Night People is an Irish Horror / Science Fiction story which marks the feature film debut of director Gerard Lough and stars Michael Parle, Jack Dean-Shepherd and Claire Blennerhassett. The film was shot on location in Donegal and Dublin and features a large cast made up of some of the country’s most exciting new acting talent. The film tries to breathe new life into genre cinema with striking visuals, provocative themes with an ambitious intertwining narrative that has plenty of twists and turns.
“A film that neither looks or sounds like any other Irish film” – FILM IRELAND
“Shows so much imagination and ambition its hard to fault it” – UK HORROR SCENE
“Creative little anthology piece that manages to entertain as well as provide some genuine thrills from the performances within.” DREAD CENTRAL
A pair of professional but mismatched criminals break into a vacant house to carry out an insurance scam. Awkwardly thrown together with an hour to kill, they reluctantly start telling each other tall tales that involve everything from vampires to alien artifacts. As the night progress the line between reality and fiction starts to blur as the hidden agendas of both men are revealed.
DIR/WRI: Gerard Lough • PRO: Gerard Lough, Tanya McLaughlin • DOP: Greg Rouladh • ED: Greg Rouladh • CAST: Michael Parle, Jack Dean Shepherd, Claire Blennerhasset, Sarah Louise Carney, Aidan O’ Sullivan, Eoin Leahy
Gerard Lough makes the transition from shorts to features with this anthology horror/sci-fi in which a pair of seemingly mismatched criminals Mike (played by the brilliant Michael Parle) and Luke (Jack Shepherd), who break into a house as part of an insurance scam. When in the house the pair, with time to kill, start telling each other tall tales. One involves a pair of friends who discover a mysterious, powerful, potentially alien device which pits them against each other. The other tale follows a business woman who provides a prostitution service for wealthy fetishists and how her attempts to escape this line of work leads her down stranger, more sinister rabbit-holes.
This ambitious film is full of distinctive flavour. The set-up and stories are certainly unusual in terms of an Irish film. Lough exhibits a very particular style in how’s it shot – lots of underexposed cinematography, and in its soundtrack, which is heavy on impressive synthesized ’80s style music.
Lough has no qualms about juxtaposing different genres and sub-genres and also attempts to tackle a variety of diverse subjects from the economy and housing crisis to grand philosophical concerns. The result is a film that looks and feels very different to most Irish cinema. It doesn’t always add up and the complex nature of its presentation can be sometimes difficult to follow with the anthology film being a famously difficult trick to pull off
The special effects are also somewhat creaky in places and the budgetary restrictions do show. However, Lough must be commended for making a virtue of this. He himself has cited the New Romantic music scene and films such as Tony Scott’s bonkers Catherine Deneuve/David Bowie vampire picture The Hunger as big influences aesthetically and the effects of the film when integrated with these aesthetic influences work to create a referential B-movie style as opposed to incompetence. It is heartening to see a film as singular as this being made in Ireland, even if not every aspect of it works.
The real star of the show here is Michael Parle. Best known probably for his role in Ivan Kavanagh’s outstanding Tin Can Man, he here once again makes for a magnetic screen presence. Parle could easily lay claim to being Ireland’s first genre movie ‘star’. One is reminded of B-movie luminaries such as Udo Kier in his innate ability to balance just the right amount of knowingness and earnestness in the – often sinister – characters he plays. We need to see more of this man in Irish cinemas.
The other performers unfortunately often cannot match Parle for his presence and there are times, when Parle is off-screen, this his absence is felt somewhat and one yearns for a return to the framing story in which he is a part of, rather than the tall tales themselves.
Despite these flaws it is pleasing to see a film that neither looks nor sounds like any other Irish film historically or contemporaneously being made and further reinforces the notion that new ideas both formally and thematically are now being explored in independent Irish cinema.
In Gerard Lough’s Night People, a pair of professional but badly mismatched criminals break into a vacant house to carry out an insurance scam. Awkwardly thrown together with an hour to kill, they reluctantly start telling each other tall tales. One concerns two friends who discover a mysterious device that may be of alien origin. The more they learn about it, the closer to breaking point their friendship is pushed. The other is about an ambitious business woman who provides a dating agency for wealthy fetishists. She attempts to escape this shady line of work by taking on a new client who’s habits may be of the vampiric variety. As the night progresses the line between fiction and reality starts to blur and the hidden agendas of both thieves become apparent.
