‘Shut Up And Play The Hits’ available to watch on Volta from Monday October 8th

 

From Monday October 8th, SHUT UP AND PLAY THE HITS, the documentary about the last days of LCD Soundsystem and their final gig in Madison Square Garden, will be available to watch online on Volta, the Irish owned and operated video on demand website.

 

http://www.volta.ie/films/shut-up-play-the-hits

 

After an unprecedented level of demand for the film by Irish fans, the documentary was released in cinemas on September 4th. It screened to 600 eager fans on opening night at Light House Cinema, Smithfield and will now be available to audiences nationwide to enjoy at home on Volta, the video on demand site operated by Element Pictures. The film will also be available on Volta’s recently launched Facebook App, which allows users to watch, share, rate and gift films to their friends without leaving the social networking site.

 

https://apps.facebook.com/volta-vod/

 

“Shut Up And Play The Hits is a beautiful document of the band’s last show” Nialler9

“LCD Soundsystem have left a tremendous legacy behind and Shut Up And Play The Hits will be remembered for what it is – The Last Waltz for the electric generation.” Entertainment.ie

“A gorgeously shot concert film” The Guardian

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One Place Left On Filmbase Documentary Foundation Course Starting This Weekend

(Needle Exchange)

This popular weekend course, guided by Award-winning director Colm Quinn (Needle Exchange) and aimed at beginners, encourages students to write and present documentary proposals, develop and research ideas, produce, direct and interview. Other subjects taught on this course are digital camera skills, sound recording and advice on funding & markets.

Two proposals are selected to be made into short documentaries over a weekend.

COURSE MODULES

  • Introduction to Documentary Filmmaking
  • Writing proposals
  • Researching
  • Camera & lighting with Sundance award-winning cinematographer Kate McCullough
  • Location sound
  • Producing
  • Directing Documentary
  • Scriptwriting for Documentary
  • 2 day (weekend) shoot
  • 3 day edit with a professional editor

For a full outline with dates and course modules, please email Training Manager Tristan Hutchinson at tristan@filmbase.ie

Cost: €1000
Deposit: €500 (non-refundable)
Membership is included with this course! 
Dates: Starts this Saturday September 22nd

**PLEASE NOTE – THE COURSE TAKES PLACE EVERY SATURDAY 10.30-5PM, AND THURSDAY EVENING 7-10PM**

More Info: Call Training Manager Tristan Hutchinson on 01 679 6716 or email tristan@filmbase.ie

To book: Contact reception on 01-6796716 or email info@filmbase.ie

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Cinema Review: John Ford: Dreaming The Quiet Man

Dreaming the Quiet Man

Dreaming the Quiet Man

 

DIR: Se Merry Doyle • WRI: Stephen Walsh • PRO: Martina Durac, Vanessa Gildea • DOP: Patrick Jordan • ED: Nicky Dunne • Cast: Maureen O’Hara, Martin Scorsese, Peter Bogdanovich, Jim Sheridan, Gabriel Byrne

 

At the time of writing, the spectre of Euro 2012 has really begun to grip the nation as the Republic of Ireland take part in their first major tournament in all of ten years. However, though the excitement in the exploits of Giovanni Trapattoni’s men has spread across the country, there will still be a certain section of Irish society who will only have a passing interest in how the Boys In Green fare in Poland and Ukraine.

 

With this in mind, there is always room for an alternative, and that is a role that the John Ford Symposium filled with some relish during its four-day run in the capital recently, starting on 7 June.

 

Amongst the events that took place during this time included a screening of Clint Eastwood’s masterpiece Unforgiven (Eastwood was the recipient of the John Ford Award last year), an outdoor screening of The Searchers, a real stand-out from Ford’s back catalogue, and public interviews with Peter Bogdanovich and Stephen Frears.

 

Another key fixture in the Symposium’s calendar of events, however, was the premiere of Se Merry Doyle’s insightful documentary, John Ford: Dreaming The Quiet Man, which takes an in-depth look at the Irish-American helmer’s time making his love letter to The Emerald Isle back in 1952.

 

In the long history of the Irish film industry, few films have made as inedible a mark as the John Wayne-Maureen O’Hara fable, which sees Wayne’s Sean Thornton returning to his birthplace in the West of Ireland following an ill-fated encounter in America.

 

This is something that Doyle seeks to examine in his documentary, and he has secured a real coup by getting O’Hara to speak candidly about her role in the film for the very first time.

