REMIXING THE ARCHIVE IS BACK THIS YEAR FOLLOWING ON FROM OUR FIRST SUCCESSFUL EDITION IN 2021.
Funded by Screen Ireland, Screen Wexford, Wexford County Council and the Make Film History project and taking place in the Gorey School of Art and online, this workshop is a wonderful opportunity for ambitious early stage career filmmakers and artists working with the moving image to engage imaginatively with the enormous untapped potential of archive film, and to learn to integrate it into their films.
10 aspiring / early stage filmmakers will work with remarkable footage from celebrated Irish and UK film archives from the BBC, the Irish Film Institute (IFI), Northern Ireland Screen, the British Film Institute (BFI) and local archive through the Make Film History project. Participants will respond by making a short 1-3 minute self-reflexive film in response.
The workshop element will run over three days (4th Feb @ Gorey School of Art, 5th & 10th Feb Online) and will be led by Linda Curtin, facilitated by Irina Maldea & Brendan Culleton of Akajava Films with guest speaker Mick Mahon, all of whom work with archives in their artistic/filmmaking practice. The mentors will help the workshop participants to develop their filmmaking skills through working on a new archive-inspired piece, which will be presented at a special screening event late 2023.
TOPICS COVERED WILL INCLUDE:
– The Make Film History project
– Accessing archive: copyright & legal implications
– Methods and methodologies of using archive
– Ethical considerations
– Remixology in popular culture
– Case studies of Irish films that contain archive (Congo, an Irish Affair & Nothing Compares)
– Archive and art film
– How to make a film using archive
The Peggy Walsh estate is kindly donating local Wexford footage for this year’s edition of Remixing the Archive.
Born in 1922, Margaret ‘Peggy’ Walsh was an amateur filmmaker who observed and documented her life and times in Co. Wexford and further afield in the 1950s and 60s. She also found time to be a housewife and mother to nine children.
Before her death in Dec 2021, her film legacy was discovered in the form of a rich archive of beautiful Kodachrome films of subjects ranging from Irish rural life to John F. Kennedy’s historic visit to Wexford in 1963, just five months before his assassination. This particular footage now resides with the Kennedy Book and Research Archive in New Ross and the footage we will make available on the workshop has never before been seen beyond the Walsh family.
In 2022, Screen Wexford honoured Peggy by creating The Peggy Walsh Award for Female Camera Talent in Wexford.
Peggy’s daughter Ann Larkin who holds the archive, said ‘I am incredibly excited to keep my mothers memory alive through the use of her archive and hope that it will inspire new stories for local and national filmmakers who do the programme‘.
GUEST SPEAKER: Mick Mahon, Editor
Mick Mahon has been at the forefront of editing in Ireland over the past twenty years, with a particular focus on documentary.
He has edited a host of award winning films, and his work has been screened at festivals worldwide. He is a two time IFTA winner, in 2015 for the feature documentary Rough Rider and in 2020 for Gaza, which was Ireland’s entry for Best International Feature at the 2020 Academy Awards. Other credits include I, Dolours, The Queen of Ireland, Breaking Out and Love Yourself Today. His recent work includes Marlowe, Neil Jordan’s new feature film and Nothing Compares with Kathryn Ferguson, a feature documentary about Sinéad O’Connor which was released recently to critical acclaim.
Nothing Compares will be used as a case study for Mick’s guest lecture.
Saturday 4th February @ Gorey School of Art / Time: 10am – 430pm (in-person attendance mandatory)
Sunday 5th February Online / Time: 10am – 430pm
Optional mentor session / technical assistance on Wednesday evening 8th February
Friday 10th Online / Time: 7pm – 9pm (screening)
Click here or copy and paste the following link into your browser: https://99yd018aio7.typeform.com/to/hAoKq9rw
– a brief bio noting any previous production experience
– a short response (no more than 300 words) to one of the films listed on the Make Film History website, suggesting how you might creatively respond to it. We would like to have an indication of how your voice, style and vision can offer a fresh and original perspective on your chosen film and theme.
– if you wish to send samples of previous work, in any medium, you may do so, but this is absolutely not a requirement.
SUBMISSION DEADLINE: Monday 23rd January 2023 @ 5pm.
Applicants will be notified by Wednesday 25th January.
This workshop is free to participants and is funded by Screen Wexford, Screen Ireland, Wexford County Council & Make Film History and is free to participants.
Please note that this call for proposals is intended for early to mid-career filmmakers.
IFI / BBC / BFI & Northern Ireland Screen archive is accessed through The Make Film History research/project which was funded by UKRI-AHRC and the Irish Research Council under the ‘UK-Ireland Collaboration in the Digital Humanities Networking Call’ (grant numbers AH/V002066/1 and IRC/V002066/1).
