DOCSLIB.ORG

A Rough Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Rough Guide A ROUGH GUIDE THE IRISH FILM BOARD The Irish Film Board (IFB) is the national development agency for the Irish film and television industry, investing in talent, creativity and enterprise. We support the industry by funding projects and training and by promoting Ireland as a location for international production. 4 GLENDALOUGH, CO. WICKLOW CONTENTS Making Film & TV in Ireland 6 The Irish Producer 8 Irish Sources of Finance 10 Ireland & International Co-production 12 Location Location Location 16 Urban Ireland 18 Rural Ireland 22 Film Studios 26 Post-production, CGI & VFX 28 Case Study: VFX 30 IFB Location Services 34 Support Networks 36 Irish Talent 40 Irish Short Films at the Oscars 42 Case Study: Feature Film 44 Case Study: Television Drama 50 Animation 56 Case Study: Animation 60 International Awards 66 IFB Contact Details 72 6 MAKING FILM & TV IN IRELAND 6 THE IRISH PRODUCER 8 IRISH SOURCES OF FINANCE 10 IRELAND & INTERNATIONAL CO-PRODUCTION 12 8 CLIFFS OF MOHER, CO. CLARE MAKING FILM & TV IN IRELAND orld class film and television drama is made Ireland’s film and television industry is built on in Ireland year after year. talented Irish producers, directors, writers, cast, crew and service providers, backed by consistent Irish W government support, delivered by a competitive tax Recent projects include Lenny Abrahamson’s Frank, two films by John Michael McDonagh, Calvary and incentive and Irish Film Board (IFB) project funding. The Guard, Neil Jordan’s Byzantium, Rodrigo Garcia’s Albert Nobbs, Steven Soderbergh’s Haywire, James We hope this guidebook answers your questions Mather and Stephen St Leger’s Lockout and Tom about making film and television in Ireland. But nothing Moore’s animated feature film The Secret of Kells. beats meeting face to face! So please contact us to arrange a meeting in Dublin or at any one of the Television drama made in Ireland includes Quirke for the international festivals and markets attended by IFB BBC, Vikings for History Channel US, Ripper Street for staff and Irish producers. the BBC and Penny Dreadful for Showtime. We look forward to meeting you. These feature films and television drama series were all Naoise Barry produced in Ireland and many post-produced here too, Film Commissioner in some cases taking advantage of Ireland’s growing [email protected] VFX industry. 10 DUNGUAIRE, CO. GALWAY THE IRISH PRODUCER hen considering making a film or television project in Ireland, you should work with an W Irish production company. You require an Irish production company in order to benefit from the Irish tax incentive for film and television, called Section 481. In addition to arranging access to Section 481 finance, your Irish producer can advise you on other sources of Irish funding, including Irish Film Board development and production support. Your Irish producer can provide the full range of production services, managing all stages of the production process including scouting, scheduling, budgeting, casting, crewing and of course post production too. With over 140 member companies, Screen Producers Ireland (SPI) is the representative body for independent film, television and animation producers in Ireland. “Irish producers are extremely versatile. They combine creative, financial and production knowledge and have an excellent reputation in the international co-production marketplace. With extensive experience in many genres, Irish producers can offer a reliable, flexible and business-like approach to any co-production.” Barbara Galavan, CEO, Screen Producers Ireland www.screenproducersireland.com IRISH SOURCES OF FINANCE There are multiple sources of Irish finance for film and television production. 12 EXISTING TAX INCENTIVE FOR FILM AND TELEVISION: “SECTION 481” What is Section 481? When is it paid? Section 481 is an “investor based” tax incentive for The Section 481 net benefit is made available film and television made in Ireland. to the production on the first day of principal photography or on the financial closing of the film. What types of projects qualify? The incentive is guaranteed until December 2020. The incentive applies to feature film, television drama, animation (feature film and television) and creative Is there a cap on the amount of Section 481 documentary. that can be raised? Yes, there is a ceiling of ¤50m on qualifying How much is the Section 481 benefit worth? expenditure per project. Projects can derive a benefit of up to 28% of their qualifying expenditure, and up to 30% on projects Explain how it works from the foreign producer’s with an eligible expenditure level in excess of ¤30m. point of view. The foreign producer usually teams up with a local What constitutes qualifying expenditure? Irish producer. An application is made to the Irish The benefit is based on the cost of EU cast and Revenue Commissioners for a Section 481 certificate. crew working in Ireland, and goods and services The issuance of this