Screen Leaders, EAVE & The Galway Film Fleadh present The Creative Producer and the Development Process

Date: 11/07/2014
Duration: 2pm -3.30pm
Venue: Conference Centre,
Radisson Hotel,
Galway Cost: €0.00

Course Profile:

  • Topics to be discussed –
  • Sourcing material (original ideas, options, writers with spec scripts etc.)
  • Approaching development commissioners
  • How to build a slate (and manage it)
  • The producer’s role in script development
  • The art of letting (scripts) go
  • The producer’s leading role in project development
  • Managing talent relationships – writer, director (and later lead cast)
  • How to stay in the picture (and keep hold of the talent)

Panel:
Steen Bille, Film Commission, Danish Film Institute
Steen Bille (film commissioner, dramaturg and writer – Copenhagen, DK) has an MA in dramaturgy from Aarhus University Bille worked from 1986 at the Danish Broadcasting Association as a host and editor on radio programmes on current culture. Steen Bille co-wrote Niels Arden Oplev’s internationally award-winning movie “We Shall Overcome” and “Worlds apart”. Since April 2010 Steen Bille has been working as feature film commissioner at the Danish Film Institute and is the Danish representative to the Board of Management of Eurimages. Together with his wife he has written two novels and a third will be published in September 2014.  Steen Bille was a tutor on Screen Training Ireland’s Leading Edge Programme.

Helena Danielsson, Hepp Film International
Helena Danielsson established Hepp Film International in 2003, Danielsson has produced more than 30 films and in 2012 she was awarded with a EUROPEAN FILM ACADEMY AWARD – PRIX EURIMAGES for her successful work with her international co-productions and in the same year shortlisted for an Oscar with the film KIRUNA-KIGALI

Danielsson focused early on international co-productions which many of those films have reached both wider audiences as well as international acclaim and awards worldwide including titles by highly acclaimed talents like BEYOND by Pernilla August, CALL GIRL by Mikael Marcimain,  A RATIONAL SOLUTION by Jens Jonsson /Jörgen Bergmark, DAY & NIGHT by Simon Staho/Peter Asmussen, CARGO by Cliwe Gordon/Paul Laverty , WHAT NO ONE KNOWS by Sören Kragh Jacobsen , as well as working with visual artists Simone Aaberg Kaern with SMILING IN A WARZONE and Nicolas Provost´s STARDUST and THE INVADER. She´s currently in preproduction of the feature debut by American actor/writer/director Brady Corbet´s THE CHILDHOOD OF A LEADER”, starring Juliette Binoche, Tim Roth and Robert Pattinson.She is a board member of The European Film Academy since 2012. She was a board member of the Swedish Producers Association between 2007-2009, is a member of France based European producers´ network Ateliér Cinema Europeén (participant 2003) and EAVE (participant 2002) and is acting as the Swedish National coordinator for EAVE.


Chair:
Lenny Crooks, Killer Films
Lenny Crooks is the former Head of UK Film Council’s New Cinema Fund, a fund dedicated to backing innovative filmmakers and challenging material. Lenny’s investments included Lynne Ramsay’s WE NEED TO TALK ABOUT KEVIN, Paddy Considine’s TYRANNOSAUR and Ben Wheatley’s KILL LIST. Lenny is currently a New York based consultant advising European producers on transatlantic co-production opportunities and working with Killer Films on its development slate.

Killer Films is in its busiest ever production cycle with Todd Haynes’ CAROL starring Cate Blanchett and STILL ALICE starring Julianne Moore both in post-production. Lenny is also active in developing Killers’ new Faculty of Digital Filmmaking at Stony Brook University. Killer has successfully adapted to a changing landscape and remains committed to new ideas as the basis of an eclectic slate.

Lenny was an expert contributor to the inaugural Berlinale Residency in 2012 and continues to support emerging European producers as a regular contributor to the Screen Leaders Programme run by Screen Training Ireland.

 

Tutors:
Lenny Crooks, Killer Films
Steen Bille, Film Commission, Danish Film Institute
Helena Danielsson, Hepp Film International

Participant Profile:
Producers with industry experience.

How to Apply:
Places are limited and pre-selected please apply online at www.screentrainingireland.ie.

