September shoot. We'll be getting gear from Film Equipment Hire Ireland, my thanks Colin Browne there for the help! Awesome! I've been talking to renowned armorer John McKenna about supplying some weapons - pistols and knives. Hopefully going out to his store soon to have a look at what I can afford.

Me doing camera test at location.

On that subject I'm meeting with actor Keith Ward this week to start designing the fights and stunts. So I'm looking forward to that. I'm planning on storyboarding the film, so will trying to get some boards done for the fights soon to work from.

Last week I met with actors Michael bates and Steve Gunn to go over the brother scenes and work on their relationship as brothers. It was a great afternoon. We got a lot from it and it gave us so much food for thought. It felt like we'd given the script life, and the more time we spent with it the more it grew and flourished. So I'm really looking forward to doing some lengthy rehearsals and

John Lawlor DOP

finally getting on set.

I think I said before it's one of my favourite parts of the experience, getting actors in a room and watching your words come to life and then the collaboration that comes after, the conversation, the search for the truth within the words. When it works it's truly exhilarating. I love it.

Coming up, casting. I have one part left to cast. Previously owned by Andy Gallagher, the part of Andrew the son has been rewritten as Louise, the daughter. So I'm on the look out for a young actress. So seeing some people this week. Hopefully Louise is among them.

So it's getting close. 7 weeks today we'll all be on set. I can't wait... actually, I can! There's still a hell of a lot to do and I'd rather have the time. Even though this has been two year in development and it's been delayed and delayed this year, I'm sure once it comes to it I'll be praying for more time! But that's the energy that gets us through.

The location.

Just wanted to throw this in. I watched a fantastic film this morning, one I've been meaning to watch for quite a while - Down Terrace. A low budget british crime film made by director Ben Wheatley and writer Rob Hill. It was absolutely brilliant. I loved it. A real, edgy, violent and very bloody funny crime thriller. It's very much in the same vein as Derelict - Shoot on one location, a small cast and crew, everyone working for free, a budget of a few grand, no backing, purely independent and shot over two weeks.

Down Terrace - Highly Recommended!

It gives me hope, makes me believe that great films really are achievable at this level. Also worries me! But Derelict has a great team fighting to make it work.

That's all for now. Hopefully back soon with some cast news!

Day for Night

Location by Day

DoP John Lawlor and I took a recce to a couple of locations yesterday. Two locations I had previously visited with producer Richie Quinn, but remained undecided on. One was free (and featured in the kickstarter video) but small, the other was expensive, but huge and offered a lot more n scope and scale. Yesterday was a second viewing to make up my mind. With John in tow we could really look at what both sites would give us visually.

Location Graded for Night

The first site was an old flour mill, pretty cool place, lots of interesting features and certainly workable. We spent a good hour there, thinking about where we could stage scenes, where actors could play, interact and what new aspects the location might change or lend itself to the script. You're constantly looking for ways the location can inform and be a part of the story, rather than just a backdrop.

So overall the location was a 'No', it was too small, didn't offer enough in terms of story and as John pointed out 'It's not derelict!' - it was also right on the doorstep of the owners house. Slightly impractical. While they had a 'Work away' attitude, I'm sure they have no idea just how intrusive a film crew is, especially one shooting at night. We might find on the second night, at 3 am, having woken them up for the fifth time, a grumpy housewife walking into shot in her nightgown telling us to find somewhere else to make our film!

We headed straight from there to the second location. One Richie and I had looked at late one evening as the sun was going down. It was pitch black inside and our only source of light was a candle and the light from our phones! So I didn't really get a sense of the space. But it was a different story during the day. As we pulled up to this large old mill, complete with rows of shed and 80 foot chimney stack, John said 'I don't even have to see inside, this is the place.'

Me at Location

But we did go inside. And spent an hour getting very excited and imagining all kinds of scenes in various areas around the four stories of vast rooms. We shoot a bunch of footage, just looking around. And talked about the idea of shooting Day for Night (shooting in the day and colouring the footage to make it look like night time, commonly used in film)

Me at Location Graded for Night

Shooting in the day would certainly make life a hell of a lot easier. So we did some grading test, just very quickly, and honestly, didn't work for me.