certificate allows the Section purchased in Ireland, up to a maximum value of 80% 481 finance to be raised. of the global budget. NEW TAX INCENTIVE FOR FILM AND TELEVISION: “NEW SECTION 481” What is New Section 481? activities in connection with a qualifying project. The From a date to be fixed in 2015, and subject to EU rebate is paid by the Irish Revenue Commissioners. approval, the Section 481 film and television tax It amounts to 32% of qualifying expenditure, on up to incentive is amended with the effect of creating a 80% of a project’s budget. new 32% tax credit scheme. What constitutes qualifying expenditure? How does it work? The benefit is based on the cost of all cast and crew, The tax credit provides a production company which regardless of nationality, working in Ireland, and goods falls within the Irish tax net with a cash rebate based on and services purchased in Ireland, up to a maximum Republic of Ireland expenditure on film and television value of 80% of the global budget. COMING IN 2015: IRELAND'S NEW AND IMPROVED 32% TAX CREDIT MOONE BOY IRISH FILM BOARD Ireland’s national screen agency supports Irish filmmaking from script to screen. Visit the IFB website, www.irishfilmboard.ie, and explore the “IFB Funding Programmes” section, which details current production and development funding schemes. BROADCASTING AUTHORITY OF IRELAND IRISH BROADCASTERS One of the BAI’s objectives is to stimulate the Ireland’s public service broadcasters are RTÉ and provision of high-quality, diverse and innovative TG4. TV3 is Ireland’s one commercial station. All programming. To this end, it allocates public funding three commission original content. through the Sound & Vision Fund. www.bai.ie OTHER FINANCIAL INCENTIVES EURIMAGES Corporate Tax and IP: A tax rate of 12.5% applies to Ireland is a member of the Council of Europe’s all corporate trading profits. A 25% tax credit can be production support fund, EURIMAGES. The fund claimed against R&D expenditure. Tax deductions are supports feature films, documentaries and animated available for capital expenditure on the acquisition of films that are intended for cinema release and are qualifying IP assets. co-productions between at least two member states. www.coe.int/eurimages Value Added Tax (VAT): Incoming production to Ireland is exempt from Value Added Tax (VAT) on a wide range of Irish goods and services. IRELAND & INTERNATIONAL CO-PRODUCTION reland’s competitive tax incentive, experienced talent base, and distinctive yet adaptable landscapes make it a unique and valuable co-production partner. Ireland has co-produced with almost every European territory, as well as Canada, Australia and South Africa. Ireland has a 14 I wealth of experienced co-producers across all forms of film, television, animation and digital media. What co-production agreements is Ireland party to? Are there any limits on financial or creative Ireland is a party to the European Convention on contributions? Cinematographic Co-production which enables If the official Irish co-production is bi-lateral, the co-production of feature films amongst members of minimum contribution of a territory is 20%, with the EU and some EEA states. Ireland also has bi-lateral the maximum being 80%. If it is a multi-lateral co-production agreements with Canada, Australia, co-production under the European Convention, New Zealand, Luxembourg and South Africa. then the minimum contribution needs to be 10%, with the maximum being 70%. What type of projects do the co-production agreements cover? How do I find information on Irish co-producers? The European Convention on Cinematographic The Irish Film Board can assist in partnering you Co-production covers feature film production with a suitable co-producer and currently provides (live-action, animation and documentary). Ireland’s detailed producer information on the following database bi-lateral treaties cover feature film, television http://companydatabase.irishfilmboard.ie/search. production and other forms of digital production. Screen Producers Ireland’s website www.screenproducersireland.com also What are the benefits of certifying as an has information on Irish producers. official co-production? If a project is certified as an official co-production, What recent productions involved Ireland as it confers national status of all the co-production a co-production partner? territories to the relevant production. In 2012, the feature film Byzantium, directed by Neil Jordan and starring Saoirse Ronan, was structured as The production can then benefit from other local an Irish and UK co-production. The F Word, directed territory benefits such as broadcast licence fees, by Michael Dowse and starring Daniel Radcliffe, access to tax incentives, regional subsidies and the was an Irish and Canadian co-production. local distribution market. Ireland is also a member of Eurimages, the European co-production fund, which The animated feature film Song of the Sea, directed has an annual budget of over €20m available.
