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Industrial Model
Eamonn Gray reports from the first catalystproject seminars, a new approach to low-budget film production and training in Ireland.
The nature of the film industry at present, not just in Ireland but also internationally, presents independent filmmakers with much to grumble about. While the industry requires a steady flow of highly original and highly creative content to continually rejuvenate and invigorate its markets, it does not seem willing to pay for this content. ‘A conspiracy!’, filmmakers cry in frustration. With the launch of catalystproject, Irish Film Board CEO Simon Perry wishes to create what he calls ‘A conspiracy of our own’. The goal here is to direct the 200 or so filmmakers toward the development of films that, from the outset, will have a specifically low-budget paradigm.
The first speakers were US indie heavyweights Christine Vachon and Rose Troche. Christine is one of the founders of renowned independent production house Killer Films. In collaboration with writer/director Rose Troche she was a leader of the new wave of Queer Cinema in the early ‘90s. Eschewing any dogmatic principles and championing the experimental and the subversive, Vachon and Troche encouraged filmmakers to seek out those subjects and themes that have been avoided or neglected by the mainstream, as exemplified by Roche’s success in hit TV series The L Word.
The UK representatives comprised Nik Powell, Ruth McCance, Andrew Meaghan and Jan Fleischer. While Artistic Director for catalyst, Liz Gill, had earlier discouraged filmmakers from viewing this process as a competition, the panel gleefully rejected this premise. It became interesting to observe the apparent differences and similarities in the opinions of the panels of speakers, a credit to the organisers for having assembled so qualified, yet so eclectic, a group. The feeling was that the story existed outside of the storyteller; their function was to communicate this story effectively.
The full article is printed in Film Ireland 116.
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