Richard Harris Film Festival: ‘What Richard Did’


Eileesh Buckley reports from the screening of Lenny Abrahamson’s What Richard Did at the recent Richard Harris Film Festival in Limerick.


The screening of What Richard Did at the Richard Harris International Film Festival (RHIFF) had an enthusiastic audience of filmmakers that included the Harris Family (Jared, Jamie and Ella).  The location of 69 O’Connell Street seemed apt for the screening of this film as it was here that many a Limerick actor has made their name and now Jack Reynor will follow in that vein. Surprisingly there were no speeches at this screening, which was a pity.

Many of those involved in the short film session returned for screening. This award-winning Irish feature film launched the acting career of Jack Reynor, and increased the profile of director Lenny Abrahamson.

As expected the similarities in the story to the infamous Annabels/David Murphy tragedy still echo as strongly as ever. While the film is based on a fiction novel, the premise is eerily similar.

Reynor is the titular Richard whose moment of madness changes his own life as well as his friend’s.

The entirety of the film is from the perspective of Richard and the audience knows only what he knows. At the start he is the dashing knight rescuing fair maiden from the unwanted attentions of a boy who wouldn’t take “No” for an answer.By the end his soul has been tortured and his morals more than tarnished.

The supporting cast come in and out of focus as the film progresses, the original trio of friends reduces to a duo and eventually a solo.The girls seem to be fated to draw the worst behaviours from the boys over the longterm.The D4 stereotypes abound, from the rugby players to the beachside holiday home, and rampant alcohol consumption seems to be acceptable.

Since the release of this film a number of those involved have had an extensive list of high-profile projects. Abrahamson released the critically acclaimed Frank, starring Michael Fassbender this year, while Reynor has an eclectic list of projects ranging from Transformers to Macbeth.

Jared Harris later remarked on RTE’s Saturday Show how much he had enjoyed the film;  I’m sure Jack Reynor will be thrilled!



From the Archive: Lenny Abrahamson


With the news that Lenny Abrahamson’s much anticipated Frank has been selected to screen as part of the Premiere’s section at the 2014 Sundance Film Festival, we publish online Ross Whitaker’s interview with Lenny Abrahamson, which appeared in Film Ireland magazine earlier this year.

Read on to find out about Abrahamson’s evolution as a filmmaker and his latest film Frank.


What Richard Did, Lenny Abrahamson’s new film, fully five weeks into its theatrical run in the Screen Cinema in Dublin and was surprised to find a packed house.

It’s so rare these days to see a film run and run but word of mouth had propelled Richard forward week after week and punters were still going in their droves long after the initial release. The film had touched a nerve and there’s something about the intergenerational dilemmas of the film that confronts all members of the audience regardless of age.

Abrahamson expertly drops us into the world of Richard Karlsen – his rugby buddies, pretty girlfriend and loving family – before his perfect existence is ruptured by one out-of-character but violent act. As a viewer, I was so enthralled by the drama that I could have sat there for many more hours in this world, so the ending was like being woken from a sleep.

The reaction in the cinema was astonishing. There was a palpable tension in the room, a silence, and as the credits rolled a spat in the cinema began between an older woman sitting behind us and a group of south Dublin teenagers on the other side of the room. There were shouts and jeers.

They had seen the same film but had experienced the world they encountered from two different perspectives but rather than exit normally they felt the need to act and react. The film had pushed them to the edge and they couldn’t leave quietly.

Abrahamson does endings well. All three of his films engage the audience but also leave them with plenty to think about. It’s a powerful mix that challenges us and is an antidote to mainstream Hollywood fare. He’s not afraid to leave a few loose ends.

Now that he has made three films, it’s fascinating to look at his body of work. He has convincingly made films about very different worlds; in these worlds, he presents powerful archetypes with great sensitivity, managing to avoid the stereotypes that we encounter too often in film. I put it to him that he perhaps has a variant on the bullshit-ometer, a kind of instinctive cliché-ometer.