Load more

Recommended publications
  • The Night Alive
    THE NIGHT ALIVE BY CONOR MCPHERSON DRAMATISTS PLAY SERVICE INC. THE NIGHT ALIVE Copyright © 2014, Conor McPherson All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE NIGHT ALIVE is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE NIGHT ALIVE are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. Inquiries concerning all other rights should be addressed to Curtis Brown, Ltd.
    [Show full text]
  • Martin Neužil
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Martin Neužil Violence and humour in In Bruges and The Guard Bachelor’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2018 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Martin Neužil 2 I would like to thank my supervisor, Stephen Paul Hardy, for his unending patience and guidance. Also huge thanks to my family and friends for their support and encouragement. 3 Table of Contents Page Introduction ..................................................................................................................... 5 Irish Movie Industry ....................................................................................................... 7 In Bruges ........................................................................................................................ 10 The Guard ..................................................................................................................... 20 Comparison ................................................................................................................... 30 Conclusion ..................................................................................................................... 40 Works Cited ................................................................................................................... 41 Resumé ..........................................................................................................................
    [Show full text]
  • About Endgame
    IN ASSOCIATION WITH BLINDER FILMS presents in coproduction with UMEDIA in association with FÍS ÉIREANN / SCREEN IRELAND, INEVITABLE PICTURES and EPIC PICTURES GROUP THE HAUNTINGS BEGIN IN THEATERS MARCH, 2020 Written and Directed by MIKE AHERN & ENDA LOUGHMAN Starring Maeve Higgins, Barry Ward, Risteárd Cooper, Jamie Beamish, Terri Chandler With Will Forte And Claudia O’Doherty 93 min. – Ireland / Belgium – MPAA Rating: R WEBSITE: www.CrankedUpFilms.com/ExtraOrdinary / http://rosesdrivingschool.com/ SOCIAL MEDIA: Facebook - Twitter - Instagram HASHTAG: #ExtraOrdinary #ChristianWinterComeback #CosmicWoman #EverydayHauntings STILLS/NOTES: Link TRAILER: https://www.youtube.com/watch?v=x1TvL5ZL6Sc For additional information please contact: New York: Leigh Wolfson: [email protected]: 212.373.6149 Nina Baron: [email protected] – 212.272.6150 Los Angeles: Margaret Gordon: [email protected] – 310.854.4726 Emily Maroon – [email protected] – 310.854.3289 Field: Sara Blue - [email protected] - 303-955-8854 1 LOGLINE Rose, a mostly sweet & mostly lonely Irish small-town driving instructor, must use her supernatural talents to save the daughter of Martin (also mostly sweet & lonely) from a washed-up rock star who is using her in a Satanic pact to reignite his fame. SHORT SYNOPSIS Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ & tries to ignore the constant spirit related requests from locals - to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager- making her levitate.