Deadline for applications: Friday 4th of July 2014.
For further details contact helen.mcmahon@screentrainingireland.ie

Actors Masterclass with Fionnula Flanagan in association with the Galway Film Fleadh

Actors Masterclass with Fionnula Flanagan –

Date: 11/07/2014
Duration: 3pm-6pm
Venue: The Radisson Hotel, Galway
Cost: €50.00

Course Profile:
The Actors Masterclass will be hosted by John Hubbard of Hubbard Casting and will provide an intensive interactive environment in the skills, methodology and aesthetics of film acting aimed at actors working or wanting to work more in film. The masterclass will cover such topics as:
• Starting out as an actor
• Dealing with casting directors
• Securing an agent
• Preparing for an audition
• Working on set
• Relationship with the director and many more

Tutors: Fionnula Flanagan

Participant Profile:
This masterclass is aimed at actors.

How to Apply:
All applications for the Actors Masterclass are made through the Galway Film Fleadh.  Please contact Brónagh Keys at 091-562200 or email: masterclasses@galwayfilmfleadh.com

The closing date for applications is: 1pm Friday 5th July 2014

The Next Big (Tax) BREAK – ACE Event at the Galway Film Fleadh

Date: 11/07/2014
Duration: 4pm – 6pm
Venue: The Radisson Hotel, Galway
Cost: €0.00

Course Profile:
A workshop presented by ACE (Ateliers du Cinéma Européen) and Bord Scannán na hÉireann /the Irish Film Board in association with Screen Training Ireland and the Galway Film Fleadh.

Fifteen European countries now have tax incentives, tax shelters or rebate schemes to support their film production industries, and at least five others are seriously considering introducing them. The schemes exist to provide additional support for national production; and they compete with each other – and with schemes now widely established across the rest of the world – to induce international producers with portable, high-budget film and TV productions to come and shoot locally.

Next year Ireland will launch a new incentive to replace its own Section 481, with a higher yield for producers and new features added. The design of the new scheme is in its final stages.

At this year’s Galway Film Fleadh, the producer-training organisation ACE will hold a round-table discussion which will put the new Irish scheme in its historical context, and assess its competitiveness and compatibility with other such incentives in Europe and beyond. Aimed at producers of all levels of professional experience with a serious interest in both evaluating and availing of the new incentive, this will also be a practical session that sets out how to make the most effective use of rebate schemes generally, individually and in combination.

Tax breaks for film production are nothing new: in the 1970s and 1980s tax-based provisions were devised to support film industries in Canada, Australia, Germany, the UK, even the US. Some of these were later discredited and abandoned. Ireland’s incentive, inaugurated in 1993 as Section 35 and later revised as Section 481, ushered in a new wave of schemes based on the rebate-of-expenditure principle, which have been very widely adopted, modified and modernised over the past 20 years.

The round-table will be moderated by Simon Perry, President of ACE, with key contributions provided by professionals with first-hand knowledge of incentive schemes in Germany, the UK, Belgium, Luxembourg and The Netherlands, as well as by senior colleagues at the Irish Film Board.

Tutors: Simon Perry, President of ACE

Participant Profile:
Working producers with industry experience.

How to Apply:
Places are limited and pre-selected please apply online at www.screentrainingireland.ie.

Deadline for applications: Wednesday the 2nd of July 2014.

For further details contact: helen.mcmahon@screentrainingireland.ie

Fishamble’s SWING on National Tour to Two Dozen Venues

Fishamble’s SWING on National Tour to Two Dozen Venues

Venezuela – What’s really happening

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The Charge d’Affaires of the Venezuelan Embassy to Ireland and the UK, Alvaro Sanchez, will address a meeting in Liberty Hall (Connolly Hall) on Monday, July 14th at 7pm on ‘What is Really Happening in Venzuela?’. All welcome.

Accent & Dialect workshop

Terry Besson is one of the UK’s leading Accent and Dialect specialists. His vast experience gained over 30 years working on film, TV, radio and theatre projects has give him a unique approach to the vocal and physical changes needed when approaching acting in another accent. His work has been honed with his time at many leading Drama schools and colleges.
Recently he has worked on such diverse projects as the films Awaydays (Red Union Films), Clubbed (Formosa Films), Welcome to the Punch (Between the Eyes Productions), Captain Phillips (Sony Pictures), Get Lucky (Gateway/Universal films), and TUPAC (Morgan Creek Productions), Kidnap Diaries (BBC4), the TV series Poirot (ITV), Privates (BBC1), Garrow’s Law (BBC1), and is currently voice consultant at London Zoo!

