Fassbender and ‘Good Vibrations’ among BAFTA Nominations


Michael Fassbender is among the nominees for this year’s BAFTAs announced today, nominated for Best Supporting Actor for his role in 12 Years a Slave, which opens in Ireland on Friday. The film received 10 nominations in total, including for Best Film, Best Director (Steve McQueen) and Best Actor (Chiwetel Ejiofor).

Good Vibrations scored its writers a nomination as Colin Carberry and Glenn Patterson are up for Outstanding Debut.

Kieran Evans, who directed Kelly + Victor, co-produced by the Irish Film Board, is nominated for Outstanding Debut by a British WriterDirector or Producer.

Also of Irish interest is the inclusion of Philomena, partly filmed in Northern Ireland, which is among the nominations for Best Picture, with three further nominations in Outstanding British Film, Adapted Screenplay and Leading Actress for Judi Dench.

Gravity leads this year’s shortlist with a total of 11 nominations, including Best Film, Best Actress (Sandra Bullock) and Best Director (Alfonso Cuarón).

The winners will be announced at a ceremony at the Royal Opera House on 16th February.

Click here for the full list of nominations

Best Film

12 Years a Slave
American Hustle
Captain Phillips

Outstanding British Film
Mandela: Long Walk to Freedom
Saving Mr Banks
The Selfish Giant

Best Actor
Christian Bale (American Hustle)
Bruce Dern (Nebraska)
Leonardo DiCaprio (The Wolf of Wall Street)
Chiwetel Ejiofor (12 Years a Slave)
Tom Hanks (Captain Phillips)

Best Actress
Amy Adams (American Hustle)
Cate Blanchett (Blue Jasmine)
Sandra Bullock (Gravity)
Judi Dench (Philomena)
Emma Thompson (Saving Mr Banks)

Best Supporting Actor
Barkhad Adbi (Captain Phillips)
Daniel Brühl (Rush)
Bradley Cooper (American Hustle)
Matt Damon (Behind the Candelabra)
Michael Fassbender (12 Years a Slave)

Best Supporting Actress
Sally Hawkins (Blue Jasmine)
Jennifer Lawrence (American Hustle)
Lupita Nyong’o (12 Years a Slave)
Julia Roberts (August: Osage County)
Oprah Winfrey (The Butler)

Best Director
Alfonso Cuarón (Gravity)
Paul Greengrass (Captain Phillips)
Steve McQueen (12 Years a Slave)
David O Russell (American Hustle)
Martin Scorsese (The Wolf of Wall Street)

Best Adapted Screenplay
12 Years a Slave
Behind the Candelabra
Captain Phillips
The Wolf of Wall Street

Best Original Screenplay
American Hustle
Blue Jasmine
Inside Llewyn Davis

Film Not in the English Language
The Act of Killing
Blue is the Warmest Colour
The Great Beauty
Metro Manila

Best Documentary
The Act of Killing
The Armstrong Lie
Tim’s Vermeer
We Steal Secrets

Best Animated Film
Despicable Me 2
Monsters University

Outstanding Debut by a British Writer, Director or Producer
Colin Carberry (Writer), Glenn Patterson (Writer) Good Vibrations
Kelly Marcel (Writer) Saving Mr Banks
Kieran Evans (Director/Writer) Kelly + Victor
Paul Wright (Director/Writer), Polly Stokes (Producer) For Those in Peril
Scott Graham (Director/Writer) Shell

Rising Star Award
Dane DeHaan
George MacKay
Lupita Nyong’o
Will Poulter
Lea Seydoux


Interview: Lisa Barros D’Sa and Glenn Leyburn – directors of ‘Good Vibrations’



Paul Webster talks to directors Lisa Barros D’Sa and Glenn Leyburn about recreating the ’70s Belfast punk scene in their new film.

Good Vibrations is a tremendously entertaining portrayal of a man who refused to let 1970s Belfast be defined solely by violence. Terri Hooley was the godfather of the Belfast punk scene and the film illustrates brilliantly the huge contribution of Northern Irish bands to punk music of the ’70s and ‘80s. The film oozes authenticity, from the superb acting, right down to the wallpaper in Terri’s record shop. The filmmakers have captured the spirit of the ‘Alternative Ulster’ that Terri and his punk cohorts dreamed of. I caught up with directors Glenn Leyburn and Lisa Barros D’Sa to discuss how they achieved this.

How did the project come about?

Glen:The project has been talked about for a long time, the writers, Glenn Patterson and Colin Carberry, had started writing it around ten years ago. At that time we all knew each other, but Lisa and I hadn’t directed yet. We didn’t really hear much more about it for a few years. Then, around the time we had finished our first feature, Cherrybomb [2009], Colin brought a treatment to Lisa. It just clicked with us and we thought it would be a great script to have as our next project. We knew the legend of Terri from living in Belfast for so long, he’s very well known in the city and there are so many great ‘Terri stories’.

What interested you about the story?

Lisa:One of the things that drew us to the film was the fact that it was a story set during the Troubles, but it wasn’t about the Troubles, the violence was more of a backdrop. All the movies we’d seen about this time were about the sectarian division, but of course there were so many other stories happening during this period that hadn’t been put onscreen. There have been lots of great films about the Troubles, but that wasn’t what we wanted to do. From the very beginning this seemed like an alternative story of those times, it’s about people trying to live in a different way. There were lots of people like Terri who loved Belfast, but didn’t want to accept the version of the city that the Troubles offered. The film is a kind of celebration of that spirit. Also the script was brilliantly written, the dark, surreal comedy and tone was there from the beginning. Terri is a great storyteller and he was this kind of colourful, explosive force in the middle of these grey, violent streets. For that reason, it always felt like it needed a telling that was a bit larger than life.

Glen:Yeah, we always believed that it had to be done in a kind of vivid and vibrant sort of way. So much of this film was about seeing things differently, as we joked on set, like seeing the world through Terri’s glass eye.

You did an amazing job of recreating the 70s, how did you approach this?

Glen: It was a huge challenge, especially for the amount of money we had, it was a big job for all the departments. Derek Wallace,the designer, and all the people involved did a really great job, they really worked miracles for such little money.

Lisa:We wanted it to feel real, not the sort of cartoon seventies that has been done before. The detail that they came up with was incredible. You could really see this with the recreation of the Good Vibrations record shop. When Terri and his family visited the set, they all said it really felt like the original shop. That was great for us, to be able to work in that space and know that it felt like the real thing.

Glen:Another thing that was to our advantage was that the period of the story was so well documented. There were probably more cameras pointed at Belfast than anywhere else in the world at the time. So there was a huge amount of photography and archive footage that we were constantly trying to feed back into the film. We worked a lot with those reference points.

You also used archive footage very cleverly. How did you find working with this medium?

Glen:From the early stages we knew we wanted to use archive, it was a case of widening the world and showing Belfast as it was. In the edit we kind of thought of the film as a sort of punk fanzine; if you needed something you would just cut it out and stick it in. It was that kind of cut and paste feel. Another important issue, was trying to establish Terri’s vision, so that it didn’t feel tagged on – it was part of how Terri saw his world.

Lisa: Truth be told, we didn’t know how we were going to use the archive before the edit. We always felt we wanted to make the film in a sort of punk spirit, and this allowed us to be a bit more free with how we laid out the narrative. We had a lot of help from the BBC and we spent about four solid days looking through their archive footage. Then we spent a lot of time working very organically fitting the clips in with the rest of film.

I know you probably get asked this all the time, but how does your dynamic work as a team of two directors?

Glen: Yeah we do get asked that a lot, but it’s alright, don’t worry [laughs]. The thing about it is, we both do everything. The key, as with any direction, is preparation. In prep, we work in tandem. When it comes to being on set, we’re very aware that people want one voice, especially actors. So Lisa would work more closely with the actors and I would work mostly with the camera and art departments. If anyone visited us on set, it would probably look like our jobs are quite separate, but actually they’re not.

Lisa: Because we’ve worked together for so long, we trust each other to make decisions that will be in keeping with the overall vision of the film.

Glen:Yeah, some people might think that it would slow things down a lot because we’d be endlessly discussing things, but in fact I think it really speeds up the process.

There’s a scene in which a crowd pack out the Ulster Hall for a Good Vibrations fundraiser? How did you achieve this on such a small budget?

Lisa: In the script they talk about having two thousand people at the gig. We never thought in a million years we’d get that amount of people. We actually talked long and hard about using CGI and crowd replication for that scene. Then we talked to the guys from Snow Patrol who know Terri and were great supporters of the film. They offered to come and play a little acoustic gig for us and asked their fans to come and be extras for us. Within hours we were just overrun with people dressed in punk and seventies ‘70s gear wanting to be in the film.

Glen: We were very lucky that the crowd reactions are so authentic because it was a real, excited crowd. And it was very emotional, shooting in the place where the real concert took place thirty years before.

Good Vibrations is in cinemas now



Galway Film Fleadh 2012 Cinema Review: Good Vibrations

DIR: Lisa Barros D’Sa, Glenn Leyburn • WRI: Glenn Patterson, Colin Carberry • PRO: Andrew Eaton, Chris Martin • DES: Derek Wallace • DOP: Ivan McCullough • ED: Nick Emerson • Cast: Jodie Whittaker, Richard Dormer, Dylan Moran


The sold-out Town Hall Theatre rang out with Belfast-twanged whoops when this film was introduced – this being the first in the series of ups and downs that the screening would deliver.


A chronicle of Terri Hooley’s life, Good Vibrations is the tale of how one chancer/record-shop owner was an instrumental player in bringing the punk movement to Belfast. Terri (with one eye) grew up in Belfast and decided to open his shop, Good Vibrations, in Victoria Street, one of the most bombed streets in Belfast, during the height of the Troubles .


As well as being a hub for music buffs, Good Vibrations was also home to a record label which was for responsible for launching the career of bands such as The Undertones, Rudi, and The Outcasts. As Terri’s obsession with music grew his relationship with his remarkably tolerant wife started to fall apart, and he ended up in quite a bit of trouble.


After the credits rolled the real-life, and certainly larger than life, man himself graced the stage. Terri Hooley wowed us with a rowdy and touching speech, in which he included the fact at one point he had leave the cinema to have a cry –and of course a pint. Another thing his appearance definitely established was what an utterly fantastic job Richard Dormer did at portraying him on screen. His accent and mannerisms were eerily accurate. His charm and warmth on screen was a massive contrast to his performance in Jump, which graced the same screen the evening before.


A charming, uplifting alternative to the usual bleak portrayal of ’70s Belfast, Good Vibrations is a skillfully assembled film that really showcased a fantastic cast. The music is utalised perfectly and gives an exciting lift to the film, to the point where you’ll be bopping in your seat. For the most part the plot avoids the Cinematic Underdog clichés and just works perfectly as a warm tribute to an extraordinary man.


Gemma Creagh


‘Good Vibrations’ secures cinema release

Out Now: Film Ireland: The Autumn Issue 2012 – Issue 142

Good Vibrations, which features on the cover of the latest issue of Film Ireland, is to be released in Irish and UK cinemas towards the end of this year after securing a distribution deal. The film, which screens at this year’s Galway Film Fleadh,  focuses on Belfast’s punk godfather Terri Hooley ,who opens a record shop, Good Vibrations, at the height of the Troubles in the 1970s, and tries to imbue the spirit of the city of Belfast through music.

The film is a co-production between Belfast’s Canderblinks Film & Music, London-based Revolution Films and Dublin’s Treasure Entertainment.


‘Good Vibrations’ Raises Curtain on the 12th Belfast Film Festival

Stars from the local and international entertainment industry will flock to the Ulster Hall tonight for the highly-anticipated World Premiere of Good Vibrations – the opening premiere of this year’s Belfast Film Festival. The film’s cast and crew will be joined by special guests such as Snow Patrol for a Gala red carpet evening.


Good Vibrations is the locally filmed biopic of record shop owner and godfather of Northern Ireland’s 70s punk music scene Terri Hooley. The film boasts an ensemble cast of local actors including Richard Dormer as Terri Hooley, Michael Colgan and Adrian Dunbar.


The film’s creative team also hails locally with husband and wife directors, Lisa Barros D’Sa and Glenn Leyburn; scriptwriters Glenn Patterson and Colin Carberry and David Holmes who worked on the music selection and score. The film was largely shot in the shops and alley ways of North Street, Belfast, where the Good Vibrations Record Store was established.


Tickets for the World Premiere have been in such high demand that Belfast Film Festival has arranged an additional screening tonight at the Ulster Hall along with another at the Movie House, Belfast.


Commenting on the Gala Event and the opening screening of the Belfast Film Festival, Michele Devlin, Belfast Film Festival Director said –


“We are absolutely thrilled to be showcasing this landmark premiere on our opening night. Securing Good Vibrations is a real coup for the Belfast Film Festival and shows just how far the city has come. The global interest in this World Premiere is a real indication of the high profile Belfast Film Festival now enjoys and the film’s production demonstrates the world-class level of Northern Ireland’s Film Industry.”


The Belfast Film Festival is funded by Northern Ireland Screen supported by DCAL and by Belfast City Council. To view the full Festival Programme and to book tickets for the screenings and events visit www.belfastfilmfestival.org