 

Though she is now in her early 90s, O’Hara seems as sprightly as ever, as she recalls vividly her experience of portraying the now iconic Mary-Kate Danaher. We also get interviews with the aforementioned Bogdanovich (who had previously made the documentary, Directed By John Ford, in 1971), Martin Scorsese, acclaimed Irish director Jim Sheridan, and a variety of residents from Cong in County Mayo, where a large portion of the film was shot, who all give their take on what has helped the film to stand the test of time.

 

Amongst the elements that have captivated the interviewees, Scorsese in particular, down through the decades is the mythical feel of the film, which is brought into sharp focus during Thornton’s arrival by train to the fictional Inisfree, and its depiction of Irish traditional life, which was largely alien to watching US audiences.

 

There is also quite a lot made of the fact that Ford had such a hard time convincing the major studios in Hollywood that The Quiet Man was a worthwhile project to invest in, with many of them feeling that it wouldn’t be a profitable project for them to pursue.

 

Profitable it was though, and Ford would go on to win the Best Director Oscar at the 1953 Academy Awards (for a record fourth time), with Winton C. Hoch and Archie Stout’s green-tinted Cinematography also being recognised.

 

However, as fascinating as it is to hear the ins and outs of the making of the film, this documentary also offers a greater understanding of what Ford was like as a director, and as a man. Footage from Bogdanovich’s documentary where he attempts to interview Ford, and Bogdanovich’s own recollection of shooting the film, shows us how difficult the man born John Martin Feeney could be, and O’Hara also reveals the problems she had working with Ford on The Quiet Man.

 

What also comes through, however, is how brilliant a filmmaker he was, and O’Hara herself has no hesitation in saying that Ford was the best director that she worked with. Ford himself often said that he didn’t have any great interest in films, and that he only ever saw it as a job, but it is clear that The Quiet Man was a film that was very close to his heart.

 

Given the legacy of The Quiet Man, Doyle’s documentary will undoubtedly have a life outside of the cinema, but for those who have been taken in by the recent Symposium, and are fans of Ford’s 60-year-old classic, it is well worth venturing to your local theatre to catch John Ford: Dreaming The Quiet Man while it is showing.

 

Daire Walsh

Rated PG (see IFCO website for details)
John Ford: Dreaming The Quiet Man is released on 15th June 2012

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Cinema Review: Woody Allen – A Documentary

 

DIR/WRI/PRO: Robert B. Weide • DOP: Neve Cunningham, Anthony Savini, Nancy Schreiber, Bill Sheehy, Buddy Squires • ED: Karoliina Tuovinen, Robert B. Weide •  Cast: Woody Allen, Letty Aronson, Marshall Brickman, Josh Brolin

 

The tone of the film is set up from the beginning, the familiar font, the jazz playing over shots of New York; this film is not setting out to interrogate the man Woody Allen. It is a portrait of the artist and his career and yet doesn’t shy away from his life’s controversies but focuses on how the personal relates to the work.

 

If you’re watching hoping for shocking revelations about his personal life then this is not for you.
The film is a standard talking heads documentary without narration. Interviews with Allen are interwoven with clips from his films, archive footage and features a range of interview subjects from the industry such as Jack Rollins, Diane Keaton, Dianne Wiest and even his mother makes a brief appearance.

 

What makes this documentary stand out is that director Robert B. Weide has unprecedented access to Allen’s process. Allen is notorious for his hatred of publicity and never includes extras on DVDs and rarely gives interviews. We watch as Allen gets out his forty year old typewriter that he has used to type all his scripts and his drawer full of yellow loose A4 pages that hold all his ideas. He shows him around his old neighbourhood and even has access to him on set and in the editing room.

 

Allen is incredibly open and relaxed on film and there is clearly trust between them which makes for an insightful documentary. Some viewers may want more criticism of his work but Allen makes up for that with his consistent downplaying of his achievements. Love him or hate him, with forty years of filmmaking and no sign of him stopping yet, to quote his manager Jack Rollins ‘the man’s an industry.’

 

Soracha Pelan Ó Treasaigh

Rated 15A (see IFCO website for details)
Woody Allen – A Documentary is released in the IFI on 8th June 2012

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Call For: Documentary Interviewees for ‘See You at the Pictures’

Illustration: Adeline Pericart

With support from the Broadcasting Authority of Ireland, RTE and the Irish Film Board, See You at the Pictures! promises to be an event which will excite the memories and imaginations of the Irish cinema–going public.

