Image from the short film, Signs

Vincent Gallagher is the director of short films, Crosswords and Signs which were recently screened as part of CIFF 2011 Shorts programme.

Gallagher graduated from The National Film School of Ireland with first honors and received the institute’s inaugural Outstanding Contribution to Filmmaking award. At film school Vincent specialized in Directing and Cinematography, winning awards at the Kodak Commercial Awards, the Jameson Dublin International Film Festival and the Best Drama Award for his graduation film, Bright Idea at both the Irish and U.K. Royal Television Society. Bright Idea and another film he directed, The Salesman both played at festivals world wide. On the strength of his college work, Vincent was accepted to the Berlin Talent Campus during his final year in film school. Vincent has worked as a director on commercials and corporate promos for clients such as Vodafone and the ISPCC.

Signs is a comedy about seeing magic in what we see everyday and in Crossword we learn about Heather, a semi-lonely woman turning 40, who has a strange experience when all the answers to the day’s crossword seem to be around her on the eve on her birthday.

Here, he talks to Jenny McFarlane about his direction, writing and process. If you missed the short films over the weekend, it’s not too late to learn more about the man himself.

Signs is about “magic in what we see everyday, sometimes you just have to look hard enough.” It’s a fantastic comedy! What made you come up with this concept for a short film?

The concept for signs SIGNS came about from when I was in school. At the end of the street that my school was on there was this ‘children crossing’ sign. It’s a little boy holding the hand of a little girl. Somebody had drawn over the little boy in heavy black marker and now the sign was the grim reaper, sickle and all, leading the little girl to god knows where. Instantly it connected with me, the idea of something you see everyday garnishing new meaning with a very simple, direct application. So it was years later that I actually put it all together. Telling a simple story that uses different aspects of various sign posts. The story came very naturally, it’s basically a comedy cautionary tale about strangers, and strong clear visual signs are a great way to get a message across.

Where did the ideas for your other short film, Crossword, come from?

Crossword was a very fully formed story that was written by Hugh Travers. He showed me the script and I immediately loved it. The connections and circumstance was what drew me too it. So many of our relationships, if one was to be cynical, can be attributed to geography or some other such triviality, the school you go to, the place you work etc. I was fascinated by the idea of two people that are completely perfect for each other, but would never meet because of the schedule of a train. Hugh, myself and the producer, Claire McCaughly attacked the script, pushing and pulling until it made as much sense as it could to us. We always work that way, making sure that every characters motivation seems real.

When do story ideas usually hit you?

Story ideas hit me in the most different ways. I’m not the type of writer that can just sit down in front of a blank page and spit something out, I never have been. It might be as simple as a line in some random article I read while waiting for friends in an East Village bar on New Years Eve, or something I see while I’m out and about. I don’t think I can go searching for inspiration, sometimes if the circumstances are right, it finds me.

Is drawing on your own personal experiences important to you when directing a film?

I think you have to draw on your own personal experiences when directing drama. A lot of it is about human interaction, and finding empathy with the characters. It might not be what you would do, but you have to be able to understand that different people would have different motivations for their actions. And in that you could look at a situation from your own life and think, what I’d I had done that differently. Everything then has a knock on effect. Even when working with actors you convey directions in terms you know, in terms you hope other people can relate to, so in that, it can be a very personal experience, and you put a lot of yourself into it.

In terms of logistics, what was the hardest thing to film?

In approaching SIGNS, it was the first time I had ever done animation, and it was the first time the animators had worked with live action, so we were really finding our feet as we went along.  So basically I storyboard everything and then did an animatic, a sort of edited series of storyboards with elements of sound design and character direction. This gave us our timings for the plates, which we then shot, and the animators got all those plates in edited blocks to work off. So it was fairly straight forward, but time consuming.  Crossword was a short film on a big scale, multiple locations and a intricately complex script. One of the hardest aspects for me was making sure that all the connections made sense. From a logistical point of view the scenes in the train station were challenging. We were working under very strict guidelines from the train station authorities, so what we could shoot, when we could shoot, where we could shoot, and all under a high blood pressure inducing time limit. Working it out we only had two shots at getting what we needed, as the trains are on a schedule, we had our x amount of shots to get, get on the train and get the hell off it before it took our actor and steadicam operator to the next station! So we pushed our permissions a little and we got what we needed.

What was the most challenging aspect of making this film?

