2016: THE YEAR OF IRISH FILM

 In so many ways 2016 was an awful year. Rotten in fact in many areas. 

But not for the Republic of Ireland, well in the world of films at least. (Austerity/ housing/ homelessness/ banking aside- that's another blog by someone Irish). 

2016 was the most fantastic year for Irish film. The best in its history I would say. 

I am aware that as a foreigner I could well be accused of meddling in the affairs of a country that is none of my business and of which I know very little. The first part is certainly true but of the second I do know, a little. For eighteen years I only distributed British & Irish films in British and Irish cinemas, DVD stores and sometimes to broadcasters in both countries. In the 128 years since Louis Le Prince shot the worlds very first film no other distributor has made such a strong commitment to British and maybe also Irish films (given that 100% of my output was a film from one or other, and sometimes both, countries).

From where I sit across the sea in London, I think that 2016 should be The Year of Irish Film. 

I see no other country in the running to claim this title.

These are my reasons -

It is relatively easy for a film to be nominated in the awards ceremonies held within that country but to be nominated in the USA 2016 Golden Globes and Oscar’s and the UK BAFTA’s it is hard. The competition from other English language countries is fierce. America, Canada, the UK, Australia and I would suspect even New Zealand all have an annual film investment budget far greater than Ireland has, but Ireland did so wonderfully well with nominations across all three awards events in 2016. A reason to celebrate. I was half expecting someone to at one of these ceremonies to paraphrase Colin’s Welland’s famous Oscar declaration  “the Irish are coming”.

I was therefore surprised to read on social media and in the Irish press  earlier this year much criticism of the Irish Film Board and Irish films in general. There have been a similar debates in my own country from time to time but not at time when the country has done well. 

I have to admit that over the last eighteen years I have seen a lot of Irish films that are, how can I put this diplomatically,  not as good as they could be, and, alright if I am honest, one or two have been downright awful, but that is the case with films I have seen from the UK, America, France etc. So is the percentage of Irish films that don’t work any greater than those from the USA or UK or anywhere else that matter? I doubt it very much.

No one sets out to finance or produce a bad film, it just happens. Filmmaking is not an IKEA flat-pack process and sometimes, some of the parts just don’t fit together as everyone intended. Something just occurs and a good script, a script that a great many people have committed to, including producer, director, actors etc as well as finance, should transform into a good film, but despite the belief, commitment and hard work, it occasionally does not.

Of course it’s very subjective as what one person thinks is a good film another does not. I have distributed over 100 films and I have never released a film that has had universal good or bad reviews. There have been many where the majority of reviews have been in one camp or the other but there are always reviews that have a different point of view.

In my own opinion the best film I distribute just happens to be Irish, Lenny Abrahamson’s ADAM & PAUL. I will go as far to as say it is a work of genius. Seven other UK distributors turned this down before it came to me because they did not like it or thought it a hard sell. In order to cash flow the release I approached UK broadcasters to buy it. Both the BBC and Channel 4 passed because they though it a poor film. Fox FX did license it.  I showed it to every single UK exhibition chain. One of the UK’s leading arthouse cinemas said it was awful and that it was charitable of me to release it as it would be the directors only film. (I wonder what they thought of Lenny’s Oscar nod this year). Only the commercial exhibitor Cineworld would play it. Whilst there were a few bad reviews the majority were outstanding. That year it was one of around 700 films released in the British cinema and as such was eligible for the Evening Standard Best Screenplay Award. Despite it being the no hope outsider Mark O’ Halloran won for his script. Both the BBC and Channel Four have since changed their mind and licensed it. Had this film not had state support it would not have been made. Yes it was the hard sell many of my rivals thought it to be. Had it not been for the UK critics getting behind the film it would have definitely failed in the UK. 

I doubt that the Irish Film Board recouped its investment in full in the film and, thinking about it I bet most of that investment was lost, but it was a film that had to be made. Apart from anything else if there is a film yet produced that better shows the dangers of drug taking then I have yet to see it. Every teenager in the world should be made to watch the film.

My company has earned around £30,000 from the film which is not profit, that is income so it’s not much return for 11 year’s work but we thought it was worth it on so many levels. 

Everyone not connected to the film industry thinks we all earn a fortune. I am sure those working on Hollywood blockbusters do, but in the Indy film world in every country, even America, it is hard for most of us to make a living in films. When someone like the Irish Film Board or the British Film Institute co-finances a film no one on that film is overpaid. It might seem like a lot for the few weeks it is being filmed but most producers, directors and writers will have spent years developing that film during which time they all have overheads and have to eat.