I'm never sure about shooting Day for Night, I always see it in films and it jars me out of them. There's a big difference in the lighting, the skin tones, how shadows fall and the overall quality of the piece. It creates the wrong type of atmosphere. I love when it's done in the old Hammer Horror films, makes my smile. But not for this. I'd rather work as close to the environment we're trying to portray as possible. Shooting at night lends a certain atmosphere that is simply unobtainable in the day. And I want that to translate to the screen.

While the second location is expensive it gives us so much more that, for me, makes it worth it. I'm getting very excited about getting in there to dress the set and to light it. It's going to be a challenge I'm sure, probably ten times harder than I'm imagining, and who the hell wants to work from 8pm to 4am! But I think it's the right choice and will give us the dark, atmospheric, gritty crime thriller I set out to make two years ago!

Can't wait to get stuck in!!!

In some other news, the short film I directed and edited last year, Raise My Hands, is finally hitting the road - starting with the IMDB page. We've started entering festival and I'm cutting the trailer on the other screen right now, that should be up soon! More news coming.

Doubt.

No, not the John Patrick Shanley film, though it's great and you should see it. I mean the actual feeling of doubt that plagues our every waking minute. That sense of being unsure, the feeling that things are quite as they should be. I have doubt a lot of the time, probably as much as anyone, I doubt the news, word of mouth, people, freedom, my grocery receipt... the usual stuff. But I have it in spades at the moment.

I just sent the new draft of the Derelict script out to the actors, and some trusted friends, and as soon as clicked send I regretted it. Which is odd, because I've been sending earlier, less completed, drafts out no problem - with that very intension, that people would be involved early on and the actors could contribute to their own parts with their ideas. But on this draft for some reason, I had doubt.

I think as it gets closer, we're now two and a half months away from shooting, I'm getting more worried about it working, about making a good film, a worthy film, of everyone's time, talent and effort and money - a lot of people have donated money to this film now. I'm worried about making a fool of myself too! I've been blabbering on about this film for far to long, to make it and fail, would be a disaster, would be unacceptable.

When I finish a draft, revise it, read it again and feel happy with it, I put it aside and I might sit down to watch some TV, and if there's something bad on I think "Shit, does my script sound like that, is this what I'm making?!" so I have to go back and check. Or, the opposite, I watched Network and Serpico this week, blistering performances burning the screen, powerful, a master-class in the craft of filmmaking. So I think, "What's the point in doing it if I can't do that?! What's the point in doing anything if the best has already been achieved" - so the doubt grows and grows.

I think the trick is, I hope the trick is, to use that doubt as a tool. To keep checking, keep refining and ultimately, never really be happy with it. Do the best you can with what you have and hope that what comes out in the end is somewhere near that vibrant intangible spark you caught a glimpse of way back when you decided it would be a worth while journey to follow it.

Some more writing to come. Hopefully a rehearsal or two. And I'm going to do some storyboards soon too. Still looking for some crew as well. More doubt soon.

5 Years Old.

My blogiversary passed with incident or fanfare! I guess I forgot all about it with all that was going on over at  Kickstarter! Sorry Blog!

5 Years Old!!! As of June 28th.

I started this blog just after I completed 'Emily's Song' in 2006 and have since charted my accomplishments, failures, hopes, disappointments, dreams and nightmares! It's been interesting for me to  look back over it and see ideas come to fruition. Reading an entry where something is sort of mentioned and knowing that was the day I came up with the idea, then there's the script, cast attached, the shoot, the film, festivals, distribution deal signed, awards, TV broadcast! It's been a fascinating journey. It's still as tough as it ever was I still have as many struggles and doubts. But if I'm ever in any doubt that it's possible I only need to looking back over these pages and know it is.

I hope those who visit have enjoyed the blog and continue to enjoy it. It will be interesting to see what new films and adventures appear here over the next five years! Stay tuned!

