Steve Kenny, Writer/Director of ‘Time Traveller’

Steve Kenny turns back time with Film Ireland to chat about his short film.

Time Traveller is the story of a Back To The Future-obsessed 10 year-old named Martin, who is trying to build his very own DeLorean out of an old car and bits of scrap. When Martin’s family is told they are to be evicted from their halting site, Martin races against time to finish his project, creating tension between him and his father.

The story was the product of two separate ideas that had been brewing for a while. I had long wanted to tell a story set in the travelling community – in particular, one that showed a different, less sensationalist side of traveller life than what we’re used to seeing on screen. Martin’s family are a traveller family forced to deal with the specific problem of eviction, but, in a more general sense, they’re also just another Irish family trying to navigate their way through a difficult time, which I think most people can relate to on some level. The other less conventional aspect of the story comes from a more personal place. As a kid, I spent hours watching and rewatching my favourite movies, imagining what it would be like to live in the same worlds as the characters. Chief among those movies of course were the Back To The Future trilogy. I think every kid who grew up with those films longed to take a drive in Doc and Marty’s DeLorean. I thought the idea of a 10-year-old kid taking the initiative to build his own DeLorean was exciting, and Time Traveller allowed me to fulfil a childhood wish of my own, in a roundabout way.

I’ve done a lot of writing over the last few years. Every project is different and – though it’s certainly not always the way – the Time Traveller script came very quickly, and most of what was in the first draft closely resembles the finished film. I made my first short, the horror film Coil, with producer Collie McCarthy and we’ve been collaborating ever since. Collie is my first port of call with everything I write and, when I showed him Time Traveller, we agreed that it had the makings of a decent little film.

We submitted it to the Irish Film Board and were delighted when they selected us for funding as part of their inaugural Focus Shorts scheme. They were up front about the risk they felt they were taking in backing us as it was quite an ambitious project – involving child actors, car stunts and a lot of logistical obstacles. Ultimately though, they believed in the script and in our vision and their support and guidance was crucial to us being able to tell the story in the way that we wanted.

Our biggest concern in pre-production was finding the right boy to play the lead role of Martin. Given that he is in every scene, and drives all the action, we knew the film would succeed or fail based on the strength of his performance. We decided early on that it was important for us to cast a boy from the travelling community, and we spent months holding auditions until we found someone who we felt embodied the role. We saw a lot of talented kids, but when we found Tom we knew he was something special. Although he’d never acted before, Tom’s family, the Dorans, are no strangers to the limelight. His two older brothers, one of whom is also in the film, have both modelled for photographer Perry Ogden so the idea of being in front of a camera wasn’t totally alien to Tom. Beyond that, Tom has an intensity and intelligence that few adult actors could match. His performance really makes the film and I’ve no doubt in the bright acting future he has ahead of him.

We were also fortunate to have the very talented Barry Ward play the role of Martin’s father, John Paul. Barry is a tremendous actor, incredibly experienced and a very nice guy to work with in general. As this was my first time directing children, it was great to have someone with his experience and demeanour on set, to bounce ideas off and help mould Tom’s performance. The father-son relationship between John Paul and Tom is the core of our story and, thanks to Barry and Tom’s chemistry, I think that comes through powerfully in the film.

I had been an admirer of the cinematography of Piers McGrail for a long time and was delighted when he decided to come on board. We agreed on a naturalistic aesthetic for the majority of the film that occasionally gives way to something more heightened to reflect Martin’s excitement. This principle extended to our sound design and our Supervising Sound Editor, Niall Brady, put together something special for the seminal scene where John Paul tows Martin’s DeLorean around a field at top speed. Practically, this was the most challenging scene to shoot, with a lot of different elements needed to capture everything in the way we wanted. We had a stunt driver for the scenes where the car was moving around at high speeds, and we used a drone to get tracking shots. For the close-ups of the actors and of the car, we created a lot of the motion using a mix of clever camera movements, wind machines and a lot of bouncing up and down on the rear and front bumper! It was my first time using many of these filming techniques but, with the support of our experienced crew, I was able to shoot it almost exactly as planned and I’m really pleased with how it turned out.

Overall, the shoot was a great success. Thanks to Collie and our excellent production team, we put together an incredibly talented and dedicated crew, which made directing the film a real pleasure. Our post-production was also incredibly smooth as we did it all in-house at Screen Scene. Our editor, Colin Campbell, and myself spent just two weeks together cutting the film, after Colin’s initial assembly. In the edit, you often want to exhaust all the options with everything you’ve got before settling on something final, but Colin has such good instincts for choosing the right moments that we were able to work through most scenes quite quickly. This afforded more time for us to spend working out the trickier sequences until we were satisfied.

For the score, I knew I wanted something that evoked the same epic sound of the music from the family blockbusters of the ’80s… something that gave a nod to the famous Back To The Future theme but which was also distinctive and original. Composer Ray Harman did a fantastic job creating a theme that works perfectly in the big driving scene, as well as in the quieter and more sombre opening and closing of the film.

Working with such talent and experience meant we were able to deliver the film two months ahead of schedule. That made us the first completed short on the Film Board’s new Focus scheme, and they decided to pull forward our premiere screening to the Galway Film Fleadh in July. We were thrilled with the positive audience response it received and are delighted to be taking the film to Cork this weekend, and to Foyle the week after. The goal is to get as much recognition as we can on the festival circuit as we now take the step into feature films.