After receiving a high standard of applications from all over the county, Screen Wexford is pleased to announce that the Peggy Walsh Award for Female Camera Talent 2022 goes to Therese Dalton.
Having originally studied broadcast journalism in Dublin, Therese Dalton pursued a career in the film and television industry in San Francisco and lectured at the city’s Academy of Art. Returning to Ireland, she worked as an editor for RTE and the BBC and subsequently as a camera operator.
Back in her native New Ross, Therese continues to freelance and to run filmmaking workshops for young people and as coordinator for the County Wexford Youth Film Project. On learning of her win, she spoke of being “honoured to receive the award” and how she was “mesmerised by the magical quality of Peggy Walsh’s Super 8 film footage from the 1960s.”
Peggy Walsh, to whom the award is dedicated, was an amateur filmmaker born in Wexford a hundred years ago. She enriched the county by leaving behind an extraordinary film archive that documents local life – most famously the visit of President John F. Kennedy in 1963. Award winner, Therese Dalton went on to say how as a cinematographer shooting with digital video cameras for the past twenty years, she never felt the modern format matched the “luminous ethereal quality of Super 8 film.”
Screen Wexford, the local film initiative spearheaded by Wexford County Council, decided to support women filmmakers from the locale by awarding this new bursary – and, by naming it in honour of Peggy Walsh, to draw attention to the Wexford woman’s extraordinary talent and legacy.
Applications for the award were judged by Wexford native Jessica Drum – Chief Executive of the Screen Guilds of Ireland – and Film Director Diramuid Goggins, who both remarked on the challenge of making the selection due to the quality of the submissions. John Leahy, manager of the Irish Society of Cinematographers and 24-4 Drama will support Therese through the provision of equipment and has also linked her up with new mentor – John Conroy, AFC, ISC. Therese will also receive 1 year’s subscription to Women in Film & Television Ireland who promote greater representation of women on screen and behind the camera.
Linda Curtin, Wexford’s outgoing Film & TV Coordinator for Screen Wexford, points out parallels between the work of Therese Dalton and Peggy Walsh in terms of aesthetic and outlook. “Like Peggy, Therese is a true artist with a fascination for people and place.”
Peggy Walsh’s daughter, Ann Larkin, said “The Walsh family extend our sincere best wishes to Therese Dalton for winning the award. With a little inspiration from Peggy and a mountain of professional support, the opportunities are endless. The financial award is brilliant but the mentoring is priceless. Every frame captured is a memory made!”
Born in 1922, Margaret ‘Peggy’ Walsh was an amateur filmmaker who observed and documented her life and times in Co. Wexford and further afield in the 1950s and 60s. She also found time to be a housewife and mother to nine children.
Before her death in Dec 2021, her film legacy was discovered in the form of a rich archive of beautiful Kodachrome films of subjects ranging from Irish rural life to John F. Kennedy’s historic visit to Wexford in 1963, just five months before his assassination. This footage now resides with the Kennedy Book and Research Archive in New Ross.
Although Peggy Walsh exercised her creativity in many ways – including painting and architectural drawing – it is her filmmaking talent and craft that we now honour.
Screen Wexford is proud to announce the Peggy Walsh Award for Female Camera Talent.
This mentorship programme is aimed at supporting female cinematographers and camera operators by arranging a key mentor from the Irish film and television industry to advise on professional career advancement through development of technical and creative skills over a period of six months. This programme will run for three years and is open to Wexford based female camera talent or those who are originally from the county.
The total value of the award is €4000.
The successful applicant will be chosen by Wexford native Jessica Drum – camera op and Chief Executive of the Screen Guilds of Ireland. The Irish Society of Cinematographers will be involved in recruiting the Cinematographer who will provide mentorship, with the mentor receiving a fee of €1000 to cover their time. The mentee will receive a bursary of €2000 to support the making of work during the mentorship. They will also receive €1,000 in support from 24-7 Drama kit rental company as well as a sponsored annual membership with Women in Film & Television Ireland who promote greater representation of women on screen and behind the camera.
To apply for the Peggy Walsh Award for Female Camera Talent,
please SUBMIT YOUR APPLICATION HERE with:
– A short bio
– 1-3 min showreel
– Outline of personal objectives and what you hope to achieve from the mentorship (max 300 words).
Deadline: 22 February 2022
Screen Wexford is committed to developing a workforce in the field of Immersive Technologies. Since our inception late 2020, we have been exploring Virtual Production and Virtual Reality through research, interviews with industry professionals and training (experimentation with 360 cameras and game engines). We feel it is an important component of Ireland’s development in the entertainment industries and are taking steps to future proof the region for advances in technology in this area.