The most challenging aspect of making SIGNS, aside from the actual lengthy animation process was the scene with the dandelion. It was important to get the location right. I wanted a very consistent look over all, so we ended up scouring the city and found various pockets that fit. The challenging part of the scene was moving the dandelion and having it feel like the characters were moving it. So we did a few tests and then used a green screen type method, and I did the flower movements to give it a kind of weight so it felt like it was being plucked and carried rather than just floating around the place.  In Crossword we tried out a lot of stylistic dynamic camera moves. The train station sequence was challenging because of the pressures upon us, another neat scene is in the apartment when Heather arrives home. Because of the connections Heather makes I wanted to show her in her comfortable environment, but I wanted it to flow smoothly. So I came up with this sort of one shot scenario, so she walks in and the camera follows her, and continues to move to the television and then turn to Heather, now in pyjamas, on the couch, and then move to heather in the kitchen and finally into the bedroom. This was technically quite difficult having the timings of the Steadicam move, and orchestrating the doubles moves and costume and lighting changes all in one shot. I think it took 17 takes to get it exactly right.

Tell us about any future projects you have planned.

I’m outlining a number of short scripts at the moment while continuing to work on music videos and commercials. I’m also working on developing a feature project with Hugh and Claire, the same team that wrote and produced Crossword.

Thanks to Vincent Gallagher. Here’s to more from this great director!

These shorts will surely make you kick off your Sunday shoes and get into the holiday spirit, if you aren’t already feeling festive!

Here’s more info on the films featured in Shorts: Dirty Dancing:

Deep-End Dance

Directed by Conor Horgan, Choreographed by David Bolger

A fully dressed man is pushed into a swimming pool by his mother. He brushes himself off and starts dancing underwater, always aware that she’s watching. After a while she joins him, and they play out the story of their relationship through the underwater dance.

This short film was the winner of Best Short Drama at Celtic Media Festival, 2011 and Best Dance at Corona Fastnet Short Film Festival, 2011

Admit One – U.S. Premiere

Directed by Steve Woods

A dancer enticed by the cinema – will he get out alive?

Her Mother’s Daughters

Directed by Oonagh Kearney

An older woman sits before a telephone in an empty house. Her daughters have flown the nest. as she prepares to call them, their memory is brought back to life…

This short film was the winner of ‘Best Experimental Film’ & ‘Best Cinematography’ at Fastnet Film Festival, 2010
and official selection at Galway Film Fleadh in 2011.

Swing Talking – U.S. Premiere

Directed by Anna Rodgers

Swinging in and out of love…

Flatbed

Directed by Tom Merilion

The end of a relationship and a 30-tonne articulated lorry hurtling down a deserted motorway at night; flatbed is not a conventional love story.

Unsung

Directed by Morleigh Steinberg

A pub session, a heartbreaking song – and an unexpected guest.

Why The Irish Dance That Way

Directed by Nick Kelly

A witty take on sean-nós dance, shot in the rathcairn gaeltacht.

Mo Mhorchoir Fein

Directed by Dearbhla Walsh

In a church, after mass – a dancer, an altar-boy and a watcher from the shadows.

To purchase tickets, click here: http://www.irishfilmdc.org/shortsdirtydancing.html

Solas Nua is proud to present Sensation as part of CIFF 2011! Sensation recently received Official Selection at the Toronto Film Festival 2010 and at Galway Film Fleadh 2010. It is the second feature film by writer/director Tom Hall (Bachelors Walk. Trivia) and was produced by Blinder Films and River Park Film. It stars Domhnall Gleeson (of Harry Potter and True Grit), Luanne Gordon, Patrick Ryan, Owen Roe, Kelly Campbell and Eleanor Methven.

“Tipperary farmer Donal Duggan (Domhnall Gleeson) is twenty-six, less a man than a child growing older, he is dead to wonder, dulled to life, empty of kindness and boiling with lust. Sensation details the relationship between Donal and a veteran kiwi escort, Kim. They begin as client and call-girl, evolve into something like lovers, then business partners and finally co-defendants.”

With such great critical acclaim, this film will be a sure-winner for all Irish film fans out there.

For more info and for tickets, check out our website: http://www.irishfilmdc.org/sensation.html

Solas Nua is proud to present Sensation at CIFF 2011. Check out the trailer!

Solas Nua is so excited to open CIFF 2011 with Alexandra McGuinness’s first feature film, Lotus Eaters, which premiered at Tribeca Film Festival 2011, where the feature was well received.