‘I’ve had that from the very beginning. I used to talk about off-the-shelf scenes and you see that all the time in films – you feel that you’ve seen the same scene a thousand times with a slight variation. It’s not always bad. You can use patterns very creatively and, for example, the Coen brothers often play with scene shapes and always find something interesting to do with them. I think even before I made a film it struck me how different real life is from what you see in films, how different having a real conversation is from the standard shots you see in films. It comes down to that, how you temper the dramatic with the banal and yet you owe it to the audience to try to engage their interest; to me that’s the greatest challenge.’

His films are consistently minimalist and never outstay their welcome. They have a starkness, a distinctive style and yet they manage to avoid alienating the audience.

‘I think those things can go hand in hand but it’s important not to be patronizing towards the audience, to say, “well I’d like to do something more adventurous but the audience would never understand it.” I want to communicate so I make work for myself but I also think of my work as something that is going to be watched. I think about it as an object, that is flowing, that I can shape and has a pattern and I want it to be balanced and interesting and my faith really is that they will be the same for anyone else that watches it. At the same time, it’s not like I have a massive audience compared to something like The Guard. I don’t have a magic formula but I don’t technically separate myself from the audience; I want their experience of the film to be along similar lines to my own experience. I was really surprised by the reception of What Richard Did because I thought of my three films is was the most challenging in a way and I was really quite surprised that it took off.’

While they could hardly be called blockbusters, all three of Abrahamson’s films have done well at the box office. It can be said sometimes that Irish audiences don’t want to attend Irish films, particularly more challenging work, but the success of his films gives lie to that assertion. His style is distinctive – not what most would consider commercial – and there is a consistency of approach across his work. This isn’t, he says, something that he set out to do.

‘There was no kind of plan really. One of the interesting things for me was that despite the fact that I didn’t work with Mark [O’Halloran, writer of Garage and Adam & Paul] this time, What Richard Did still felt so much like one of my films. With this film I tried to do what I always do, which was to immerse myself in a world and in a central character and take that as a starting point and then, along with the screenwriter Malcolm Campbell, let my impulses direct me.

‘I think what I bring to my work is a certain kind of non-sentimental empathy. I can find the human dimension in the central character. I had done that with characters that had been reviled or dismissed in my previous films but with Richard you had a guy who was at the opposite end of the social spectrum. What I’m interested in is how easily we like to stereotype people and caricature them, so in that sense there is a continuity to the three films. If I consistently approach characters like that then that’s the flavour that carries from film to film.’

So, does he have a system or approach that he employs with drawing his characters?

‘It’s really just through my own mulling and pondering that I feel myself getting closer to the character and then in the case of What Richard Did it was casting a character and then building the film around that person. I hadn’t done that before and we did a lot of reworking of the script from talking to the actors to try to make it feel more real.

‘What I did on What Richard Did was a little different to what I had done on previous films in that I was consciously going for something a bit more immediately real or more overtly natural. To achieve that, I wanted to immerse myself in a literal way in those characters and that’s why we cast the film so early. It was too long since I had been in that world and this film was different from the other two in that the other characters were less overtly archetypal, they were greyer characters. So we cast it early and we spent time having conversations with the characters but not improv. Having those conversations made me feel confident that we weren’t just making it up.’

All of his films feel like very complete, confident works and I wonder does he feel that he is evolving as a director?

‘I worked in different ways on What Richard Did than I had in the past. I did much more work with the actors in particular, including a little bit of improv in the film though I’m generally quite careful about improv. I think it almost never works unless it is used very carefully and usually in advance. We didn’t just say, “we’re in a room, start talking,” we knew what they were going to talk about in, for example, that scene the night after the pub. We had done it lots and lots in rehearsal and they became fluent at being in the moment but also managing it, some part of the film being outside of them, and knowing where the scene should go. It wasn’t that kind of unstructured improv that sometimes isn’t so good.’

With three strong films under his belt, Abrahamson feels that he has developed as a filmmaker.