In the coming months, we will deliver a series of online masterclasses and immersive labs in the field of VR & Virtual Production. These online events will be available to current practitioners, new entrants and training graduates. Primarily promoted to Wexford-based stakeholders, places will also be made available to the wider film sector in Ireland.
Check out our our Immersive page for further details on this programme.
SCREEN WEXFORD HAS HAD A BUSY 2021!
To celebrate, the team at Screen Wexford would like to announce an end of year Showcase Event taking place in Wexford Art centre on Thursday 2nd December 2021 from 7-9pm. This event will include short films screenings, launch of Screen Wexford’s new website, and is an opportunity to meet the team behind Screen Wexford whilst learn of new and exciting plans for 2022.
This showcase event will include:
NEW VOICES SHORT FILM SCREENING
In December 2020, from a highly competitive slate of submissions, three Wexford based teams were selected to receive production finance; equipment support from lighting company Teach Solais; and a professional mentor to support the filmmakers throughout the production process.
The three winning projects being presented in our showcase are:
‘Sonny, Mammy and Patch the dog’
by Sinead O‘Quigley, Richard Deering and Adam Hart, is a dark comedy about how life can be put back together after a bereavement.
Samsara by Unity, a collaboration between artists Mirona Mara and Jonathan Murphy who have made an animated short about the cyclical nature of life, death and rebirth.
Halted by Robert Tyrell and Joanne Heffernan – a documentary about the everyday lives of the Travelling Community in Wexford.
REMIXING THE ARCHIVE PROJECT
Earlier this year, Screen Wexford ran an exciting new training programme in the field of film archive that invited ambitious early-stage career filmmakers and artists working with the moving image across Wexford, to engage imaginatively with the enormous untapped potential of archive film (from the IFI / BFI / BBC & NI Screen) whilst creating a new archive-inspired piece. The workshop was delivered by Akajava Films in collaboration with the Make Film History project with the support of Screen Skills Ireland. 9 films made during this project will also be screened.
Speaking about the work being screened as part of the showcase, Screen Wexford’s co-ordinator Linda Curtin said that “Wexford has a wealth of creative talent and I’m very excited to share the work produced through our programmes – these short films represent a diversity of subject matter, culture and ethnicity and I hope they inspire others to launch their careers as filmmakers and engage with our Screen Office’.
This event has limited access due to covid restrictions and is invite only. However, we will stream the event online over Zoom. Details as follows:
Webinar ID 889 2893 4395
Webinar Passcode 696849
For further information please email firstname.lastname@example.org
BEYOND 2021 took the theme of place to look at how the Creative Industries are forming the heart of new vibrant cultural and creative economies. The conference is in its 4th year and was a hybrid event that took place both in Belfast and online. We are highly invested in championing creativity and entering the immersive space here in Screen Wexford, so we journeyed up to make some connections and to see what we could learn from their vibrant film & TV industry.
The conference was held in partnership with Future Screens NI and supported by Belfast City Council and Matrix NI. As a delegate, we enjoyed a bespoke programme of activities, with location-based immersive experiences, networking, receptions and lots more. Feeding our curiosities was the depth of research and innovation shared that looked to reimagine, reinvent and reinvigorate place. For Screen Wexford, place, and the marketing of same, is an important part of our remit. We strive not just to put Wexford on the map, but to make it a true production centre and we are examining creative ways to do that.
The absolute stand-out events for us were:
1. Fuelling the Future: How to Build New Place-Based Talent Pipelines
At a time when the UK government is talking about national skills shortages across multiple sectors, is it time for the Creative Industries to take a different track, and time to recognise that skills issues in regional and local creative economies need regional and local solutions? But can place-based talent pipelines be created and nurtured to successfully fuel growth in regional and local creative economies? How are different places across the UK approaching the question of where we need to get to and how we can get there? Where is this working and who can we learn from?
Dominic Lusardi, Advisor/NED, Digital Thinkers
Emma Turner, Head of Film CPD and Future Skills, ScreenSkills
Frank Lyons MBE, Interim Executive Dean of Arts, Humanities and Social Sciences, Ulster University
Rachel Nicholson, Head of Institution, Backstage Academy
Rosalind Coleman, Producer, Punchdrunk
You can view the talk online on Beyond’s channel here.
2. Materiality in the Metaverse: Tools to Thrive in the New Spaces of Fashion−
Fashion experts from academia and industry explore the distinctions between the three levels of the new Fashion Metaverse, the opportunities and issues presented by each, and the tools required to support the next generation of designers and fashion entrepreneurs as they navigate these new worlds and markets.