    [Show full text]
  • An Olive Films Release
    AN OLIVE FILMS RELEASE www.olivefilms.com Press Contact: Indie Strategy – www.indiestrategy.com Rodrigo Brandão – [email protected] +1 917.434.6168 Oleg Jelezniakov – [email protected] +1 917.676.5543 PARKED Crew Director - Darragh Byrne Writer - Ciaran Creagh Producers - Dominic Wright, Jacqueline Kerrin Co-producer - Aleksi Bardy, Helsinki Filmi Oy, Finland Director of Photography - John Conroy Production Designer - Owen Power Editor - Guy Montgomery Composer - Niall Byrne Cast Colm Meaney - Fred Daly Colin Morgan - Cathal O'Regan Milka Ahlroth - Juliana Stuart Graham - George O'Regan Michael McElhatton - Frank David Wilmot - Peter Tatianna Ouiliankina - Aqua Aerobics Instructor Diarmuid Noyes - Cathal's brother Mary Kelly - Reporter Technical Specs: Country: Ireland (Shot in Dublin, Ireland) Length: 90 minutes Shooting Format: HD (RED One) Sound Dolby SRD Color / Aspect Ratio 2.35:1 Language: English PARKED LOGLINE A proud man living in his car is inspired by a young drug addict to become a better person. SHORT SYNOPSIS Fred Daly returns to Ireland with nowhere to live but his car. One day, 21-year-old Cathal parks beside him, and brightens up his lonely world. Encouraged by Cathal, Fred befriends an attractive music teacher (i.e. Jules) and opens up his world to those on the outside. LONG SYNOPSIS Fred lives a quiet, isolated life in his car, having lost all hope of improving his situation. That all changes when he forms an unlikely friendship with Cathal, a dope-smoking 21-year-old with a positive attitude, who becomes his ‘neighbor’. Sharing laughs (and hard times too), Fred and Cathal re-discover the simple pleasures of life.
    [Show full text]
  • You Can Find Details of All the Films Currently Selling/Coming to Market in the Screen
    1 Introduction We are proud to present the Fís Éireann/Screen Irish screen production activity has more than Ireland-supported 2020 slate of productions. From doubled in the last decade. A great deal has also been comedy to drama to powerful documentaries, we achieved in terms of fostering more diversity within are delighted to support a wide, diverse and highly the industry, but there remains a lot more to do. anticipated slate of stories which we hope will Investment in creative talent remains our priority and captivate audiences in the year ahead. Following focus in everything we do across film, television and an extraordinary period for Irish talent which has animation. We are working closely with government seen Irish stories reach global audiences, gain and other industry partners to further develop our international critical acclaim and awards success, studio infrastructure. We are identifying new partners we will continue to build on these achievements in that will help to build audiences for Irish screen the coming decade. content, in more countries and on more screens. With the broadened remit that Fís Éireann/Screen Through Screen Skills Ireland, our skills development Ireland now represents both on the big and small division, we are playing a strategic leadership role in screen, our slate showcases the breadth and the development of a diverse range of skills for the depth of quality work being brought to life by Irish screen industries in Ireland to meet the anticipated creative talent. From animation, TV drama and demand from the sector. documentaries to short and full-length feature films, there is a wide range of stories to appeal to The power of Irish stories on screen, both at home and all audiences.