‘I think I was much more confident in this film about throwing stuff away on the day and changing it and rewriting with actors on the day. I was confident enough to be able to say, ‘this isn’t working, let’s try it a different way,’ so being responsive but still being fast enough to stay in the schedule. Those are really practical things that you gain through experience and confidence. I’ve gotten better at working with a tight budget and a tight schedule. I’d like to not have to do it but it’s important to be able to do it.

‘I had done a lot of commercials before I did my first film but at the very beginning so much of your energy is directed internally at your own anxiety and worrying about how it will work, how you’re being perceived and whether you’re any good. Those kinds of things don’t go away at all but getting to the point where you can actually focus on what you’re doing and not the peripheral elements is a really great thing. I think as well there is an energy on set and there is a lot at stake and the pressure that comes from having limited money and many people to manage and it’s very easy for that to turn into panic and the wheels can come off very easily. If the director can be calm and confident then that just allows the energy to be directed in a constructive way.’

His next film, Frank, is a comedy set mostly in the United States about a young wannabe musician, Jon (Domhnall Gleeson), who discovers he has bitten off more than he can chew when he joins an eccentric pop band led by the mysterious and enigmatic Frank (Michael Fassbender) and also stars Maggie Gyllenhaal and Scoot McNairy. However, he explains that this doesn’t mean he is leaving his roots behind.

‘A lot of the film does happen in Ireland, so there is a connection to home but its origin and its ultimate place isn’t Irish. I’ve been involved in it for a couple of years and I’ve moved it very much towards what I want it to be. It feels like a film of mine. I’ve always had an interest in a certain kind of comedy, traditional slapstick but in a very arty form. Kaurismäki is a very big influence on me and Frank plays to that element of my style. It’s a much more expansive, much more playful film. It’s different because it’s a comedy and nobody dies at the end but it’s still a left-field, stylized film. If I had an overall plan it would be to continue making the films I’ve been making here in Ireland but also to sometimes do other things as well and some bigger projects. I want to keep making films here and I don’t want to make them too much bigger because part of the pleasure of doing films here in my own country is that I don’t have to compromise too much.’


This article originally appeared in Film Ireland magazine, Issue 144, Spring 2013


European Film Awards


The 26th European Film Awards Ceremony will take place on 7th December 2013 in Berlin. Ireland is represented in the Feature Film Section by Lenny Abrahamson’s What Richard Did and in the short film category by Cathy Brady’s Morning.
The European Film Academy will present Catherine Deneuve and Pedro Almodóvar with the this year’s honorary awards. Catherine Deneuve will receive the Lifetime Achievement Award and Pedro Almodóvar will receive the award European Achievement in World Cinema.

The nominated films will soon be submitted to the 2,900 EFA Members to elect the winner. The Awards Ceremony will streamed live on

Further information:


‘What Richard Did’ wins Best Film at the 32nd Istanbul International Film Festival


What Richard Did picked up the Golden Tulip International  award for Best Film in the main competition at the 32nd Istanbul International Film Festival, which is organised by the Istanbul Foundation for Culture and Arts. The award was presented at the closing gala and awards ceremony, which took place at Cemal Resit Rey Concert Hall.


What Richard Did has already screened at numerous international film festivals to outstanding critical acclaim, including The Toronto International Film festival and the BFI London Film Festival and next week will screen in the Tribeca Film festival which takes place in lower Manhattan from April 17 – April 28



What Richard Did  is now available on DVD and On-Demand.


Best Screenplay award for ‘What Richard Did’

What Richard Did picked up Best Screenplay at last night’s Evening Standard Film Awards, which attracts high-profile guests from the worlds of stage and screen.


Speaking on his win, writer Malcolm Campbell  is “really chuffed …. working with Lenny and that amazing cast was such a lovely experience. For the film to have been so well-received in the UK and in Ireland is amazing and way beyond my expectations. It was such a surprise and to receive the award from Jack made it even more special”


Campbell is also up for an award at this year’s IFTA’s along with another 10 nominations for What Richard Did, including Best Director, Best Film and Best Actor. Jack Reynor, who recently landed a leading role in Transformers 4 is also nominated in the Rising Star category.