Thanks for reading.

Kickstarted!

Kickstarter Success!

We did it! You did it! The Derelict Kickstarter funding drive is SUCCESSFUL!!! I'm thrilled, over the moon, ecstatic! I didn't think it was going to happen for a while there, but so many friends, acquaintances, associates and complete strangers came through to help me and help get this project off the ground.

Most of all this has been extremely encouraging. I've had a lot of positive feedback on the clip, people like the dialogue, love the cast and are intrigued by the scenes and want to see more. Well, there certain is more and thanks to this, and of course the other donation given, we're going to get to see it all realised.

I'm under no illusions mind you. It's still going to be a tough project to complete. When the kickstarter money comes through, what with fees and the exchange rate at the moment that $3000 should translate to about €2000. Along with what's in the bank, we'll have between three and four thousand. Still not a hell of a lot to make a feature film. But it's enough to make this film. It has to be.

There's still a lot to get organised. Including cast a new role. We unfortunately lost Andy Gallagher, who was to play, Andrew, the son. But the schedule of the film conflicted with the start date of his college course. I decided to try a little experiment and change the character of the son to that of a daughter. Adds a whole new dimension (less of a sausage fest as my wife said!) So I'm casting for that role - actresses who can play 16/17 year-old. (If you're an actress and you're reading this, hit the 'contact me' button on the right)

Equipment to get. Crew - very specifically a Sound Recordist! Anyone reading?! You know what to do.

We're able to get this film made because everyone is working for free. Because, as well as the generous people who have pledged to pay for insurance, equipment, expenses etc. there are the cast and crew, all of whom were the first to donate to this project, of their time and talent - so my thanks to them, always.

Next for me is to keep working on the script. I finished the new draft today, purely by conincidence. I'm going to spend a couple of days going over it before anyone gets their hands on it. After that we'll try and get together and begin some form of rehearsals, workshops, one on ones - whatever we can find the time to do. I do plan to hold a full rehearsal with all the cast in the location of the film, to get a feel for it, so everyone knows early on what we're up against. I'll also film it, so some teaser footage may appear in the coming months... maybe!

That's all for now. Just my thanks again to everyone who has pledged. Thank you all so much for helping get this film made. My thanks to everyone who perhaps couldn't afford to donate but still helped get the word out by sharing the link on their facebook walls and retweeting on twitter! I know for a fact one such wall post lead to a donation of $145! And another to a donation of $500!!! So in these situation, you may not think you can help because you can't pledge, but you can, getting the word out helps - you never know who's reading!

Ok, I'm off. I have a busy 10 days ahead. My wife is flying to the states for her sisters wedding so I have my 18 month old daughter alone for that time! I hope I survive... wish my luck!

Thanks! All of you. And thanks to Kickstarter for giving me such brilliant opportunities to raise funding. Great website! Love it.

Backers:

Debra Carty
Deb Stone
Niamh O'Donnell
Farah Azalea
Oisin Prenerville
David Brennan
Terry Whittingham
Elliot Kotek
Victoria Charters
Trevi Productions
Donal Black
Paul Quinn
Paul McGrath
Gavan Murphy
Damien Donnelly
Jennifer Hegarty
David Wolstencroft
Jason Butler 
Trampas Thomspon
Dan Gaynor
Brendan Leech
Emily Best
Holly Perkins
Cara Konig-Brock
Varda Hardy
Gwen Fearon
Paul J. Gitschner
Fiaz Farrelly
John Burton
Fergalio
Samantha Boylan
Noel Prendiville
Kyle Jaracz
Doen Vozov
Don Reilly
Tadeusz Cantwell
Hugh O'Conor
Morgen Sarpeshkar
Simon Gregory
Leigh Ann Danzey-Bussell
Roger Hudson
Erick von Schulz

Badgerankles360

Don't forget your friends.

Just a quick blog about the importance of taping you social networking resources indies! Take nothing for granted. A couple of weeks ago I was getting a little burnt out on facebook, so I took a break, stayed more on twitter (which of course I love, 140 anyone?!) But had the notion that maybe I would stay over at twitter! Tonight I changed my mind and remembered the each are different and as important as the other.