Miss Jade How, Head of Fashion, Lockwood Publishing
Prof Jane Harris, Professor of Digital Design and Innovation, Director of the Fashion, Textiles and Technology Institute (FTTI, UAL), University of the Arts London, London College of Fashion
Dr Mike King, CEO, Numerion Software
Alex Lambert, Creative Director, Happy Finish
Leanne Elliott Young, CEO & Co-Founder, Institute of Digital Fashion
Watch back Materiality and the Metaverse here.
3. Wide Open Spaces: Building Rural Creative Networks
A third of creative business hubs are outside of the UKs big cities, and beyond them lie thousands of small innovators, entrepreneurs, creative practitioners and businesses, many in remote places. Regions where creative economies are dispersed face unique challenges as they grow, but are also ideally placed to reinvent themselves for the digital age, create new jobs, bring investment and provide a unique sense of place and place-making. This panel looks at what is needed if we’re to support and grow the creative economy in these places.
Joanne Evans, Creative Industries Impact and Partnerships and Development Manager, University of Exeter
Dr Karen Cross, Academic Strategic Lead for Fashion Management, Events, Tourism and Hospitality, Robert Gordon University
Emily Sorrell, Innovation Designer
Dr Josh Siepel, PEC Work Strand Lead for Creative Clusters, Innovation and Access to Finance, SPRU, University of Sussex and Creative Industries Policy and Evidence Centre
Check out Wide Open Spaces: Building Rural Creative Networks here.
4. Altered Places: How Augmented Reality Could Change our Relationships with our Worlds
In this video piece Augmented Reality Product Designer Campbell Orme asks if and how AR can change our relationships with places.
Watch back Altered Places here.
5. Augmenting Places: AR for the People
As the medium becomes more popular, what responsibilities do AR makers have to place – and the communities that live there? Angela Chan, an expert in innovative inclusion in storytelling, talks to leading AR makers to find out how it can be used to open up both places and our imaginations for new encounters with history, our environment and each other – before questioning how we should address the potential issues around accessibility, inclusion and ownership that this opening up of place can unlock.
Angela Chan, Head of Inclusion / Doctoral Researcher, StoryFutures, Royal Holloway, University of London
Rob Morgan, Creative Director, Playlines
Dr Paul Clarke, Senior Lecturer in Performance Studies, Artistic Director, University of Bristol, Uninvited Guests
Nosa Eke, Writer/Director
Check out Augmenting Places: AR for the People here.
6. Belfast Stories: Turning Place 360
Founder of Belfast-based agency Yellow Design, Michael McGlade, explores their work in Belfast and London that is remaking and revealing new aspects of place, past and present, through AR.
Michael McGlade, Creative Director, Yellow Design
Watch Belfast Stories: Turning Place 360 here.
Overall, it was beyond impressive and we can’t wait for next year’s array of talks, immersive experiences and fresh collaborators!
Screen Wexford has joined forces with award-winning Shooter-Director Barry Donnellan to deliver a new mentoring programme in the area of Broadcast TV. Donnellan, who works mainly in TV documentary, creating content for RTE, TG4, Virgin, BBC, Discovery, UTV, and a range of international production companies, will support two Wexford shooter-directors to develop their practice as filmmakers and also create pathways to work in the Irish TV industry.
This will be targeted at those with some experience so consideration will be given to those that have an existing body of work, the number of years of work and credits. This particular partnership is not for new entrants. It is anticipated that mentoring partnerships will last between three and six months.
This initiative is part of Screen Wexford’s Skills Strategy and is supported by Wexford County Council. It is hoped that this inaugural programme will be an ongoing initiative that will take on more mentees over time. It will be targeted at mentees from under-represented groups who are already experienced in cinematography or camera operating.
Application Process: Please note that mentorships have been filled for 2021. Selected filmmakers to be announced.
ALBERT is the authority on environmental sustainability for film + TV. Founded in 2011 and governed by an industry consortium, they support everyone working in film and TV to understand their opportunities to create positive environmental change. Their training helps industry colleagues to live and work sustainably by providing an optimistic, science-based, solution-centric and enjoyable introduction to the environmental challenges we face. Aimed at those who work in production and crew, their courses are free and open to everyone.
As a Screen Office, we undertook Sustainable Production Training which provides the knowledge and skills to create productions in a more sustainable way. Through this course, we looked at…
– environmental basics
– industry’s impact
– production case studies
– carbon calculation and certification
Reduction of our carbon footprint is a hot topic in almost every industry. Whether it’s building and construction or IT data-centres, transport or manufacturing, everyone is becoming increasingly conscious of how much energy they use and how much carbon they put into the atmosphere – and the film and television industry is no different. There are taxes coming. And probably fines too.