The USA and India the only countries in the world that produce films that are on the whole, financially viable within their own borders, though they also make lots of films that don’t work and lose money. The main reason for the Americans success is that the Hollywood studios, who make many of these movies, control all the routes to market in almost every country in the world. They have built these up over one hundred years.

Each and every country needs to decide whether or not they want to celebrate their own country and its culture by nurturing a film industry. If that country does, then it can’t be done half-heartedly. The reason is one of simple economics; the majority of films do not recoup all their production costs. Some may only recoup 25% from world sales others 75% and a few will return 100% and then make a profit. In order to be assured of some success you need to make a number of films in the hope that one breaks out.

Therefore countries such as mine have decided that we do want to nurture a British film industry telling British stories reflecting British life. The French, Germans, Belgians, Australians, Scandinavian, New Zealander’s and many other countries including Ireland have decided to do the same. This year many of those other countries must be wishing they could have had the success Ireland has had at this year’s award season.

It is a very well deserved boost for all Irish writers, actors, producers, directors, crafts people and technicians, whether they were involved with these films or not, for they have shown that they are all first class artistes on a par with counterparts in Hollywood, the UK and anywhere else. 

James Hickey and his team at the Irish Film Board work very hard to try and ensure that each production they invest in has the right ingredients for success. The IFB is never going to have a profitable year. It’s impossible. If that was the case they would be forced to go the ultra-commercial route where every film was a kind of Four Weddings and a Wake, padderwackery nonsense that we make over here from time to time because it sells. The film ANGELA’S ASHES wholly financed in Hollywood I understand, did well at the box office and with ancillary sales but much of its portrayal of Ireland was untrue sensualism made to shock and sell.

Ireland is a small country but it’s influence on the world stage is far greater than its size. Yes it is in part because the diaspora has ventured forth to many countries but the world knows of Eire mainly from it’s culture – literature, music and films. The moving image shows a culture and country far better than any other medium. For every Irish film seen abroad there will be a residual benefit. Whether that is a visit to the country or the purchase of a jumper from Donegal or organic yoghurt from Cork who knows and it won’t come from everyone but many people will be influenced knowingly or subconsciously. 

 In the sixty four years since it was made how many hundreds of thousands of people have visited the West of Ireland for no other reason that they fell in love with it from watching THE QUIET MAN even if it is clichéd and syrupy sentimental in parts. It's John Ford's love story to the land's of his fathers. 

When Edwina Forkin told me that her closing night film production this year at the Galway Film Fleadh (one of the world's best and most enjoyable film festivals), SANCTUARY was made up of a cast of intellectually disabled people, mainly with Down Syndrome I thought, ah!

I geared myself up for a very worthy but dull film. What I found was an hilarious laugh-out loud crowd pleaser with a tight script that moved from hilarity to tear inducing distressingly dark pain and back again so effortlessly, deftly directed, marvellously edited, with an excellent score and brilliantly acted by a group of actors who would never ever be given that chance by any Hollywood or for that matter British company. It is the first time in my life that I have ever been in a film screening where all present gave the film two standing ovations. Every single member of that audience rose to their feet with genuine joy in their hearts and praise for the actors five of whom have Downs, three are autistic and one has such severe epilepsy that it has affected her learning. ( I am now possibly returning to distribution, something I have given up unless its my own film, to release this remarkable film). 

Also released in 2016 was MY NAME IN EMILY directed by Simon Fitzmaurice a man with motor neurone disease. I think both films are a world first in giving a chance to filmmakers/ actors that no one else would.

I also give a nod to Terry McMahon PATRICK’S DAY released in 2014, who although not employing actors with mental health issues, did highlight a difficult subject that could affect us all.

Never has the Irish Film Board spent its money so wisely. 

These films, coupled with last year’s vote to allow same sex marriages proves that the Republic of Ireland is No1 in the world at understanding, respecting, celebrating and helping diversity. Ireland has moved the human race one run up the ladder. The rest of us will have to try to emulate its achievements but I worry we may not have the will and foresight that they have in Ireland. 

Yes the Irish are definitely coming !

Therefore I think that the year soon passing should unquestionably be known as 2016 Year of Irish Film.......not a bad achievement I am thinking in Ireland's centenary year.  

Do you agree, or do you agree ?!



© David Nicholas Wilkinson. 2016. All Rights Reserved.