What Richard Didwas the best performing Irish film in the Irish box-office in 2012 and received huge praise from critics and audiences alike both here and internationally.


IRISH DVD and On-Demand Release for What Richard Did on Feb 8



DVD Review: What Richard Did

DIR: Lenny Abrahamson PRO: Ed Guiney, Andrew Lowe DOP: David Grennan ED: Nathan Nugent DES: Stephanie Clerkin Cast: Jack Reynor, Lars Mikkelsen, Roisin Murphy


Although director Lenny Abrahamson is keen to stress that What Richard Did is separate from the Brian Murphy / Annabel’s case, it’s impossible to watch this without acknowledging it in some manner. There are simply too many similarities between the two to be ignored. That said, the film doesn’t comment on the case or the social / class issues that the case raised in Irish society. What Richard Did is a study of pressure and consequence. The titular character, Richard (Jack Reynor), is the atypical Celtic Tiger cub. He’s young, affluent and attends a private school in South Dublin. However, as the film progresses, it’s slowly revealed that Richard is not as happy as he initially seems. Constantly held up as the example and alpha of his peers, the conditioning that is worked on him begins to take its toll on him. As he begins a relationship with Lara (Roisin Murphy) that sees his teammate Conor (Sam Keeley) edged out, the film’s emotional content comes to the fore and culminates in a violent encounter outside a house party.


Abrahamson’s direction is muted and stable. There are no cinematic flourishes; here, the cinematography matches the mood of each individual scene. When Richard is withdrawn and sullen, the colours drop to a dull, familiar grey and pulled over curtains. As well as this, the dialogue is both authentic and economical. Malcolm Campbell’s script cleverly leaves out the character’s thoughts and emotions in dialogue, instead allowing the actors to portray them using their own means. In particular, one scene involving Richard finally cracking from the tension is riveting to watch. Screaming wordlessly and pounding like a maniac, Reynor’s performance is unsettling and difficult to watch, but is also entirely believable. Supporting Reynor is Danish actor Lars Mikkelsen who plays his father, Peter. Mikkelsen’s measured tones and glacial exterior hint at someone who’s dealt with emotional issues like what Richard is going through – though not to his extent.


Overall, What Richard Did is a powerful drama that doesn’t cast judgement on individuals or society as a whole. It simply tells the story of a young man and his attempts to cope with unbearable pressure. The film’s pacing is slow and, at times, it can seem like the story isn’t moving forward – instead focusing on an individual mood or scene. However, nothing feels superfluous or unnecessary – it’s more that the point or thrust of a scene is being hammered home when it doesn’t need to be. It’s a minor complaint in an otherwise exceptional film. Both Reynor and Abrahamson have marked themselves out as singular talents; this is Reynor’s first lead role and will go on to impress again. Likewise, Abrahamson continues to lead the pack in Irish cinema and will undoubtedly move beyond our shores to become a force to be reckoned with.
Brian Lloyd

Element Pictures Distribution is distributing the DVD, which is available to rent exclusively from Xtra-vision from Friday, 25th January . The film is also  available on-demand from 8th February.

The DVD includes special features such as an audio commentary from director Lenny Abrahamson and writer Malcolm Campbell, as well as a special director’s interview.

Additional stockists of the DVD are Golden Discs, Tesco’s, Heatons and Tower Records.


Irish DVD and On-Demand Release for ‘What Richard Did’.


Element Pictures Distribution have announced the forthcoming Irish DVD and on-demand release of What Richard Did.  Nominated for ten Irish Film and Television (IFTA) awards, including Best Film, Best Director, Best Actor and Best Script, What Richard Did is also nominated for Best Screenplay at this year’s London Evening Standard British Film Awards.


What Richard Did is available to rent exclusively from Xtra-vision from 25th January and to buy on DVD and on-demand from 8th February.


DVD Special features include: Audio Commentary with director Lenny Abrahamson and writer Malcolm Campbell and Director’s Interview.

What Richard Did follows Richard Karlsen (Jack Reynor), golden-boy athlete and undisputed alpha-male of his privileged set of South Dublin teenagers, through the summer between the end of school and the beginning of university. The world is bright and everything seems possible, until one summer night Richard does something that destroys it all and shatters the lives of the people closest to him.