Carbon neutral filmmaking is on the way up the agenda and is being taken seriously – anywhere from Screen Ireland to Netflix and Amazon and even in our own county council arts and film offices around the country. Anything we do in Wexford in the area of screen production will take its carbon footprint into account, whether by energy conservation and recycling or by factoring in carbon credits or carbon capture.
The Association of Film Commissioners International (AFCI) is the global non-profit professional organisation representing city, state, regional, provincial and national film commission members on six continents. AFCI’s mission is to provide advocacy, connectivity and education necessary for film commissions and businesses in the screen sector to foster economic growth, to initiate the groundwork for strong infrastructure and provide the essentials for professional development in a fair, sustainable and socially diverse manner world-wide.
Earlier this year, Screen Wexford invested some time in acquainting ourselves with the AFCI’s Film Commission’s course materials to ensure we meet international industry standards when operating our Screen Office. Their online courses are specific to Screen Commissioners and are self-directed. Here are the courses we took:
Film Commission Fundamentals
Film Commission Fundamentals (FCF) is an online course providing valuable information and training to individuals involved with film commissions in any capacity. This course is an introduction and orientation to film commission work. Film Commission Fundamentals give the participant an overview of all aspects of film commission work. Topics of study include film commission operations, marketing your jurisdiction, an overview of economic development, film incentives programs, scouting, location photography, plus working with production and clients and within the local jurisdiction. Graduates of the course will gain an understanding of the skills required of every film commission staff member, and the way in which film commissions can successfully interact with the production community and their jurisdictions. Upon finishing the course, we were awarded a certificate of completion and later went on to study Film Commission Professional.
Film Commission Professional
Film Commission Professional is an online course building on the information presented in Film Commission Fundamentals course. It provides more in-depth information on several of the most important elements involved in film commission work. Course participants will explore important topics in greater depth including the business aspects of film production, effective marketing techniques, economic development impact and reporting, and the importance of alliances and partnerships such as working with crew, guilds, unions, and economic development officials.
Both courses were incredibly informative and gave an insight into the hard and soft skills required to run a Screen Office. A must for any screen office professional. You can read more about the AFCI here.
Welcome to the future of location scouting – VIRTUAL SCOUTING.
Here at Screen Wexford, we are committed to exploration of new technologies for the development and positioning of our Screen Office. Very early on, we asked ourselves the question ‘How can we future-proof the marketing of our locations whilst preparing for advances in technologies in the area of virtual production?’ Since the advent of covid, remote working has seen the production pipeline change and advance. More and more teams are working remotely with key decision makers inputting on locations both remotely and through the VR space.
The beauty of 360 degree footage is that it can allow viewers to engage with the footage / environment / location through a VR headset but also through 2D. Key decision makers in the production process have the ability to see exactly what’s in a space and therefore its full cohesive potential. We think that 360 location scouting will literally change the game.
– It effectively demonstrates scale;
– It’s convenient and cohesive: instead of multiple shots of a location, one compact 360 file (taken as either 360 still or video) can give a really strong sense of a location that the viewer can engage with in an immersive way. In sum, you don’t miss a picture as it takes in the entire space;
– It’s time saving – the speed of capture and the workflow are really incredible. You can document one entire room in under a minute and then share it with your team;
– Health & Safety: Being covid safe is of uppermost importance to crews. The beauty of 360 shooting is that it can negate larger numbers of crew on a recce. IE – instead of bringing a production designer, grip and electric team on a recce, a location manager can remotely communicate (in live mode) relevant location data;
– It’s portable and fits in your pocket;
– Since it negates large numbers in attendance on a recce, a virtual location shoot is sustainable in terms of reducing our carbon footprint. Less flights and more remote decision making make for greener productions;
– If you’re not sharing in live format, you can transfer the footage from the camera to the Insta360 Studio app on a desktop. For file-sharing, you can lock the position on the video, download and send. You can also review footage with teams over video conferencing or in-person on a TV screen, going through each location in detail in order to break down the specifics.
Earlier this year we tested various 360 camera including the Insta360 One X and the Insta360 Pro 2. Both are incredibly versatile but the One X came out ahead in terms of it’s versatility, size, cost and post-production workflow. We see this experimentation as part of our future-proofing in the area of Virtual Production and hope to integrate these 360 virtual recce shoots into our service offering in the next year.