The kickstarter fund had stalled at $1565, as the blog below states. So I put out a call to my friends on facebook, sent a message asking them to share a link and help get word out - they went a step further and began pledging, and we went from $1565 to $2022 in a couple of hours! It was unbelievable! I'm so appreciative and taken aback with the sudden outpouring of generosity and belief! Even though I haven't had much sleep in the last three nights I'm buzzing tonight... hence a blog at 1am!

There's still a way to go. I have 7 days to raise almost $1000. I'm not resting on my laurels. But I am thankful for tonight.

The moral, take nothing for granted, utilise what you have. Trust that your friends believe in you and will support you. Ask for help when you need it. Be grateful. Be thankful. And keep pushing, right to the end.

Goodnight.

Update: June 22. Since last night the fund has gone up to $2737! So 91% funded with 6 days to go! Still $263 to raise though! - Sprint to the finish!

The Magic 5%

Derelict Kickstarter Page

As I write this, 5:30PM June 20th 2011, I have 9 days left on my kickstarter funding drive for Derelict. So far I have managed to raise $1565! Which is great, more then I made on my funding drive two months ago at the Highlanes gallery and more than the substantial donation I received right after that. But I stand to lose it all!

Kickstarter has a policy, I've mentioned it here time and again, it states that if you do not get the full amount, you get nothing, works as an incentive and I kinda like it... well, I did at the start, but now I'm in single digits and staring down the barrel of a gun, I'm not so sure anymore!!!

The script is going well, I've been writing all last week and all weekend (even with my daughter up all night teething and crying I managed to get a page here and there in the quiet moments!) So I'm feeling good about the project.

My hope is to have another reading in the location itself and film it, so everyone can get a feel for it and maybe I can even cut a rough version of the film together, which will help with further development of the script and may even be something to show investors in the project... will also just be good fun!

For me that's an important factor, Fun! Filmmaking at this level, the bottom rung of the ladder... that's if I'm even near a ladder! - is all about hustling, pulling favours, putting on community fundraisers, crowdfunding, being a one-man-band, so it gets tiring and I find myself questioning the reasons I'm doing this in the first place, it's certainly not for all of the above.

But that's the 95% that comes before the magic 5% when you do get to do what it's all about and every time I get a chance to get in that space I'm reminded why I go through the other crap. It's about getting in a room with a bunch of creative people and making something out of thin air that may entertain, educate, move, inspire people. That's why I do the rest of it. For that magic 5%.

So, back to Kickstarter. I really don't want to lose that $1500, I really would like to get the rest and make it to $3000! To lose it now would be such a blow. So I need to keep pushing it, to the final hour - Mid-night on June 30th. The next day my wife leaves for the states to attend her sisters wedding and me and my Daughter have 10 days alone. We'll already be sad. I don't want to be any more sad!

If I don't get this, honestly, the film really stands a chance of not getting made! I only have so much time to develop the script, find the rest of the crew and rehearse with the actors. I need to be concentrating on that and less on the fundraising! And time is of the essence for me as I have a huge personal deadline approaching. I can't keep delaying the shoot. So this could be it! Help. Is. Needed!

So, if you're reading this and think you can help, please do. $/€5 makes a difference, helps push us forward. $/€50 is huge boost and provides credits and freebies and inclusion in the process of making the film. http://kck.st/iLoYWC - and spreading the word, recommending to friends, it's all good!

What's the money for? Insurance, equipment rental, travel expenses and food.

Thanks for you help! It's appreciated.

Praise Be.

I just wanted to thank everyone who has pledged so far to the Derelict Kickstarter fund. The support of these people means everything to me as it means I'll be able to make my film! Patrons of the arts provide the life blood of the artist. Without their support we simple could not do what we do.