We are looking for interviewees to talk about their experiences of cinema-going in Ireland.

We want your cinema stories. Any decade or genre welcome.

Did you go on your first date with your husband of 50 years to the movies? Or did you bring your new girlfriend last week? What was the first film you ever went to see? Was your heart stolen by James Dean or Jimmy Stewart? Were you terrified by Jaws, or thrilled by Star Wars? Do you remember the days when films were heavily censored? Or when the travelling cinema came to town? Maybe your parents told you their own tales of going to see the classics…

Please write us letters, send us emails or upload your videos to our Facebook page:

http://www.facebook.com/pages/See-You-at-the-Pictures/195351740545756

Write to:                                                                     Email stories/anecdotes to:

Stories                                                                          stories@planetkorda.com

Planet Korda Pictures

Irish Film Institute

6 Eustace Street

Dublin 2

For more information or further press information, contact:

Lisa McNamee 086 8949494 or (01) 6726600 or email lisa@planetkorda.com

Check out our sites: www.planetkorda.com and www.booksmugglersthemovie.com

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JDIFF: 'Tim Robinson: Connemara' Review

Tim Robinson

IFI

Wednesday, 23rd February

Jameson Dublin International Film Festival

Tim Robinson: Connemara, a Reel Art documentary directed by Pat Collins, was eagerly anticipated and played to a packed auditorium as part of the Jameson Dublin International Film Festival. In simple terms, the film is about mapmaker Tim Robinson, the books he wrote about mapping Connemara, and Connemara itself.

Robinson is a powerful presence in the film – readings from his books act as a voiceover and his rhythmic, reverent pacing as he walks the landscape forms much of what we see. And yet, in the Q&A after the film, it became clear that Robinson is anything but fond of the limelight; it was only after a concerted effort that Collins was able to convince Robinson to participate at all. There was perhaps some recognition of a kindred spirit, as Collins seems as self-effacing as his reluctant subject and actually, this self-effacement seems to add to the film’s greatness. There are shots that are unusual and that must have presented technical challenges. Yet throughout there is the sense that Collins acknowledges his camera as a tiny aperture gazing upon a vast beauty. He also acknowledges that half of the impact of the film is due to the penetrating soundscape that immerses the viewer. Sue Stenger composed music for the film by using the contours of Connemara to create the sound. There is generous space given for this sound to submerge the viewer and for the viewer to respond to both image and sound.

I had wondered if, conceptually, there would be elements of Brian Friel’s Translations. And, indeed, in a single phrase Robinson communicates the kernel of that extraordinary play. An Irish place name, translated into English, dries out and dies, like a branch snapped off a tree. An image that is poetic but communicates a real truth, that is informative but also powerful and emotive. Throughout the film, the simplicity of Collins’ approach adds to Robinsons’ already potent prose.

Here is a work that could only exist as a film, that speaks its loudest in a darkened cinema space filled with people. It is a response to a book, an interaction with a place and a skilled depiction of a human being who does exactly what we wish all our artists could have the time, space and capacity to do – bring us to an extraordinary place and allow us to really see. See it at all costs.

Niamh Creely

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PODCAST INTERVIEW WITH ‘PYJAMA GIRLS’ DIRECTOR MAYA DERRINGTON AND PRODUCER NICKY GOGAN

Nicky Gogan and Maya Derrington

As part of Film Ireland‘s coverage of Still Films week at the IFI, in this podcast Ross Whitaker talks to the makers of the feature documentary Pyjama Girls, director Maya Derrington and producer Nicky Gogan.

Pyjama Girls opens exclusively at the IFI on Friday 2oth August coinciding with the Still Films Season.

The filmmakers discuss their inspiration, funding sources, their festival strategies and the challenges involved in structuring a feature length documentary.

This is a podcast of approximately 31 minutes duration.

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Innovative television documentary scheme

TG4 and the An Chomhairle Ealaíon/The Arts Council invite submissions for the 6th season of this innovative television documentary scheme that supports the creative exploration of the arts in Ireland.

This year the project aims to support a number of documentaries on a range of art forms for a series of programmes that will provide an insight into the arts as well as the making of art in modern Ireland. Ideas for single programmes or series will be considered. A total fund of €120,000 is available and successful documentary projects may apply for additional financial support from other funding agencies if desired.

Deadline for receipt of submissions is 1pm Friday, 11th June 2010.

Go to www.tg4.ie for more details.

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