David O’Donoghue broke into director Gerard Lough’s house, to carry out an interview ahead of Night People‘s world premiere at the IFI Horrorthon Film Festival.
What particular sci-fi or horror films, styles and directors influenced Night People?
The film has a lot of influences. It’s kind of a strange mix really! Anthology series like The Twilight Zone and Alfred Hitchcock Presents were definitely a big part of it. For anyone like me who grew up in the ’70s or ’80s they definitely had a big impact. Also, the New Romantic music scene was a big influence. If anyone one film influenced Night People though it has to be Tony Scott’s The Hunger (1983).
What was it that prompted your use of the anthology-like story-within-a-story style?
Definitely those anthology series. But also I was interested in the idea of tall tales and urban legends. We’ve all known urban myths we associate with out towns and with our people. I even remember on the playground when I would hear urban myths about films- like everyone involved in The Exorcist died or maybe it was Poltergeist or The Omen, they could never quite get it right. But I think urban legends are very interesting and so I tried to use these hyperlinked stories in the film
The film has a number of topics that are very important in public debate at the moment: the economy, property and sexuality. Do you intentionally draw on these themes to create powerful cinema?
The recession is all around us; we’re particularly badly affected here in the northwest. In some ways you can’t avoid it. But also there was an element of convenience to it. A lot of the story is set in a vacant house and there are plenty of those around here in Donegal. I’m not a political filmmaker but I do think I was saying something about my country in my own way. Still ambiguity is useful and more interesting to me, even if it can be tricky.
Do you feel making sci-fi or horror films makes it more difficult to produce a film due to prejudices against genre films?
Initially, I didn’t think so. But as I’ve gotten more involved in filmmaking I definitely have noticed something I might call ‘genre snobbery’. You’ll go to a production company and as soon as you say your film is a sci-fi/ horror they say “no, it’s not for us”. There is definitely a certain snobbery because Irish films can be so focused on social realism and historical films. In my case though, I just don’t care about genre, I want to make a good film. I’ve heard some people talk about an ‘Irish New Wave’ shedding new light on genre films – I don’t know about that but wouldn’t it be great!
A large portion of the film was filmed around your native Donegal. Did you enjoy capturing your own area on film?
I think there are definitely a lot of places in Donegal that are really unusual and isolated and that there are places so great you could shoot a Michael Mann film or even Game of Thrones or Lord of the Rings. For example, the beach that is used in one of the stories in the film. We only discovered the place, just a while up the road, shortly before filming and we found all these wonderful caves which ended up in the film. I love to shoot the real thing. It’s sitting there on your doorstep so why not shoot it right there. I really enjoyed giving the area a sense of perpetual twilight, misty and dark almost like a noir film.
What’s next for Gerard Lough?
Really I’m just focusing on this film now, taking care of it. I’m anticipating the premiere and how the audience will react. They say a premiere is almost like giving birth in public. In the future though, I would love to do something based around the New Romantic music scene. It was such a brief thing, it really only lasted from 1980 to ’81, but it was so interesting. I love the style and the sound of it.
Night People screens on Sunday, 25th October 2015 @ 23.00 as part of the IFI Horrorthon (22 – 26 October)
Night People is an Irish Sci-Fi / Horror film which marks the feature film directorial debut of Gerard Lough. The film was shot on location in Donegal and Dublin.
A pair of professional but badly mismatched criminals break into a vacant house to carry out an insurance scam. Awkwardly thrown together with an hour to kill, they reluctantly start telling each other tall tales. One concerns two friends who discover a mysterious device that may be of alien origin. The more they learn about it, the closer to breaking point their friendship is pushed. The other is about an ambitious business woman who provides a dating agency for wealthy fetishists. She attempts to escape this shady line of work by taking on a new client who’s habits may be of the vampiric variety . As the night progresses the line between fiction and reality starts to blur and the hidden agendas of both thieves become apparent.
A pair of professional but badly mismatched criminals break into a vacant house to carry out an insurance scam. Awkwardly thrown together with an hour to kill, they reluctantly start telling each other tall tales.