South by Southwest, abbreviated as SXSW, is an annual conglomeration of parallel film, interactive media, and music festivals and conferences that take place in Austin, Texas, United States. Screen Wexford was fortunate enough to attend the virtual event from the comfort of our remote office in Wexford. We missed the in-person interactions (whole doesn’t love sitting in a dark room at 9am at a film festival….or 9pm at the festival hub) but we were certainly not disappointed by the line up and array of talent in attendance. Over the course of the five day festival, we attended talks, watched films, shared some amazingly immersive XR experiences and discovered new ways to connect in this unique digital space. From this, lots of exciting ideas have emerged which we will integrate into our programme for the year ahead.
If you’re interested, you can check out our SXSW Diary below:
Driving Action Advocacy Through Online Community
Online communities are nothing new (case in point: Reddit turned 15 last year); but as the world adapted to 2020, these digital spaces have proven their worth in a whole new way. Reddit has witnessed this first hand, as more people joined its many thousands of communities for connection, distraction and belonging in a time of unprecedented disconnection. While IRL experiences continue to evolve in unexpected ways, the communities on Reddit remain a constant source of conversation and companionship — as well as a valuable lens from which to examine human psychology, consumer behavior, and general sentiment. Join Reddit’s Chief Operating Officer Jen Wong as she takes the virtual stage with CNN’s Kerry Flynn for a conversation about why online communities were made for this moment, their role in the evolving digital ecosystem, and the inherent value they bring to brands looking to build authentic connection, brand advocacy, and drive action.
Amy Webb Launches 2021 Emerging Tech Trend Report
In this provocative session, futurist Amy Webb, professor at NYU Stern School of Business and founder of the Future Today Institute, provided a data-driven analysis for the emerging tech trends that need to be on your radar in 2021––scenarios for the future of business, governing and society.
Laurieann Gibson on Tapping Into Your Creative Vision
Empower the dreamer in you: the artist, the writer, the athlete, the entrepreneur, the mover and shaker. World-renowned creative visionary, choreographer and author Laurieann Gibson shared the principles that have shaped and guided her artistic work developing some of the world’s biggest pop stars. In conversation with creative director, celebrity stylist and costume designer June Ambrose, Gibson spoke about the inspirational jewels she’s garnered over her 20-year career in entertainment in order to ignite your creative passions, encourage you to create a unique roadmap to success, and to “dance your dance.”#DanceYourDance
Why Do We Fear Innovation?
From the printing press to vaccines to artificial intelligence, the introduction of almost any transformative technology has been met with wonder as well as fear and rejection. Many of history’s greatest inventors were considered heretics–the archetype of the mad scientist exists for a reason. Why does the new still scare us? What does it take to build acceptance for transformative ideas? How does the unprecedented scientific progress to deliver COVID vaccines influence this? What role does disinformation play in shaping our fears? How can we ensure innovators consider ethical issues, so outcomes can lead to the betterment of people and the planet? What can innovators learn from artists and creators of fiction?
Climate Change Meet Up
We are living with the reality of climate change every day. How can we begin to adapt beyond acknowledgement and complacency? This meet up looked at the reality of the climate crisis and the solutions that have the opportunity to save our planet.
Can VR Create Real Change?
“VR for Good”, “the Empathy Machine”, “Story living”… VR has gotten quite a reputation for creating impact. But does the hype really add up? We are at a pivotal moment in history, with socio-political division at an all-time high and less than a decade left to prevent climate crisis. Could creating virtual realities actually help move us towards a better tomorrow? Join top VR for Good creators and curators as they dig into the impacts of this medium, putting real change and direct action front and center. We will tackle three difficult questions that get to the heart of this issue.
A Survival Guide to Alternative Film Distribution
Digital distribution continues to evolve with over 100 digital and streaming platforms offering movies and television series, catering to audiences eager to escape lockdown madness. At a time when theatre availability is uncertain and digital models are key, distributors and filmmakers are working out different ways to effectively release films of all genres and budgets. This panel will explore the platforms now available, how the business models work, and what types of films work in these distribution structures. Emerging trends will be discussed including AVOD, film libraries, education/public library streaming, and MOD (manufacture on demand DVD). On the more traditional side, the speakers explored how distributors are monetizing their content and adapting to new processes.
Brian Eno Stewart Brand on Film, Music, and Creativity
Musician Brian Eno in discussion with Stewart Brand, the subject of a new documentary on Stewart called We Are As Gods. The film profiles Stewart Brand: legendary pioneer of the counterculture, cyberspace, futurism, and modern environmentalism. Today, he urges people to use our god-like powers to fight extinction by reviving lost species, but his former allies in the environmental movement vow to stand in his way. Brian Eno created the beautiful and indelible original music for We Are As Gods. The two are friends and co-founders of the Long Now Foundation, an organization dedicated to shifting humanity’s perspective to long-term thinking. Brian and Stewart chat with filmmakers about the film, collaborating on the musical score, and limiting creative possibilities in the digital age.