Course Outline:
An Accent and Dialect workshop focusing on accents most in demand in Ireland for Film and Television work; English regional (Yorkshire, Lancashire, West Midlands, West Country), London (Cockney) and Scottish (Edinburgh, Glasgow), Welsh (Southern), general Scandinavian and or General American, New York, New England, The Southern States (Texas, Plantation (The Costal States), Hill-Billy)

Course duration:
2 days 9.30-5.30 with breaks (Monday 11th & Tuesday 12th of August)
2 days 9.30-5.30 with breaks (Wednesday 13th & Thursday 14th of August)
Friday 15th August Private Sessions available on a 1 to 1 basis.

Venue: The LAB, Foley Street, Dublin 1

Cost: €130 per course (Deposit of €50 payable by 10th of July)
Cost €60 per hour of 1 to 1 sessions

Participants: Actors and Voice Over Artists (by application)
Limited to 12 participants
Requirements: Apply with résumé to 5stonelightertheatrecompany@gmail.com

Conor Evans

The death has occurred of actor, and long standing Equity member, Conor Evans. He died on Saturday May 25th after a long illness, borne with the strength and tenacity that was a trade mark of his lengthy and diverse career. He is survived by his wife, actress Claire Mullan and his daughters, Lesley-Ann, Michelle and Christine.

He was a familiar face, both on stage and screen, for five decades. Conor was a performer on whom actors and directors could depend. Thoughtful, solid characterisations were his metier and his strong features landed him more than 40 film and television Series, both in Ireland and England. His first major film credit was in The Face of Fu Manchu in 1965 starring Peter Sellers, then Rocket to the Moon and Darling Lily.

However, it was his extensive grounding in theatre that provided an almost unbroken run of appearances in Dublin and on national tours. He appeared at the Gate Theatre with Edwards and MacLiammoir in Where Stars Walk, Major Barbara, Equus, The Merchant of Venice, Ill Met by Moonlight, and Wait Until Dark, and was a constant doyen of Phyllis Ryan’s productions. His talents also graced many successive Dublin Theatre Festivals, particularly in the premieres of Hugh Leonard’s The Poker Session and Madigan’s Lock.

His voice first became familiar as Father Hession in the iconic radio series, The Kennedys of Castlerosse. This led to a long stint with the Radio Eireann Players and his vocal talents were then sought as a voice-over artist.

Appearances in TV’s Tolka Row, The Riordans and Wanderley Wagon spanned many episodes and television performances continued as recently as in Father Ted and the original Mrs Brown’s Boys.

Conor was a staunch union member and supported his colleagues and his profession with the same forthright dependability. He will be sadly missed by a huge fraternity of the theatre. There cannot be many established actors who have not worked with Conor such was his prolific and valued output.

May he rest in the peace that he has so richly deserved.

Laurence Foster.
Monday May 26th. 2014

Ronnie Masterson – A True Servant

Not many actors have had their heads portrayed on a five pound note, or on any other note, for that matter.

In 1970, that great entrepreneur, Dick Condon, decided that “Big Maggie” needed more publicity and so, the city was flooded with fake fivers, with Ronnie Masterson, eponymously, replacing Cathleen Ni Houlahan. This was, of course, officially illegal, but Dick was willing to take the risk.

Ronnie used her famed discretion, “If it means more bums on seats, what the hell!” The Olympia Theatre box office records were again shattered. There were 40,000 bums on the seats for the four week run.

Twenty six years earlier, Ronnie had begun her lengthy career in the Abbey Theatre. By 1947 she was an established and accomplished actor and a member of the newly formed W.A.A.M.A. (The Writers, Actors & Managers Association). Most of the company managers then, were actor’s and union members – Anew McMaster, Cyril Cusack, Edwards & McLiammoir, Barry Cassin and Nora Lever, Illesley & McCabe, Donal Donnelly, Norman Rodway and Phyllis Ryan being prominent for many years.

