Ross Whitaker talks to Conor Horgan about his award-winning debut feature.
Conor Horgan is a man in a hurry. He squeezes me in for a chat in a Dublin café the day before he is due to fly to the Slamdance festival in Park City, Utah, where his debut feature – One Hundred Mornings – will have its North American premiere.
For his first film to be chosen for Slamdance is a creditable achievement in itself but over the coming days the film makes a substantial impression at the festival, where it receives a Special Jury Mention and is described by Filmmaker magazine as, ‘Achingly humane and stringently observed’.
One Hundred Mornings was one of three films green-lit by the Catalyst Project to go into production with a €250k budget. The other films were the festival favourite Eamon and the as-yet unreleased Redux but the scheme was also responsible for incubating other fine films like His & Hers and Savage, that weren’t funded by the project itself but were developed to the point that production was almost inevitable, and were ultimately successful.
What comes across so strongly in conversation with Horgan is just how much he enjoyed making this intense, moving film. His eyes light up when he thinks back to the process, holed up in a Wicklow location for four weeks.
Bleak film, happy set
‘The film is quite bleak, you could say, but the set was the happiest set I’ve ever been on. Perhaps that was a reaction to the material. We were a group of people doing something that we believed in and believing it was something we could do well. There was a strong feeling amongst the cast and crew that we had the potential to make a good film.’
The full article is printed in Film Ireland 132.