The Future is Accessible: Accessibility in XR
XR is redefining what we consider reality – creating the potential for entirely new mediums and means of expression. This paradigm-shifting technology allows users to experience entire worlds and alter their perceptions of reality. For XR technology to reach its full potential, it needs to be accessible. As we develop VR, AR, and other spatial computing experiences, we have the opportunity to create technologies that are accessible from the start. As workplace and educational paradigms become increasingly digital-forward, ensuring users of all abilities can avail themselves of XR technology is more important than ever. Hear from industry experts, academics, and creators on the current state of accessibility in XR and what we can do to ensure the future of XR is for everyone.#FutureIsAccessible
Entrepreneurship Equals Empowerment
Leveling the playing field for entrepreneurship is the single most important thing we can do to build a better economy. We must empower our next generation with the tools they need to create economic independence by bringing together businesses, governments, nonprofits and community orgs to invest in small business and remove barriers for disenfranchised groups. The challenges faced in 2020 highlighted many opportunities to do better, but also gave us hope, as the world rose to support Black entrepreneurs. We must continue to remove obstacles, encourage more aspiring Black entrepreneurs – and other traditionally marginalized communities – to start and scale businesses, and provide them with the technology, educational programs and opportunity to access capital that they need to succeed.
All-in-all an incredible festival. We connected with some amazing talent that we hope to bring to Wexford in some capacity in the coming months.
Hope to see you there next year!
In January, 2021, Wexford County Council green-lit the planning permission for the construction of Tara Studios – a proposed 250,000 square feet, state-of-the-art film studio at Borleigh Manor, just north of Gorey. A planning objection was later lodged by a local in relation to the scale of the project in a quiet rural area. The developers are still awaiting a decision from An Bord Pleanála.
Despite the Covid 19 pandemic, the global film and television industry has experienced substantial growth in the last number of years. Screen Wexford sees that the region can continue to benefit from this trend through the expansion of infrastructure and facilities. It is anticipated that Wexford’s new film studios, if they come to fruition, could help generate in the region of 350 jobs on incoming productions and a further 30 jobs at Tara Studios itself, plus additional local employment for technical and craft workers. The proposed facility will include seven sound stages along with supporting buildings on the 160 acre site – a significant new contribution to the Irish film industry.
The team behind Tara Studios is headed up by John Gleeson and Ivan Dunleavy. Gleeson hails from North Wexford and is recognised as one of Ireland’s most established advisors on film finance and an expert on the Irish Film and Television Tax Credit, Section 481; with a past list of media clients that include Amazon, Apple, Disney, Netflix, Sony and Universal Pictures. Ivan Dunleavy, whose parents were originally from Wexford, is the former chief executive of Pinewood Studios, the UK’s iconic “dream factory” and home to the James Bond franchise among many others. Dunleavy has also been an executive producer on film productions and involved in post-production in the area of ground breaking visual effects.
Screen Wexford, the county’s film and television agency, are hopeful that the decision comes soon from An Bord Pleanála and that it’s a positive one.
Bodecii Film in association with Screen Skills Ireland and Screen Wexford are searching for emerging writers in the Wexford region to take part in a Scripting For Broadcast Academy.
This unique professional development workshop series is specifically aimed at writers from, or located in, the Wexford region. The course is delivered by Bodecii Film and funded by Screen Skills Ireland, Screen Wexford, Creative Ireland and Wexford County Council Arts Office as part of their commitment to supporting filmmakers and film production in the region.
This is Phase One of a two phase programme which will endeavour to represent a diverse range of new original voices and talent from all backgrounds, in Phase One, emerging Wexford writers will work in a collaborative writers room environment with established and experienced Lead Writer/Series Producer and Show Runner, Paul Walker (RedRock, Call the midwife, Eastenders, River City, BBC Writers Academy ) and will acquire the skills to become TV broadcast writers. They will also engage with experienced TV Director, Laura Way (Red Rock, East Enders, Blood) and Producer Fiona Kinsella (Head of Production Tile Media/Executive Producer Jumper Productions) throughout the process.
Industry experts including Directors, Producers, Screen Writers, Talent Agents and Editing Commissioners will feature as guest speakers throughout the year. Upon completion of Phase One of the programme, each of the participants will end up with a one hour broadcast standard TV SCRIPT.
(In Phase Two of the programme, Bodecii Film will endeavour to commission four to six of the writers and their scripts to enter into development and production of a six part ORIGINAL ANTHOLOGY SERIES based in County Wexford.)