    [Show full text]
  • “Game of Thrones” Season 5 One Line Cast List NO
    “Game of Thrones” Season 5 One Line Cast List NO. CHARACTER ARTIST 1 TYRION LANNISTER PETER DINKLAGE 3 CERSEI LANNISTER LENA HEADEY 4 DAENERYS EMILIA CLARKE 5 SER JAIME LANNISTER NIKOLAJ COSTER-WALDAU 6 LITTLEFINGER AIDAN GILLEN 7 JORAH MORMONT IAIN GLEN 8 JON SNOW KIT HARINGTON 10 TYWIN LANNISTER CHARLES DANCE 11 ARYA STARK MAISIE WILLIAMS 13 SANSA STARK SOPHIE TURNER 15 THEON GREYJOY ALFIE ALLEN 16 BRONN JEROME FLYNN 18 VARYS CONLETH HILL 19 SAMWELL JOHN BRADLEY 20 BRIENNE GWENDOLINE CHRISTIE 22 STANNIS BARATHEON STEPHEN DILLANE 23 BARRISTAN SELMY IAN MCELHINNEY 24 MELISANDRE CARICE VAN HOUTEN 25 DAVOS SEAWORTH LIAM CUNNINGHAM 32 PYCELLE JULIAN GLOVER 33 MAESTER AEMON PETER VAUGHAN 36 ROOSE BOLTON MICHAEL McELHATTON 37 GREY WORM JACOB ANDERSON 41 LORAS TYRELL FINN JONES 42 DORAN MARTELL ALEXANDER SIDDIG 43 AREO HOTAH DEOBIA OPAREI 44 TORMUND KRISTOFER HIVJU 45 JAQEN H’GHAR TOM WLASCHIHA 46 ALLISER THORNE OWEN TEALE 47 WAIF FAYE MARSAY 48 DOLOROUS EDD BEN CROMPTON 50 RAMSAY SNOW IWAN RHEON 51 LANCEL LANNISTER EUGENE SIMON 52 MERYN TRANT IAN BEATTIE 53 MANCE RAYDER CIARAN HINDS 54 HIGH SPARROW JONATHAN PRYCE 56 OLENNA TYRELL DIANA RIGG 57 MARGAERY TYRELL NATALIE DORMER 59 QYBURN ANTON LESSER 60 MYRCELLA BARATHEON NELL TIGER FREE 61 TRYSTANE MARTELL TOBY SEBASTIAN 64 MACE TYRELL ROGER ASHTON-GRIFFITHS 65 JANOS SLYNT DOMINIC CARTER 66 SALLADHOR SAAN LUCIAN MSAMATI 67 TOMMEN BARATHEON DEAN-CHARLES CHAPMAN 68 ELLARIA SAND INDIRA VARMA 70 KEVAN LANNISTER IAN GELDER 71 MISSANDEI NATHALIE EMMANUEL 72 SHIREEN BARATHEON KERRY INGRAM 73 SELYSE
    [Show full text]
  • Emily Watson to Star As Elsa Einstein in Genius from National Geographic Channel, Imagine Television and Fox 21 Television Studios
    EMILY WATSON TO STAR AS ELSA EINSTEIN IN GENIUS FROM NATIONAL GEOGRAPHIC CHANNEL, IMAGINE TELEVISION AND FOX 21 TELEVISION STUDIOS MICHAEL MCELHATTON, SETH GABEL, SAMANTHA COLLEY, RICHARD TOPOL AND VINCENT KARTHEISER ALSO JOIN CAST GROUP JOINS PREVIOUSLY ANNOUNCED CAST OF GEOFFREY RUSH AND JOHNNY FLYNN AS OLD AND YOUNG EINSTEIN PRODUCTION BEGINS NEXT MONTH ON 10-EPISODE ANTHOLOGY SERIES WITH ACADEMY AWARD-WINNER RON HOWARD TO DIRECT FIRST EPISODE Academy Award- and Golden Globe-nominated actress Emily Watson (“Theory of Everything,” “The Book Thief”) is set to join National Geographic Channel’s upcoming global anthology series GENIUS, from Fox 21 Television Studios (“Homeland,” “The People v. O.J. Simpson”), Imagine Television (“24,” “Empire”), OddLot Entertainment and EUE/Sokolow. She will play Elsa Einstein, the second wife — and first cousin — of the enigmatic scientist Albert Einstein, to be played in his elder years by Geoffrey Rush and in his younger years by Johnny Flynn, as previously announced. Also joining the cast are Michael McElhatton (“Game of Thrones”) as physicist Dr. Philipp Lenard, an early role model for a young Einstein, who evolved into his longtime adversary — both inside and outside the laboratory; Seth Gabel (“Salem,” “Fringe”) as Einstein’s longtime friend and confidant Michele Besso; Samantha Colley (“The Crucible”) as Mileva Maric, a fellow student of Einstein’s during his university years in Zurich, who later became his first wife and mother to his three children; Richard Topol (“Covert Affairs,” “Elementary”) as Fritz Haber, a brilliant chemist and close colleague of Einstein’s who held some nontraditional and controversial political views; and Vincent Kartheiser (“Mad Men,” “Saints & Strangers”) as Raymond Geist, a consulate official in Berlin.