So my sincerest thanks to:

Debra Carty
Deb Stone
Niamh O'Donnell
Farah Azalea
Oisin Prenerville
David Brennan
Terry Whittingham
Elliot Kotek
Victoria Charters
Trevi Productions
Donal Black
Paul Quinn
Paul McGrath
Gavan Murphy
Damien Donnelly
Jennifer Hegarty
David Wolstencroft
Jason Butler

Thanks to all you guys for getting the Derelict Kickstarter campaign up to $1065!

I'm trying to get to $3000 and I have 21 days to go. The way Kickstarter works is that if I don't get the full amount I get nothing at all! So that 935 above isn't secure yet!!! I need more help and more generous individuals like those above to join the list and be a part of this project.

To do so head on over to Kickstarter and make a pledge, even if it's just $1! For that you get my thanks and a credit on the film, and you will have my sincerest thanks, because every penny counts with this!

Thanks.

Addition:

I would also like to acknowledge the people who donated on Ghoster and then agreed to transfer their donations to Derelict when Ghoster stalled. There money is secure in my bank along with other donation received and as they gave through a crowd-funding website they will avail of the equivalent perk to the donation they made.

Graham McBride - $50 - Thank You Credit. Updates. Signed DVD.
Paul Gitschner - $100 - Thank You Credit. Updates. Signed DVD. Signed Poster.
Robert Zappia - $25 - Thank You Credit. Updates. Signed Art Card.
David Brennan - $25 - Thank You Credit. Updates. Signed Art Card.
Mairtin DeBarra - $25 - Thank You Credit. Updates. Signed Art Card.
Caroline Farrell - $50 - Thank You Credit. Updates. Signed DVD.
Jason van Genderen - $100 -  Thank You Credit. Updates. Signed DVD. Signed Poster.

Thanks Guys!!!

The Nights Watch

It's been a busy week, spreading the word about Kickstarter and it's going well. Today we are at $775 I'm happy to report, 6 days in 34 to go. I think that's pretty good going. Hopefully we'll make our total!

Cast News:

Rory Mullen, who will be playing Laurence, the bank manager, in Derelict, recently won a Best Actor Award at the first Attic Studio Awards in Dublin for his roll in the short film 'Spoon' (by director Declan Cassidy, the film was shot in Drogheda.) Well done Rory!

Rory Mullen receives Best Actor nod.

Geeking out a bit about this one! But Brian Fortune, who is set to play The Hooded Man (as he is reffered to in the script) will appear in Episode 7 of the new hit HBO series Game of Thrones as one of the Night's Watch.

Brian Fortune as part of the Night's Watch in HBO's 'Game of Thrones'

I've been watching the show and really enjoying it and not being bias when I say the Night's Watch segment of the show is my favourite part, I just want the whole show to be set there! Set up North, in the wilderness, in the snow, with the early promise of Die Wolves and White Walkers... well, it's right up my street! Well done Brian!

Dates Locked:

I'd locked the dates at last. September 19 - 30, which includes a full week of rehearsal and a week of shooting.

I hadn't locked dates before because I was trying to accommodate schedules, so if someone had a paying gig I would move the dates, I figured it only fair considering I was asking people to work for free. But it has proved to be my downfall. Without solid dates it simply left people unsure I think, so they're going to take work when and where they can, not wait for me to maybe shoot in September, Depending on whether so and so is able...

Worth noting I think. Set your dates. Stick to them. If people can't do it then so be it. Get someone who can. But the film is much more likely to get made. So that's when we're going. By hook or by crook!

That all to report at the moment. Please head on over the kickstarter and pledge if you can, loads of cool perks to avail of - DVDs, T-Shirts, exclusive art cards, Film Credits and more. If you feel you can't pledge (I know times are hard) then sharing is caring! If you put a link on your facebook page and send people my way it may benefit us even more! You never know who's watching!

I'd also like to thank everyone who has donated so far: Brendan Carty, Deb Stone, Victoria Charters, Elliot Kotek, Donal Black, Oisin Prendiville, Farah Azalea, David Brennan, Trevi Productions, Terry Whittingham and Niamh O'Donnell! You guys are awesome!!! Thanks.