On completion of the writing workshops, writers will attend an industry panel seminar (taking place online until further notice) exploring the current industry landscape for Irish writers, career development and funding opportunities, along with practical advice on moving into production from script to screen.
This unique professional development workshop series is specifically aimed at writers from, or located in, the Wexford region. The course is delivered by Bodecii Film and funded by Screen Skills Ireland, Screen Wexford, Creative Ireland and Wexford County Council Arts Office as part of their commitment to supporting filmmakers and film production in the region. This course will take place online until further notice once a month from February to October 2021.
– a sample screenplay or stage play min.10 pages/max. 30 pages
– Writers CV and biography
Shortlisted applicants will be contacted and asked to provide further details, including proof of residence in county Wexford.
This is an intensive programme aimed at writers wishing to develop their professional skills and industry awareness. Applicants must be free to attend all modules and to complete and revise their own short film screenplay between workshops.
This course is free.
Number of Participants:
This course is strictly limited to 10 participants
March – October
One – two days per month
(Course will take place on Weekends).
Tutor Profile: Paul Walker
Paul was mentor for the inaugural Arts Department of Wexford County Council and Bodecii Film Wexford Screen Writers Professional Development Programme and is currently a mentor for YIFM National Development Programme. He is also on the panel of mentors at Screenskills Ireland, the BBC Writers Academy and guest lecturer at IADT film school.
Current television work includes PHOENIX / T4Productions, DESCENDENT/Maxfilms, CALL THE MIDWIFE / Neal Street Productions for BBC THE PROFESSIONALS (fka SOLDIERS OF FORTUNE) / Fortune Productions, Ireland and EASTENDERS / BBC1; and for film, three original Dublin-set stories DIRTY DUBLIN TRILOGY. Paul’s controversial award-winning two-parter on the STARDUST disco fire won ‘Best Drama’ at the Irish Film & Television Awards 2007 (Merlin Films for RTE, produced by Norman Siderow, directed by Ciaran Donnelly (Vikings, Titanic, T4 Productions). As well as developing original television drama work, Paul has been a long-time contributor to long-running series. He was Story Producer on BBC Scotland’s RIVER CITY from January-December 2014 and on RED ROCK Season 1 (Element Pictures/Company Pictures for TV3, Ireland, 2015). He went on to Studio Produce RED ROCK Season 2 and was Series Producer (Editorial) on Season 3 of the show. He has also been on writing duties on both Season 2 and Season 3. The series won ‘Best Soap’ at the Irish Film and Television Awards 2016 and Paul was also nominated as ‘Best Writer’ for his work on the show.
Paul was Showrunner/Writer of RED ROCK Season 4. Paul won the Writers Guild of Ireland’s Best Scriptwriter award for in 2019.
2020 marked Screen Wexford’s inaugural year and it would not have been complete without attending FOCUS – THE MEETING PLACE FOR INTERNATIONAL PRODUCTION. This year’s market took place online and proved to be a vibrant space to connect and share global production expertise across film, TV, advertising, animation and games. FOCUS has established itself as an important date in the screen industry calendar offering a plethora of filming solutions, potential partners and production intelligence for all types of project and all levels of budget, from pre through to post-production. A number of Ireland’s Screen Offices were also in attendance as well as The Locations Guild of Ireland, Screen Producers Ireland, Commercial Producers Ireland and of course Ireland’s lead agency for screen production – Screen Ireland.
There were too many valuable talks and workshops for us to share but the stand out event for us was:
THE REALITY OF VIRTUAL PRODUCTION
2020 witnessed an enormous development in the area of virtual technology or virtual production. Its potential appears to be limitless. The release of The Mandalorian in 2019 and the pandemic has created a tremendous interest in the potential of VFX and an acceleration of what creatively, might be possible in terms of production. eg. It allows production design to be realised earlier and also it allows more control. But advances such as these require large teams of people and are currently massively expensive. The discussion looked at what we can expect over the next 5-10 years.
Tim Keene – Managing Director, The Third Floor London
Hasraf ‘HaZ’ Dulull – Director / Producer, HaZ FILM Ltd.
Brian Mitchell – Head of Rebellion Film Studios
Glenn Kelly – Head of Production, Imaginarium Studios
The FOCUS programme is developed in consultation with a Content Advisory Board featuring representatives from leading industry bodies. Members include the British Film Institute, British Film Commission, Pact, Directors UK, Advertising Producers Association, The Production Guild GB, ScreenSkills, UK Screen Alliance, Creative Europe Media Desk UK and Women in Film and TV. The content programme is presented in association with media partner Variety and sponsored by Production Service Network.