“For Alice, ex-model and struggling actress; for Charlie, a sweet and gifted musician who has lost all control of his life; and for Felix, with nothing in his head and a teenage girlfriend whom he’s been trying to leave since the moment they met…the choices are endless and the party never stops. But beauty and privilege are both skin-deep and you can’t let life go on happening to you forever. Alice, Charlie and Felix are in free-fall, irresistibly lovely but utterly self-destructive, hurtling towards events that will overwhelm their fragile friendships and even destroy their lives.”

The star of Lotus Eaters and The Other side of Sleep, Antonia Campbell-Hughes, will be attending CIFF 2011 and we’re keen to meet her to discuss this fantastic film based on the bright young things of London’s social elite. The fashion is effortlessly chic and the indie soundtrack is truly evocative, making this feature film a must-see at this year’s festival.

For more info and to purchase tickets, click here: http://www.irishfilmdc.org/thelotuseaters.html

Irish Popcorn! Coordinator Joe Dempsey kicked off proceedings and introduced both films – the Bollywood love story with a Dublin twist,  Moore Street Masala, directed by David O’ Sullivan and the gorgeous Oscar nominated The Secret of Kells, directed by Tomm Moore and produced by Cartoon Saloon, one of Ireland’s foremost animation studios. The crowd loved Moore Street Masala which brings a Bollywood spin to inner city Dublin, complete with pyjama girls, dancing crowds, dream sequences and musical numbers – all in the space of 5 minutes! The Secret of Kells delighted the audience with its enchanting storyline and luminous animation, bringing to life the story behind one of Ireland’s most important cultural treasures. Voiced by, among others, Brendan Gleeson and Mick Lally, the story beautifully incorporates  many elements of Irish mythology. Aisling and Pangur Bán were among the audience favourites.

Before the main feature, Emma Madigan, Director of the Capital Irish Film Festival, reminded the audience that the Festival has now become the largest Irish film festival in the US, that last year we screened over 40 films (many of them US premieres) and let them know that we have almost completed the selection process for this year’s festival which will run from 1-10 December. This year the Festival will take place under the banner of Imagine Ireland which is a year-long celebration of Irish arts in America. Emma encouraged everyone to visit irishfilmdc.org for updates on the Festival, especially for news on parties, special events and visiting directors.

Remember that FREE Irish Popcorn! returns August 9th as part of the Summer Screening Series from DCCAH and Renaissance Hotel. Screening at the Renaissance Dupont Circle Hotel will be Secret of Kells, and a favorite from last years’ shorts programme Moore Street Masala. The event starts 7:00pm and seating is limited!

The films have been all been mailed out, The Capital Irish Film Festival has officially come to an end.

Saturday marked the closing of the 2010 Capital Irish Film Festival.  It was 10 days filled with the very best Irish Films.

We opened the Festival with My Brothers, which couldn’t have been a better choice.  Bringing together all the elements that encompass Irish film.  There was laughing and there were tears as we watched these three brother embark on a journey that not only took them on an adventure to the seaside, but also brought them closer together.  We heard nothing by positive feedback on our festival opener.  Following the screening, which was held at E Street Cinema, we ventured over to hot spot CoCo Sala for some extremely delicious specialty drinks and deserts

Throughout the week we had the pleasure of hosting special Q&A’s with the directors and producers of our film selections.  We skyped with Mark O’Connor and Peter Coonan from Between the Canals and learned that many of the actors seen in the film were not established actors, but normal people whom they cast for the film.

We had James Phelan (The Ottoman Empire) and Mark Cantan (The Alarms) talk with Ronan Connolly (Norman and Margaret) about how to make your own movie.  James Phelan developed The Ottoman Empire with a small amount of funding from the Irish Film Board while Mark Cantan and Damian Farrell self financed The Alarms.  Each brought insights to the conversation, answering questions regarding how one might get started on their first film?

Marian Quinn joined us after we screened her film 32A giving us an insider look at her coming of age film.  Making her directorial debut Marian Quinn does a wonderful job telling the story of Maeve as she navigates her way through adolescence.

The Darklight Festival curated two programs for us this year. The Mixtape of Doom, curated by David O’Reilly a Berlin based animator, took us on a mind-mending roller coaster ride through his mind.  Presenting short videos of films that have inspired his own animation.  It was truly bizarre, but I kinda loved it, and those who were there received an extra special treat.  Nicky Gogan (Darklight Artistic Director) brought us shorts that represent the current climate for independent film making in Ireland.  The State of the Nation incorporated everything from animation, documentary, features and beyond.