It was post-World War II, or The Emergency, as it was quaintly dubbed in Ireland, and 1947 was a monumental year in the history of contemporary Irish Theatre. For the first time Irish performers, directors and producers had laid total claim to their native Theatre Culture, no longer being reliant on British Touring Theatre Companies, and Ronnie was in at the beginning. 1947 saw, not only W.A.A.M.A. becoming the Irish Actors Equity Association, but also the founding of the RTE Players in Radio Eireann.

This happy coincidence resulted in the agreement of a uniform salary for the Radio Rep, based on a semi-state, civil service scale. They became, wait for it, “temporary, un-established civil servants.” Ronnie Masterson would have been instrumental in the innovative decision to vote for the Abbey Players to be tied to the same scale. This ingenious piggy-backing existed until the tacit dissolution of the RTE Players on the eve of the new millennium.

Ronnie continued to be an active member of her union after leaving the Abbey Theatre Company and, with her husband, Ray McAnally, formed Old Quay Productions. As the pelican feeds its young from its own blood in times of adversity, so did Ray and Ronnie feed their flock of actors from their own resources – no government grants, no Arts Council Subsidy – no City Council Subsidy; they were running a “commercial” venture.

2.Ironically in 1970, a special Equity EGM was held in Moran’s Hotel and Ray, Ronnie, and other actors who had run their own Theatre Companies, were informed by the Acting members that they should make up their minds whether they wanted to be actors or managers. Ronnie’s reaction was typical and stoic. She was a company manager, not a theatre manager. “Who was going to ask Michéal McLiammoir to make up his mind if he wants to be an actor, a writer, a scene designer, a costume designer or a company manager – I dare you!” She rested her case and, typically, continued to employ the very actors who had challenged her so-called “credibility”.

When Old Quay Productions could no longer survive without subsistence, Ms. Masterson returned her attentions to the amalgamation of Irish Equity within the I.T.G.W.U. conglomerate.

In 1978 irony again raised its quizzical head. The RTE Players challenged their working conditions – a ten hour day, seven day liability with one Sunday free in every four. Also, their parity with the Abbey’s pay scale had, inexplicably, fallen behind. A lengthy strike ensued and Ronnie supported it wholeheartedly, refusing any radio and TV offers that came along.

Ronnie was also at the fore-front when Irish Equity was subsumed into SIPTU. A phenomenal trade union journey. In the 1980’s, when RTE salaries again over took the Abbey, due to a productivity deal, Ronnie was able to use her historic knowledge to help ensure that the Semi-State parity was, yet again, maintained.

In latter years, when the thoughts of other venerable actors were turning to retirement, Ronnie was much sought after in Film and Television, continuing to serve Equity with distinction as a Trustee. The word could not have suited her better. In this role she was always, fair and discerning, often re-thinking her decisions when she felt it prudent and never afraid to emphasise her opinion.

Her wisdom, energy and wry sense of humour will be sadly missed, not only by this Profession but, particularly, by this union at this very critical stage of its very existence. The struggle to save this union should be dedicated to her memory. We owe Ronnie Masterson a great debt.

Secure Retirement Campaign launched

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Politicians told to fear the ‘grey army’ at launch of Secure Retirement campaign on Wednesday, 30th April in Liberty Hall, Dublin 1. A YouTube video was premiered which includes interviews with retired workers on the challenges they currently face and their previous working lives.

Launching the campaign, SIPTU General Secretary, Joe O’Flynn, said: “After a lifetime of work, people should look forward to a retirement with respect and dignity.  But increasingly workers above a certain age are facing the prospect of approaching retirement in fear and anxiety concerning their expected pension income and uncertainty surrounding the future cost of living, healthcare and public services, all of which effect their quality of life in their retirement years.

He added: “The battles you have fought, the stands which you have taken serve as signposts for the next generation of union activists. As workers and as citizens, you have earned the right to a secure retirement.”

[Read more…]

May Day 2014

mayday

Over 1,000 trade unionists and community activists attended the DCTU May Day march.

May Day was celebrated in Dublin with a colourful and musical march from the Garden of Remembrance, Parnell Square, to Liberty Hall. [Read more…]

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