Kickstarter LIVE!

The Derelict Kickstarter page is up and running! Drop by for a look, there's an exclusive pitch video that includes location scout footage and three scenes from our last rehearsal, so pretty cool. I'll continue to update the page with videos and photos.

ONLY 40 DAYS TO GO!!! Mid-Night on June 30th is the Deadline! So I have 40 days to raise $3000! Can it be done? I certainly hope so! I think we're better placed than last time, we're fully cast, we've had a couple of readings, some rehearsal, the script is more developed and there is some money there, following the success fundraiser and a large private donation.

Any amount people pledge will be hugely helpful, it all adds up! But sharing too will help us get the film going, copy and paste this link http://www.kickstarter.com/projects/frankwkelly/derelict-0 to you twitter feed or facebook page and help get the word out!

I'll keep you posted on how things go. Thanks in advance for you support!

I've got a think about old mills.

Busy this week getting back on track. Been a little distracted of late. But I think things are on track again. Derelict is shaping up. I still have some work to do on the new draft and new angle, but a couple of weeks should see that right. Richie and I took a drive to Dunleer, a small village just outside Drogheda to look at a mill he heard tell of. Turns out it was a great place, we had a good look around and it certainly had potential. Might be a little small. But could work if push came to shove.

Atmospheric buildings.

In an attempt to build some momentum, get some buzz going and get some much needed funds in, I am launching a new Kickstarter drive! I've been working on the page for the last couple of days. I uploaded a pitch video which contains a location scout of the afore mentioned Mill and three scenes from the rehearsal we had a few weeks back, so some interesting stuff in there. The page goes LIVE this Friday! And I begin another drive to raise $3000 (about €2000).

Location Scout in Dunleer

It will go a long way to help getting the film made. The thing about Kickstarter of course is that if I don't raise the money I get NOTHING! NADA! ZILCH! That's right - Not. A. Penny. Even if I get £2999.99, they wont release the funds and no one will be charged (that's another thing, if you pledge the money doesn't come out right away, it's on hold until the full amount is raised) Anyway, yeah so - nothing! 

But I kinda like that. It's a good incentive. I found with IndieGoGo, where you get the money right away, there were too many charges and a huge amount was shaved off a small amount. This way is like saving up.

Checking out the Mill Wheel (still in operation)

So that's this Friday, 20th. Then the blitz begins!

I hope it's success. I've given myself until mid-night on June 30th. I figure that's enough time to be annoying people. Also, from experience, it takes a long time to get the money from America to here. Last time it took me two whole months! (Banks just Suck!) So I've given myself enough time before we shoot. Which, by the way, is still set for the start of September.

So more news and links on Friday. Stay Tuned!

A Fine Figure of a Day

I woke up Thursday morning to an unexpected email. It was from someone who had attended my fundraiser a couple of weeks ago. They explained that they had a wonderful time and were encouraged to see that such things were happening in the town, which was nice to hear.

The person went on to say they were involved with a local organisation (who have asked to remain anonymous) that sometimes help people like me, people trying to do something creative, constructive and generally positive in the community. So they wanted to make a donation toward the film. Great!

I called them right away to thank them and we set a meeting for that very afternoon. So I popped down to their office just after 3pm and met with the lady who emailed and the director of the association. We chatted for a little while and then they handed me a sealed white envelope. I thought it rude to open it in front of them. I kind of wish I had! My gratitude and enthusiasm might have been more!

I went straight to my bank to deposit it. I opened it while in line expecting to see an amount somewhere in the region of €100 to €200, I almost fell over when I read the words - one thousand euros and zero cents, and just to confirm I was reading it wrong, the figure €1000, in the small box on the right! Couldn't believe it! You could have knocked me over with a feather!

So between 10am and 4pm that day I had an email, an offer, a phone-call, a meeting, a donation and a cheque for €1000 in my bank account! Thank you very much indeed anonymous donor! You've basically given me one fifth of the budget I had in mind and got Derelict a huge step closer to production.