Set in the early 1950s, Brooklyn is the story of a young woman, Eilis (Saoirse Ronan) who moves from small town Ireland to Brooklyn, NY where, unlike home, she has the opportunity for work and for a future – and love, in the shape of Italian-American Tony (Emory Cohen). When a family tragedy brings her back to Ireland, she finds herself absorbed into her old community, but now with eligible Jim (Domhnall Gleeson) courting her. As she repeatedly postpones her return to America, Eilis finds herself confronting a terrible dilemma – a heart-breaking choice between two men and two countries.
Brooklyn is adapted from Colm Tóibín’s New York Times Bestseller by Nick Hornby and directed by John Crowley.
When 12-year-old Mickey Miller moves with her family from New York to Ireland, she soon discovers a mysterious link between herself and the 300-year-old legend of the mysterious Black Knight, who regularly haunts the sleepy Irish village of Longwood. With her new best friend in tow, Mickey sets out to redeem the knight while saving a precious herd of white horses and thwarting the evil plans of a greedy, ambitious woman – a mighty handful even for the bravest girl.
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The Lobster (Yorgos Lanthimos)
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Older Than Ireland features thirty men and women aged 100 years and over. Often funny and at times poignant, the film explores each centenarian’s journey, from their birth at the dawn of Irish independence to their life as a centenarian in modern day Ireland. Older Than Ireland ‘s observational style offers a rare insight into the personal lives of these remarkable individuals.
In the cut-throat London film industry a vivacious actress chasing her big break struggles to maintain her integrity in the face of the director’s advances
The GreatWall( Tadhg O’Sullivan)
This bold new documentary, an adaptation of a Kafka story, looks at the enclosure of Europe by a complex system of walls and fences. Mysterious and visually dazzling, the film journeys across a range of European landscapes, and encounters those whose lives are defined by these walls – detainees within European migrant camps. [IFI Programme Notes]
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You’re Ugly Too (Mark Noonan)
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Rachel, a rookie cop, is about to begin her first nightshift in a neglected police station in a Scottish, backwater town. The kind of place where the tide has gone out and stranded a motley bunch of the aimless, the forgotten, the bitter-and-twisted who all think that, really, they deserve to be somewhere else. They all think they’re there by accident and that, with a little luck, life is going to get better. Wrong, on both counts. Six is about to arrive – and All Hell Will Break Loose!
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A slacker comedy which chronicles a hectic 24 hours in the life of would-be comedian Coilin (Killian Scott) and frustrated musician Alex (Peter Coonan). When Alex’s girlfriend tells him she’s pregnant, he refuses to allow her to derail his long-held plan to escape to London. Meanwhile the hapless Coilin is striking out on stage and off, as he attempts to get his faltering comedy career off the ground and win the heart of his dream girl. With time ticking down to Alex’s departure, the mismatched pair will be forced to confront the reality of their childhood dreams of artistic greatness while their lifelong friendship is tested to the limit.
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I Used To Live Here follows Amy Keane, a 13-year-old trying to cope with the death of her mother and the reappearance of her father’s ex-girlfriend, who experiences the temptation of suicide after witnessing the outpouring of love for a local suicide victim. The film takes a fictional look at how the idea of suicide can spread in communities, particularly among young people.
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Rachel Curran talks to Gerard Lough, director of Night People.
Shot primarily in Donegal, Night People is the debut feature of Gerard Lough. After having received critical acclaim for his short films, including his thriller Ninety Seconds and the highly ambitious Stephen King short story adaptation of The Boogeyman, Lough now presents us with his dystopian and controversial first feature. Gerard tells us what we can expect…
You’ve had great success with your short films and now you are working on your first feature. What can you tell us about Night People?
Night People is a very ambitious film that moves through several interconnecting narratives and both the horror and science fiction genres. It takes things familiar with both genres, puts a fresh spin on them and takes the audience into some unexpected places, which I hope may catch them off guard in an entertaining way. The movie starts off with a pair of high tech but mismatched thieves breaking into an abandoned house to do an insurance scam. To kill time they tell each other tall tales, which we get to see. However, as the story progresses, it appears as if there might be some truth to the stories as well as sinister hidden agenda for both thieves being there.