    [Show full text]
  • Liff-2020-Catalogue.Pdf
    Welcome Introduction from the LIFF 2020 Team While we greatly miss not presenting LIFF 2020 in venues, we’re delighted to share the line-up on our new streaming platform Leeds Film Player. We return with our regular programme sections for new films – Official Selection, Cinema Versa, Fanomenon, and Leeds Short Film Awards – all curated with the same dedication to diverse filmmaking from the UK and around the world. A huge thank you to everyone who made this transformation to streaming possible and to everyone who helped us plan and prepare for LIFF 2020 being in venues. We hope you enjoy the LIFF 2020 programme from home and we can’t wait to welcome you back to venues for LIFF 2021! Presented by Leading Funders Contents Official Selection 6 Cinema Versa 26 Fanomenon 42 Leeds Short Film Awards 64 Leeds Young Film Festival 138 Indexes 152 Sun Children 2– LIFF 2020 Opening film 3 Team LIFF 2020 LYFF 2020 Team Team Director Director Chris Fell Debbie Maturi Programme Manager Producer Alex King Martin Grund Production Manager Youth Engagement Coordinator Jamie Cross Gage Oxley Film Development Coordinator Youth Programme Coordinator Nick Jones Eleanor Hodson Senior Programmer LYFF Programmers Molly Cowderoy Martin Grund, Eleanor Hodson, Sam Judd Programme Coordinator Alice Duggan Production Coordinator Anna Stopford Programme & Production Assistant Ilkyaz Yagmur Ozkoroglu Virtual Volunteers Lee Bentham, Hannah Booth, Tabitha Burnett, Paul Douglass, Owen Herman, Alice Lassey, Ryan Ninesling, Eleanor Storey, Andrew Young Volunteer Officer Sarah
    [Show full text]
  • An Abstract of the Thesis Of
    AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries.
    [Show full text]
  • Albert Nobbs
    Albert Nobbs Albert Nobbs, ALBERT NOBBS, RODRIGO GARCIA, Golden Globe Award, role, characters, film credits, John Banville, John Boorman, Julie Lynn, starring role, television, Simone Benmussa, Brendan Gleeson, Radha Mitchell, Harry Potter, Aaron Johnson, Los Angeles Film Critics Association, Los Angeles Drama Critics Circle Award, George Roy Hill, Kerry Washington, Margarethe Cammermeyer, Mia Wasikowska, Joe Layton, Directors' Fortnight, Neil Jordan, BBC comedy series, Florida Film Festival, European Film Academy, award nomination, Arlene Kelly, Sweet Emma Dear Bobe, Dublin Theatre Festival, television drama, Michael Cristofer, Franco Zeffirelli, Harvey Goldsmith, Winner Locarno Film Festival, Harold Prince, Irish actor, Fountain House, Andrew Lloyd Webber, Richard Pearce, Norma Desmond, Merchant Ivory, Stephen Frears, Jack Hofsiss, Stephen Herek, Royal National Theatre, Tony Awards, Richard Marquand, Fatal Attraction, Feature Film Commission, Christopher Walken, Barbet Schroeder, Joe, MAIN characters, National Association of Theatre Owners, Andrei Konchalovsky, International Mental Health Research Organization, Monica Rawling, Glenn Jordan, Rose Troche, Panthera Conservation Advisory Committee, Julian Morris, Danny Boyle, JOE Aaron Johnson, British independent film, Kristen Scott Thomas, Golden Globe nomination, Simon Wincer, Colin Farrell, RODRIGO GARCIA GABRIELLA PREKOP JOHN BANVILLE GLENN CLOSE, GLENN CLOSE, Bonnie Curtis, John Travolta, Golden Globe, Michael Vartan, John Lennon, Rhys Meyers, Jonathan Rhys Meyers, London Film Critics,
    [Show full text]
  • Albert Nobbs