Our two short programmes this year featured a plethora of irish shorts, everything from animation, to live action, to irish language films.  You name it, we probably had it.  Moore St. Masala was a feast for the eyes, with all the bright colorful theatrics of a bollywood film but with a few nuanced Irish themes (anyone catch the pyjama girls?).  The animated shorts came to us from some of the leading animation studios in Ireland, Brown Bag Films, Cartoon Saloon, and Barley Films.

A special treat in animation this year, was The Secret of Kells.  Up for an Academy Award in 2009, Secret of Kells may be one of the most stunningly beautiful animated features I have ever seen, and our audience agreed.

One of our most anticipated films of the festival was Pyjama Girls directed by Maya Derrington.  The story of two young girls, who wear their pyjama’s around town, has sparked major controversy in Dublin. Maya decided to take a closer look at these girls and the environment that has bread such fierce and independent females who even at the tender (or not so tender) age of 15 are acutely aware of societies opinions of themselves and their economic situations. Following the screening Maya sat down with John Hanshaw of the Washington Film Institute.  She talked about the process of making a documentary about 15 year old girls, while still maintaining the integrity of their situations (for we all know that the camera can change people).  There were many questions from the audience, it seems strange to think that pyjamas would cause so much controversy, many of the young folk in the audience reminisced about being teenagers and wearing their pyjama pants to school without a second thought.

With one final film to go we had to send the festival out with a bang, so naturally we chose Snap to be our festival closer. Presenting us, as well as its characters, with a compelling mystery. We begin to assemble an unsettling portrait of three generations of a family trapped in recreating a past that each one denies.  it is only when the image of sandra and stephen’s likeness is captured and reflected back to them that – SNAP! – a fleeting moment of recognition, and of choice, can occur.

So after a film like that what was there left to do but celebrate.  Heading upstairs to the Geothe Gallery we had wine, cosmos and beer for all.  And of course we announced the winners for our Audience Choice Awards.

Audience Choice Award for Best Short- Noreen directed by Domhnall Gleeson

Audience Choice Award for Best Feature- Pyjama Girls directed by Maya Derrington

Critic Choice Award – My Brothers directed by Paul Fraser

We would like to thank everyone who came out for the festival.  You were the ones who made the festival a success.  Thank You!

The film reveals that it is more about the girl’s perception of their surroundings as an extension of their homelife.  These pyjama girls, as they are called, come from difficult family situations and have tried to create a community amongst themselves.

Pyjama Girls presents the chaotic friendship of teenagers Lauren and Tara as they navigate the trials of life, dressed all the while in their uniform of rebellion: pyjamas. Lauren’s future hangs in the balance as she takes part in street violence with rival teen gangs and faces expulsion from school. Balancing tenderness with hilarity, the film reveals the challenges that life throws her – from her addict mother to the disruptive world of the flats – and uncovers the crucial importance of her friendship with Tara.

What is so interesting about these girls is the response from the public, even fashion blogs such as Whisty Blogs Dublin Fashion are talking about this new clothing trend.  I remember a brief period in middle school where I wore my Old Navy pyjama pants to school for months, but the only response I got was a roll of the eyes from my mom as she shook her head in confusion.  ”Why would you want to wear your pyjama pants to school , they’ll get all dirty and then you can’t sleep in them anymore”  Mothers…  But for these girls and this city the sight of pyjamas in the broad light of day has stirred something much bigger.  The “respectable” middle class cannot understand why girls would dress this way, they see it as an indication of their lack of self-worth.  The Pyjama Girls simply see their style as a sort of anti-fashion, and see themselves as trendsetters ahead of their time; and maybe it has a little to do with society not caring about them too.

Director Maya Derrington became fascinated with the pyjama trend and wanted to learn more about the girls who were causing such a stir in Dublin.  ”The vitriol it provokes reminds me of the response to punk (Film Ireland).”  But punk was meant to be rebellious, the pyjamas seem to have acquired a projected rebellion, one felt more so by the outsiders of the trend than the insiders (the pyjama girls themselves).  In any case the story is an interesting one, and this documentary allows us to look inside the world of these girls, from their perspective.

Following this film will be a special Q&A with director Maya Derrington herself.  We are so pleased to have her join us for this festival.

You can purchase tickets to Pyjama Girls and other CIFF films here.