DVD will be available to buy nationwide.  Stockists include:  Xtra-vision, Golden Discs, Tesco’s, Heatons and Tower Records.  On-demand is available via


Element Pictures and Bord Scannán na hÉireann/Irish Film Board present What Richard Did



IFTA Announces Nominees for the 10th Annual Irish Film & Television Awards

The Irish Film and Television Academy today announced the shortlist of nominees in 40 strongly contested categories for the 10th Annual Irish Film and Television Awards, which takes place on Saturday 9th February 2013.

Nominations are announced in categories across film and television, celebrating the highest standard of Irish talent over the past twelve months. All IFTA’s categories have been shortlisted by Members of the Irish Film & Television Academy alongside a select Jury panel of industry experts from around the world.

Reflecting the Irish film and television industry’s continuing development of its creative, original and entertaining output year-on-year, IFTA received 315 titles submitted for consideration in the 2013 Awards.

Academy CEO, Aine Moriarty stated that:

The past 12 months has shown this industry to be resilient and hard-working, producing some of the most diverse, engaging and talked-about Irish dramas, documentaries, feature films; entertainment and factual programmes, and there’s no shortage of new and upcoming Irish creative talent, ready to make their mark on the world stage.   It’s a time to acknowledge and be proud of their achievements, and the 10th Ceremony will be a great showcase of this work and a chance to reflect on just how far our home industry has come in the last 10 years”. 

The feature films nominated for Best Film are family drama Death of a Superhero;  70’s Belfast punk scene Good Vibrations; comedy horror Grabbers; political drama Shadow Dancer and suspense drama What Richard Did.  Up for Best Script is Martin McDonagh for Seven Psychopaths (also up for Best Director); along with Malcolm Campbell for What Richard Did; Kevin Lehane and Kieron J Walsh who receive Best Script nominations for Grabbers and Jump respectively.

Alongside Martin McDonagh, director Lenny Abrahamson is nominated for Director category for What Richard Did;  Ian Fitzgibbon is nominated for Death of a Superhero and Pat Collins for directing Silence .

In the feature film acting categories, Colin Farrell is nominated for Seven Psychopaths, alongside Martin McCann, Ruth Bradley and Anne Marie Duff, for Jump, Grabbers and Sanctuary respectivelyNewcomer Seana Kerslake receives her first nomination for Dollhouse, and is joined by Jack Reynor and Roisin Murphy for their roles in What Richard Did.

Nominee Actors in Supporting Roles in Film are Domhnall Gleeson for Anna Karenina, Ciaran Hinds for The Woman in Black, Michael McElhatton for Death of a Superhero and David Wilmot who is nominated for Shadow Dancer along with Bríd Brennan (Supporting Actress), who is joined by other actresses in that category, Bronagh Gallagher for Grabbers, Charlene McKenna for Jump and Gabrielle Reidy for What Richard Did.

Television Drama in Ireland continues to captivate audiences both at home and abroad with its compelling viewing. RTÉ’s Crime drama Love/Hate has received a total of 11 nominations for the third series (beating it’s own record of 10 nominations in 2012) across a range of categories including Best Television Drama, Stuart Carolan for Script, David Caffrey for Director, along with Tom Vaughan Lawlor and Robert Sheehan for Lead Actor, and Charlie Murphy and Susan Loughnane for Lead Actress and Supporting Actress.

Neil Jordan is nominated for script for period drama The Borgias, which also receives a nomination for Best Drama.    Period drama features strongly this year with Titanic: Blood and Steel receiving five nominations including Best Drama and Best Director for Ciaran Donnelly Epic Game of Thrones which was filmed in Northern Ireland receives three nominations including Best Drama. Director Declan Lowney and writers Chris O’Dowd and Nick Vincent Murphy are nominated for Moone Boy which has five nominations – including Best Entertainment and for Chris O’Dowd and Deirdre O’Kane in their Supporting Acting roles.  Also nominated for their performances are Gabriel Byrne and Ruth Negga for Secret State. Colm Meaney is nominated for his turn in HBO’s Hell on Wheels Actresses nominated for their work in a leading role are Orla Brady for Sinbad, Carrie Crowley for Rasaí na Gaillimhe, Amy Huberman for Threesome, and Love/Hate’s Charlie Murphy.  Cathy Belton receives a Supporting Actress nomination for her performance in nominated Children’s drama Roy.