    Albert Nobbs Chrysalis Films présente Albert Nobbs Un film de RODRIGO GARCIA Avec GLENN CLOSE MIA WASIKOWSKA AARON JOHNSON LE RÊVE EXTRAORDINAIRE JANET McTEER d’une vie ordinaire PAULINE COLLINS BRENDA FRICKER JONATHAN RHYS MEYERS et BRENDAN GLEESON Durée: 1 h 57 SORTIE LE 22 FÉVRIER 2012 Distribution Presse Chrysalis Films Moonfleet 18 rue Saint Marc Jérôme Jouneaux, Isabelle Duvoisin 75002 Paris & Mounia Wissinger Tél : 01 43 33 77 62 10 rue d’ Aumale -75009 Paris Fax : 01 47 88 91 24 www.chrysalis-films.com Tél : 01 53 20 01 20 L’HISTOIRE u XIXème siècle, dans l’Irlande en proie à de terribles difficultés économiques, une femme se fait passer pour un homme afin de pouvoir travailler. Pendant trente ans, elle trompe son entourage, employée dans un hôtel sous le nom d’Albert aNobbs, en tant que majordome. NOTES DE PRODUCTION lA reNCoNtre D’UNe ACtrICe et D’UN rÔle rX : « C’était le deuxième jour de tournage de Glenn ; elle est venue me voir et m’a tendu un scénario en disant : « Je dois absolument jouer ce personnage sur le grand écran avant Glenn Close entretient un lien particulier avec le personnage d’Albert Nobbs depuis de mourir. » presque trente ans : en 1982, elle l’a interprété au théâtre, dans la pièce écrite et mise en scène par Simone Benmussa, LA vIe sINGULIère d’ALbert Nobbs, d’après UN rÉAlIsAteUr PoUr UNe PASSIoN la nouvelle de l’auteur irlandais du XIXe siècle George Moore. sa prestation lui a valu un obie Award. depuis son premier voyage de repérages en 2001 jusqu’au début de la production du Au cours de sa carrière, Glenn Close a toujours gardé un attachement certain pour ce film en 2011, Glenn Close n’a cessé de retravailler et de peaufiner le scénario.
    [Show full text]
  • FOX SEARCHLIGHT PICTURES BORD SCANNÁN NA Héireann / the IRISH FILM BOARD and BFI Present
    FOX SEARCHLIGHT PICTURES BORD SCANNÁN NA hÉIREANN / THE IRISH FILM BOARD and BFI Present In Association with LIPSYNC PRODUCTIONS LLP A REPRISAL FILMS and OCTAGON FILMS Production BRENDAN GLEESON CHRIS O’DOWD KELLY REILLY AIDAN GILLEN DYLAN MORAN ISAACH DE BANKOLÉ M. EMMET WALSH MARIE-JOSÉE CROZE DOMHNALL GLEESON DAVID WILMOT PAT SHORTT GARY LYDON KILLIAN SCOTT ORLA O’ROURKE OWEN SHARPE DAVID McSAVAGE MÍCHEÁL ÓG LANE MARK O’HALLORAN DECLAN CONLON ANABEL SWEENEY WRITTEN AND DIRECTED BY.................................. JOHN MICHAEL McDONAGH PRODUCED BY ............................................................ CHRIS CLARK ........................................................................................ FLORA FERNANDEZ MARENGO ........................................................................................ JAMES FLYNN EXECUTIVE PRODUCERS ......................................... ROBERT WALAK ........................................................................................ RONAN FLYNN CO-PRODUCERS .......................................................... ELIZABETH EVES ........................................................................................ AARON FARRELL DIRECTOR OF PHOTOGRAPHY ................................ LARRY SMITH BSC CASTING ....................................................................... JINA JAY PRODUCTION DESIGNER .......................................... MARK GERAGHTY EDITOR.......................................................................... CHRIS GILL COSTUME DESIGNER................................................
    [Show full text]