Up next for me is a horror feature I’ve been developing for a number of years about superstition and disappearances in a remote West of Ireland community that’s similar to my first short, Coil. Although different to Time Traveller in many respects, the motivation behind it is the same as it is with all my projects – to tell original, relevant and compelling Irish stories that audiences will enjoy.

 

Time Traveller screens as part of Irish Shorts 6 – Family Adventures at 13.30 on 18th November in the Gate at the Cork Film Festival (10 – 19 November)

 

Share

Review of Irish Film @ Galway Film Fleadh • New Irish Shorts 7: IFB World Premiere Shorts

Deirdre de Grae finds a lot to admire at the Irish Film Board World Premiere Short Films programme at the 29th Galway Film Fleadh.

 

The Galway Film Fleadh is an important platform for Irish short film. Hundreds of short filmmaking crews and cast attend the festival each year, helping to create the unique Fleadh buzz. There is a symbiotic relationship between festival and short film, if one portion is removed, the other will not thrive. The Irish Film Board had the Fleadh shorts equivalent of a ‘prime time’ slot – 12 noon on Saturday – and the atmosphere was phenomenal. The world premieres screened to a full house, including excited cast and crew of the short films. Although the IFB shorts premiere is always busy, this year seemed more popular than ever, with tickets selling out weeks before the screening date. Potential audience members crowded the steps and foyer of the Town Hall Theatre, hoping to acquire last-minute cancellation tickets for the sold-out programme. Those of us who were lucky enough to have a ticket were kept entertained for the packed programme: eleven shorts were shown, comprising six animations and five live-actions films. The short films screened were funded from three Irish Film Board schemes: Short Stories (live action or animation, max. budget of €20,000), Frameworks (animation only, max. budget of €46,000), and Focus Shorts (replacing the Signatures fund, max. budget of €50,000). This year, the theme given for the ‘Short Stories’ fund was ‘Tribes’ – filmmakers were asked to create films exploring the type of tribe that fascinated them the most. The short films were introduced by James Hickey, Chief Executive of the IFB, who later announced their commitment to supporting female writers and directors in the film industry – read more here

 

Although the shorts in this programme were impressive overall, two films stood out and lingered long after the screenings were over:  Time Traveller, written and directed by Steve Kenny, and Late Afternoon, written and directed by Louise Bagnall, which was awarded ‘Best Animated Sequence in a Short Film’.

Late Afternoon, written and directed by Louise Bagnall (an animator on Song of the Sea), captures some very honest moments and emotions that are familiar to anyone who has an elderly relative. In this way, although located in Ireland, the film is absolutely universal. In her film, Louise allows us an insight into the memories of an elderly lady, ‘Emily’, acted wonderfully by Fionnula Flanagan. She shows us those moments when an elderly person may forget their age and once again relive their younger days, which often happens in the days before passing away. The memories represented are the gleeful moments Emily spent as a young girl, playing on the shore, falling in love – and the audience is swept into this joy with her. These memories are counteracted by the sadness of her current relationship with her daughter, who she no longer recognises. Louise’s film is definitely a ‘tear-jerker’ – possibly the most moving film I had seen all week, and I regretted wearing mascara that day!

Late Afternoon was produced by Nuala González Blanco at Cartoon Saloon.

 

 

Time Traveller, the first film funded under the new ‘Focus Shorts’ Irish Film Board scheme, was written and directed by Steve Kenny.

This was the best acting performance of the festival so far, that I had seen, by Tom Doran playing ‘Martin’, a young traveller boy.  Although billed as starring the excellent and convincing Barry Ward, newcomer Tom Doran as Martin steals the show. Martin is obsessed with Back to the Future and has built an impressive DeLorean replica (for a small boy) using scraps and an old banger. There are some hilarious moments when Martin, armed with a hammer, whacks the car gleefully and very convincingly – I suspect young Tom enjoyed shooting those scenes. The comedic timing and visuals are excellent in Time Traveller, there seems to be the happy mixture of a good script, great cast and fantastic editing, all coming together to make a great short film.  A lot of praise is due to the editor, Colin Campbell, who also edited Michael Inside and The Young Offenders (for which he was nominated for an IFTA) as well as many short films. The film has some more serious moments, involving an eviction, and touching on the inevitability of change and leaving things behind in life.  In this way, the film is both heartbreaking and heart warming.

Time Traveller was produced by Forty Foot Pictures

Short films screened in this programme:

Macarooned (dir. Alan Short & Seamus Malone), Neon (dir. Rioghnach Ní Ghrioghair), Where is Eva Hipsey (dir. Orla McHardy), An Island (dir. Rory Byrne), Nice Night for It (dir. Rachel Carey), Late Afternoon (dir. Louise Bagnall), A Different Kind of Day (dir. Maria Doyle Kennedy), Bellwether (dir. Caroline Campbell), Departure (dir. Aoife Doyle), Deposits (dir. Trevor Courtney), and Time Traveller (dir. Steve Kenny).

 

 

Awards:

Late Afternoon (dir. Louise Bagnall) won Best Animated Sequence in a Short Film. An Island (dir. Rory Byrne) won the James Horgan Award for Best Animation

 

 

 

New Irish Shorts 7: IFB World Premiere Shorts screened on Saturday, 15th July 2017, as part of the 29th Galway Film Fleadh (11–16 July 2017).

 

 

Share