In Entertainment Programme, last year’s winner Mrs Brown’s Boys is nominated alongside Chris O’Dowd’s Moone Boy, The Voice of Ireland and The Savage Eye.

A Time To Die? is nominated in the category for Best Documentary along with Congo 1961, WB Yeats No Country for Old Men and medical documentary MND The Inside Track.  Documentary Series Ray D’Arcy How To Beat Depression and 24 Hours to Kill are both nominated for TV3, alongside RTÉ’s Bullyproof and The New Irish After the Bust.

In Current Affairs/ News, BBC NI Sean Quinn’s Missing Millions is nominated alongside TV3’s Midweek Rural Ireland Fights Back and Vincent Browne Tonight, and RTÉ’s Prime Time’s Profiteering from Prostitution.

In the popular Children’s/Youth category OMG! Jedward’s Dream Factory, fronted by Ireland’s renowned Grimes twins, has been nominated alongside animated series Octonauts, travel series Tholg go Tolg and the unique Roy.

Marking the tenth year of IFTA, this year’s Awards Ceremony will showcase the best of Ireland’s creative talent both in front and behind the scenes, and will acknowledge the achievements of Ireland’s creative industry. The ceremony will welcome a host of film stars, TV personalities, directors, producers and distinguished guests to celebrate the undisputed talent that exists within the film and television industries in Ireland and around the globe and acknowledge achievements across 2012 whilst also reflecting on the past ten years.

The full list of IFTA nominees is below.







Death of a Superhero (Michael Garland, Astrid Kahmke, Bavaria Pictures, Grand Pictures)

Good Vibrations (Chris Martin, Andrew Eaton, Canderblinks Films)

Grabbers (David Collins, Martina Niland, Forward Films, High Treason Productions, Samson Films)

Shadow Dancer (Ed Guiney, Andrew Lowe, Element Pictures)

What Richard Did (Ed Guiney, Andrew Lowe, Element Pictures)



Lenny Abrahamson, What Richard Did (Element Pictures)

Pat Collins, Silence (South Wind Blows and Harvest Films)

Ian Fitzgibbon, Death of a Superhero (Bavaria Pictures, Grand Pictures)

Martin McDonagh, Seven Psychopaths (Blueprint Pictures)



Malcolm Campbell, What Richard Did (Element Pictures)

Kevin Lehane, Grabbers (Forward Films, High Treason Productions, Samson Films)

Martin McDonagh, Seven Psychopaths (Blueprint Pictures)

Kieron J Walsh, Jump (Hotshot Films)



Richard Dormer, Good Vibrations (Canderblinks Films)

Colin Farrell, Seven Psychopaths (Blueprint Pictures)

Martin McCann, Jump (Hotshot Films)

Jack Reynor, What Richard Did (Element Pictures)



Ruth Bradley, Grabbers  (Forward Films, High Treason Productions, Samson Films)

Anne Marie Duff, Sanctuary  (Venom Films)

Roisin Murphy, What Richard Did (Element Pictures)

Seana Kerslake, Dollhouse (The Factory)



Domhnall Gleeson, Anna Karenina (Universal Pictures)

Ciaran Hinds, The Woman in Black (Hammer Film Productions)

Michael McElhatton, Death of a Superhero (Bavaria Pictures, Grand Pictures)

David Wilmot, Shadow Dancer (Element Pictures)



Brid Brennan, Shadow Dancer (Element Pictures)

Bronagh Gallagher, Grabbers (Forward Films, High Treason Productions, Samson Films)

Charlene McKenna, Jump (Hotshot Films)

Gabrielle Reidy, What Richard Did (Element Pictures)