It certainly is encouraging. Not only because the film is that much closer to production, but the fact that people I don't know are paying attention to my work and have enough faith in me to make such a generous donation. It's a boost for the film and a huge boost for my own moral.

We are on the way!

Guiding Lights Don't Shine.

I don't enter that many film festivals. Though I've had a pretty good hit rate on the ones I have. I like festivals, don't get me wrong, it's just that I cant afford a lot of them and honestly, I'd rather get on to the next film! I'm a filmmaker, that's what I'm about. I know my films need to be seen, and festivals are a great boost to a film's reputation and advertising. But after five or six festivals I just want to be writing again, getting the next film up and running.


With Emily's Song I put an enormous amount of time and effort into entering festivals and both Thomas and I spent a huge amount of money doing so. We got into about 30 film festivals, couple of big ones and won a few awards along the way, which was nice. But so much time passed while we promoted that film, two years in fact. When I wrapped that film I wanted to be shooting 6 month later! I thought I would, I had the next script ready to go. It was 3 years before I stood in front of a camera again. And even then it was just a no-budget doc short with friends, something personal for something to do.


Elliot Kotek once said something to me that made a lot of sense, he said "You only allow your films to be a successful as you want them to be," which is true. I could have pushed my other short films more, but maybe 140 wouldn't have happened. I could be pushing 140 more, but maybe Derelict wouldn't be happening. Again, I just want to be making films, and while festivals are an essential part of being an independent filmmaker, once I've done four or five of them I just want to on to the next film.


However, this attitude seems to have backfired on me a bit. I recently came across the Guiding Lights Mentorship Programme for aspiring filmmakers. Filmmakers in my position who have a few films under their belt, who have made a mark, got into festivals and won some awards. But just need that extra boost to get to the next level. I got very excited, especially when I saw that the mentors included the likes of Danny Boyle, Sam Mendes and Stephen Frears. I thought - This is so for me! 


So I got applying, jumped the gun of course and started filling in the application form first! Then I got to a couple of awkward questions and requirements. One of which was about film festivals. It asked that the applicant, me, send in two sole directed films that have been selected by and screen at a film festival from an approved list of film festivals. A list of about 100 of the most prestigious festival around the world. Eek! It's kind of like arriving at the door of a nightclub with a smart dress policy and realising you're wearing trainers and hoody!


Now Emily's Song had been to two, maybe three of those festivals, even got a special mention at one (Oberhausen). But ES was co-directed, it's not a sole project. Bill, For Short has only been to a couple of film festivals. It was a personal film never meant for festival. It was just of the off chance I sent it to a couple of familiar festivals and they picked it up, Bonus! Slán suffered from bad promotion at the hands of 140 and never really got pushed at all, my own fault! I hold my hands up to that. And as for 140 - a few fests, none on the list and it certainly isn't a sole directing project!!!


So I'm screwed. It seemed like the mentoring programme was made for me from the questions in the email:


Are you a talented, ambitious filmmaker with a proven track record?

YES! 

Have you reached a critical stage in your career where high quality industry support would help you reach the next level?

YES!

Would a mentor’s expert guidance enable you to achieve your full potential?

ABSOLUTELY... where do I sign?!

If so, Guiding Lights is for you.

Awesome, I'm in!

As it happened those questions were completely irrelevant. The single most important question was waiting inside - Have you got into any of these festivals? No? - sling your hook pal, you can't wear trainers and a hoody in this establishment!

I guess it's my own fault, as I said above, I'm about filmmaking. I love festivals, they have certainly helped me along the way. But again I just want to get on to the next project. And again - I just can't afford it. I'm an Unemployed Dad, as my friend Mark likes to say! I spend my days looking after my beautiful daughter and pushing her buggy around town, grabbing time to write when she sleeps and organise with my Wife or my Mam to babysit her if I want to do a reading or rehearsal or get some work done with a co-writer. All my spare money goes to her. All my time too. Festivals can take a back seat to that. 

