Issue 130 – Film Ireland – September/October 2009 – (The Galway Issue)
Issue 130 – September/October 2009 – The Galway Issue, guest edited by Felim Mac Dermott.
Issue 130 – September/October 2009 – The Galway Issue, guest edited by Felim Mac Dermott.
Rod Stoneman on how, with the sensation caused by Lars von Trier’s latest effort, some critics have shifted the emphasis onto the reviewer and off the reviewed.
When’s the right time to plan your festival strategy? Before you’ve even begun your film. Palm Springs Shortfest film curator and festival strategist Kathleen McInnis shares the secret to festival success.
Christopher Hampton, Academy Award®-winning screenwriter, playwright and director gave a screenwriting masterclass at the Galway Film Fleadh this year. At the event, which was sponsored by Northern Irish Screen, Martin Daniel, Professor of Screenwriting at the University of Southern California and international script expert, talked to Hampton about his approach to writing screenplays.
Irish DOP Robbie Ryan talks to Niamh Creely about Andrea Arnold’s second feature ‘Fish Tank’, which screened at Cannes and as the finale of the Galway Film Fleadh.
The screenwriter (Christian O’Reilly) & the sales agent (Charlotte Mickie). One dreams it up, the other tries to sell it – but they never usually meet; here’s what happens when they do. Screenwriter and script consultant Mary Kate O Flanagan reports.
Niamh Creely talks to Miriam Allen, the managing director of the Galway Film Fleadh, about how the festival does so much more than screen films.
Galway Film Centre manager Declan Gibbons talks to a cross-section of people about working in the film and television sector in the West of Ireland.
To celebrate the continued success of the Galway Film Society, Ireland’s longest running and largest film club, David O Mahony from access>CINEMA traces its history from humble beginnings to its current position as a champion of non-mainstream cinema in the West of Ireland.
Veteran filmmaker Jon Jost on his love for digital video and why he’ll never go back to film.