Bernard Dunne’s Bród Club

Congo 1961

Lón sa Spéir – Men at Lunch

Rasaí na Gaillimhe



Barbaric Genius

John Ford: Dreaming the Quiet Man

Mea Maxima Culpa: Silence in the House of God

Skin in the Game



The Girl with the Mechanical Maiden

Fear of Flying





After You

Fear of Flying


Peter Rabbit’s Christmas Tale




DRAMA sponsored by BAI

The Borgias (Neil Jordan, Jordan Flynn, Octagon Films)

Game of Thrones (HBO)

Love/Hate (Suzanne McAuley, Steve Matthews, Octagon Films)

Titanic: Blood and Steel (Paul Myler, Roberto Minni, Ciaran Donnelly, Epos Films)



David Caffrey, Love Hate (Octagon Films)

Ciaran Donnelly, Titanic: Blood and Steel (Epos Films)

Declan Lowney, Moone Boy (Grand Pictures, Baby Cow Productions, Hot Cod Productions and Sprout Pictures for Sky 1)

Aisling Walsh, Loving Miss Hatto (Left Bank Pictures)



Stuart Carolan, Love/Hate (Octagon Films)

Colin Heber-Percy & Lyall Watson, Saving the Titanic (Tile Films)

Neil Jordan, The Borgias (Octagon Films)

Chris O’Dowd & Nick Vincent Murphy, Moone Boy (Grand Pictures, Baby Cow Productions, Hot Cod Productions and Sprout Pictures for Sky 1)


Actor TV

Gabriel Byrne, Secret State – Company Pictures

Colm Meaney, Hell on Wheels (Endemol)

Robert Sheehan, Love/Hate (Octagon Films)

Tom Vaughan Lawlor, Love/Hate (Octagon Films)


Actress TV

Orla Brady, Sinbad (Possible Pictures)

Carrie Crowley, Rasai na Gaillimhe (Great Western Films)

Amy Huberman, Threesome (Big Talk Productions)

Charlie Murphy, Love/Hate (Octagon Films)


Supporting Actor TV

Peter Coonan, Love/Hate (Octagon Films)

Allen Leech, Downton Abbey (Carnival Films)

Chris O’Dowd, Moone Boy (Grand Pictures, Baby Cow Productions, Hot Cod Productions and Sprout Pictures for Sky 1)

Andrew Scott, Sherlock (Hartswood Films)


Supporting Actress TV

Cathy Belton, Roy (Jam Media)

Susan Loughnane, Love/Hate (Octagon Films)

Ruth Negga, Secret State (Channel 4)

Deirdre O’Kane, Moone Boy (Grand Pictures, Baby Cow Productions, Hot Cod Productions and Sprout Pictures for Sky 1)






Good Vibrations – Maggie Donnelly (Canderblinks Films)

Loving Miss Hatto – Alison Byrne (Left Bank Pictures)

King of the Travellers -Joan O’Cleary (Vico Films)

Ripper Street – Lorna Marie Mugan (Element Pictures, Tiger Aspect Productions)



Seamus McGarvey, Anna Karenina (Universal Pictures)

PJ Dillon, Game of Thrones (HBO)

Tim Fleming, Citadel (Blinder Films)

David Grennan, What Richard Did (Element Pictures)


Editing Film/Drama

Nathan Nugent, What Richard Did (Element Pictures)

Dermot Diskin, Love/Hate (Octagon Films)

Mick Mahon, Saving the Titanic (Tile Films)

Helen Chapman, Ripper Street (Element Pictures, Tiger Aspect Productions)



Makeup & Hair sponsored by MAC

Morna Ferguson, Dee Corcoran – Loving Miss Hatto (Left Bank Pictures)

Sharon Doyle, Eileen Buggy – Ripper Street (Element Pictures, Tiger Aspect Productions)

Lynn Johnston, Eileen Buggy – Shadow Dancer (Element Pictures)

Tom McInearney, Dee Corcoran – Titanic Blood & Steel (Epos Films)