So I don't qualify. I'm not considered worthy of mentorship by the greats! My achievements, such as they are, count of naught here. Fair enough. Not for me. But I still find it odd that I, and many other talented filmmakers with heaps of potential I'm sure, get excluded because they haven't entered the right festivals. Doesn't seem fair or right. Shouldn't it be based on the work rather than the accolades?

Maybe not! Or maybe I'm just being sore?! Anyway, good luck to those who do get through. I'm going off to make another film.

Two Things.

First, 140 just won a Bronze Palm Award from the Mexico International Film Festival! Woot! Thank you Mexico International, it's an honour! I'm thrilled.

Second, here's a little piece from the Drogheda Leader about the fundraiser.

That's it really. We're back working on Iscariot, I think I mentioned that earlier. Thomas and I were working on a beat sheet for a new draft today, it's looking good. Hopefully good enjoy to get us PAID for the next draft, wouldn't that be something?! And just need to find time now to work on the next draft of Derelict. OK, that's all, gotta fly.

Onward and Upward.

The fundraiser has been and gone. I'm still recovering somewhat from the exertion involved, from the build up and all the running around, to the event itself. But it was worth it I think. The night was a success, we had a good crowd in, perhaps even a little more than I had expected and everyone seemed to enjoy themselves. There was a good vibe in the room anyway.

In attendance: Kevin McAlister and Aoife Ruane.
All Photos © Eric O'Niell @ Drogheda Daily

Held in the Highlanes Gallery, in downtown Drogheda the event kicked off with a wine and food reception just after 7pm. People relaxed, sat and talked until 8pm when we moved downstairs to the main gallery. I gave a little speech, of course with all the preparation and running around I never actually prepared anything to say! So hopefully I didn't ramble too much, I don't think I did!

I spoke briefly about my experiences with trying to get films off the ground without any backing. From Emily's Song, where we managed to get something of a budget (back when people had money - including me!) and a full cast and crew, to Bill, For Short, which had no money and was shot in a weekend by 3 people, to Slán agus Beannacht, which was somewhere in the middle. I touch on 140, where crowd-source online funding came in to play. 

Gerry Shanahan, Me, Ian Watters.

In each case I was reliant on the belief and generosity of my friends, family and community, both in the arts and the general public! People who came to my parties and events and gave. I always like to give something in return of course, by throwing a party or putting on a show at a good price - but of course, people can choose to spend their money wherever and however they please, I'm encouraged and grateful that they chose to support my cause!

After the talk I screened my three short films, Emily's Song, Bill, For Shot and Slán agus Beannacht, all of which got a good reaction. A lot of the crowd hadn't seen them before, so that was good, nice to get a fresh reaction and know they're still working!

Declan Kelly & Els Boghart

After that I went into a bit more detail about Derelict and screened 6 minutes of rehearsal footage, just as a taster and a reminder of what the night was about. Straight after that was the raffle, which was fun, and then the auction, which was somewhat tense, but also fun and much to my surprise and delight a great success, we sold all but three pieces.

Sarah Bradley & Paul Hayes

Once initial outlays and expenses are settled I will have raised a few-hundred euro (final figure to be tallied). In this climate I'm very happy with that. And it will go a long way in helping to getting the film made, either by going toward insurance, catering, location, equipment... it will be well spent!  

So my thanks to everyone who came and supported and to everyone who helped and took part. 

To our main sponsors:

Highlanes Gallery - The Wine Buff - Andersons Cafe

To our raffle sponsors: 

Scholars Townhouse Hotel - Stockwell Artisan Foods - Waterstones - Unwind - Stoney Road Films

To the Artists who donated their work: Richard Moore, Robert Ardill, Willie Dillon, Noel Kelly, Cara Konig-Brock and Brendan McHugh. To Justin Stubbs, auctioneer on the night. Especially to Mark Kearns whose idea the whole thing was and who was the driving force behind it. And of course my wife, Maryann, who is my biggest supporter and source of encouragement.

Still a lot of work to do. A script to be finished. Rehearsals to take place. Dates to be finalised and more money to be found! But this is an encouraging start to it all. Onward and upward.