What was your inspiration for the story/stories?
Horror / Sci-Fi anthology films of the ’80s such as Creepshow, Twilight Zone and Cat’s Eye but with the goal of having each story blend together to make one big story and then bring it stylistically up to date for a modern audience. Combined with a desire to tell a story about outsiders that depicts them not in a depressing or judgmental way but in a romantic and stylish fashion.
The structure of the film is clearly integral to the narrative but tone and atmosphere plays a huge role in your work. Was that something that was hard to create or did it develop naturally?
It’s not hard when you know what you want and have already developed a visual look that you are fond of that fits the material. For me its shooting at magic hour, smoky rooms, underexposing, deep blues, shooting in full widescreen. That said, it takes time to wait for the smoke to become dense in a room or for the sun to go down and then try to get your shots within a 20-minute window of magical twilight.
There are so many different and exciting sets and locations throughout the film, from dynamic nightclubs to the stunning wilds of Donegal. How would you describe the different worlds of Night People?
We shot in a building that was one week old and one that dates back thousands of years. Nocturnal, abandoned, dangerous, uninhabited and left to ruin is the atmosphere I try to create. For example, one of the stories takes place in a house that hasn’t been lived in for a long time and is wrapped up in plastic dust sheets with very few signs of any human contact. With that, and many other locations, I was always aiming for the eerie vibe that comes off the derelict spaceship in Alien. The foreboding feeling that something happened there once long ago and it wasn’t good.
You have a particular visual aesthetic in your films, how does that inform your style as a director?
Again it comes back to knowing what you want and being clear about it on day one. I think in terms of cuts when I’m shooting a scene and, by and large, I’ll carry out that plan when I’m in post but I’d be lying if I said it always turns out exactly the way I imagined.
What was your biggest challenge on this latest project?
Trying to stay focused and not let the story get away from me. Each story has gone through multiple drafts, which I have stopped counting long ago. Some were changes that were forced on us by circumstances (someone suddenly changing their mind and refusing you permission to film in their building), others by design as I felt the story could be improved even more even if we were a week away from shooting. The problem is, sometimes you make a change and you will have to jump to another part of the script and rewrite a scene to accommodate the change. For example, the ending was changed before shooting began. The knock-on effect of that meant that an exiting story had to be deleted and a brand new one written so the whole story would click into place like before and make sense. In the end, every performance, slick visual and cool piece of music is in service to advancing the story first and foremost… style comes a distant second.
There is often a focus on the dark and more sinister nature of things in your work, something that isn’t always strongly depicted in Irish cinema. Can we expect more of this in Night People?
You can expect it in spades with this film. Darkness is attractive in movies and troubled characters are a lot more interesting that well adjusted types who are at home by 9 pm. Off course that also means I should not be expecting any directing offers from Disney anytime soon.
Night People is a horror / science fiction anthology story which marks the feature film debut of writer / director Gerard Lough.
A pair of high tech thieves break into a house with a dark past. Their story soon intertwines with three other sinister tall tales.
The film stars Michael Parle, Jack Dean Shepard and Claire Blennerhassett.
Produced by Lough and Tanya McLaughlin.
Principal photography began on August 1st 2013. The shoot for this ambitious project will continue well into 2014. The film will be shot entirely on location in Ireland.
Lough is an Irish film-maker best known for critically acclaimed short films such as the Stephen King adaption The Boogeyman. His final short film, futuristic thriller Ninety Seconds, can now be seen online at http://youtu.be/Quvf7tmeVeo
Night People is a horror / science fiction anthology film which marks the feature film debut of director Gerard Lough.
Two high tech thieves break into an abandoned house to pull off an elaborate insurance scam. But they get more then they bargained for when the building’s dark past comes back to haunt them.
The film stars Michael Parle, Jack Dean Shepard and Claire Blennerhassett.
Principal photography began on Aug 1st 2013. The shoot for this ambitious project will continue well into 2014. The film will be shot entirely on location in Ireland.
Lough is an Irish filmmaker best known for several critically acclaimed short films such as the Stephen King adaption The Boogeyman. His final short film – futuristic thriller Ninety Seconds – can now be seen online: http://youtu.be/Quvf7tmeVeo