Production Design

Mark Geraghty, Ripper Street (Element Pictures, Tiger Aspect Productions)

Tom Conroy, Titanic: Blood & Steel (Epos Films)

Stephen Daly, Love/Hate (Octagon Films)

Ray Ball, Saving the Titanic – (Tile Films)


Original Score

Niall Byrne – Loving Miss Hatto (Left Bank Pictures)

Ray Harman – Love/Hate (Octagon Films)

Steve Lynch – Saving the Titanic (Tile Films)

Stephen Rennicks – What Richard Did (Element Pictures)


Sound Film/Drama

Citadel – Garret Farrell, Hugh Fox, Steve Fanagan

Game of Thrones – Ronan Hill, Mervyn Moore

Titanic Blood & Steel – Dan Birch, Jon Stevenson, Garret Farrell

What Richard Did – Paddy Hanlon, Steve Fanagan, Niall Brady






Octonauts (Brown Bag)

OMG! Jedward (Tyrone Productions)

Roy (JAM Media)

Tholg go Tolg (V Stream)


Current Affairs

Midweek Rural Ireland Fights Back (TV3)

Prime Time – Profiteering from Prostitution (RTE)

Spotlight Sean Quinn’s Missing Millions (BBCNI)

Vincent Browne Tonight (TV3)



A Time to Die? (Yellow Asylum Films)

Congo 1961 (Akajava Films)

MND: The Inside Track (Independent Pictures)

WB Yeats – No Country for Old Men (Hot Shot Films)


Documentary Series

24 Hours to Kill (TV3)

Bullyproof (Firebrand Productions)

The New Irish After the Bust (Real Films)

Ray D’Arcy :How to Beat Depression (Animo Television)



Moone Boy (Grand Pictures, Baby Cow Productions, Hot Cod Productions and Sprout Pictures for Sky 1)

Mrs Brown’s Boys (RTE / BBC / BOC Pictures)

The Savage Eye (Blinder Films)

The Voice of Ireland (Screentime ShinAwiL)



Dead Money (ProMedia Productions)

The Radharc Squad (Tyrone Productions)

Room to Improve (Coco Television)

The Zoo (Moondance Productions)



Masterchef (Screentime ShinAwil)

Jockey Eile (Abú Media)

ICA Bootcamp (Independent Pictures)

Come Dine with Me (ITV Studios for TV3)



Olympics (RTÉ)

Paralympics (Setanta Ireland)

Jump Boys (Touchline Media)

When Ali Came to Ireland (True Films)





Alison Millar, The Shame of the Catholic Church (BBC Northern Ireland)

Damien O’Donnell, The Savage Eye (Blinder Films)

Maurice Sweeney, WB Yeats No Country for Old Men (Hot Shot Films)

Lynda McQuaid, Masterchef (Screentime ShinAwil)



Michael O’Donovan, Gaeil Nua Eabhra (Real Films)

Ronan Fox & Mick O’Rourke, WB Yeats No Country for Old Men (Hot Shot Films)

Kieran Slyne, My Civil War (RTÉ)

Feargal O’Hanlon, Lorg na gCos (Colm Bairéad Ltd/Midas Productions)



Editing TV

Mick Mahon, Gaeil Nua Eabhra (Real Films)

Mick Mahon, Chaplin the Waterville Picture (Keeshla Communications Ltd)

Brenda Morrissey, Inside the Department (Wildfire Films)

Zaini Darragh, The West’s Awake (Iris Productions)


Sound TV

Am An Ghatar – Mark Henry, Conall de Cléir, John Brennan (Magamedia)

Sceal na Gaeilge – Paul Rowland, Niall O’Sullivan (ROSG)

WB Yeats No Country for Old Men – Killian Fitzgerald, Fiachra O’Hanlon (Hotshot Films)

The West’s Awake – Killian Fitzgerald, Zaini Darragh (Iris Productions)



The 10th Annual Irish Film & Television Awards will take place in Dublin on Saturday 9th of February 2013, broadcasting on RTÉ One at 9.30pm.

For further information and all the latest IFTA updates visit: