Straight from the Horse's POV
Vanessa Gildea talks to producer Aisling Ahmed about her latest documentary.

Vanessa Gildea: Can you describe the project you’re working on with Liz Mermin?<B>

Aisling Ahmed: It’s a tough one to describe. I guess my interpretation is that it’s a sports film, an observational documentary where our central characters are a group of finely tuned Irish racehorses. We’re following a number or horses over a few seasons, so we’re filming over a 9-month period.

The idea is to shoot the film from the horses’ point of view, the world they inhabit, the rituals, routines and people that shape their world and equally how they shape theirs. It’s visually challenging so I think Liz and our DOP Ciaran Tanham have their work cut out for them.

How did you come to be involved in the project? Were you poached due to your recent success with feature-length doc The Undertaking?

Poached – I wish! I’m producing this film for the same production company I did The Undertaking with – Little Bird and James Mitchell. While I was producing The Undertaking from the Dublin office, Liz was directing Shot In Bombay through their London office. When The Undertaking finished I think James was keen to find another project that would interest and bring together the same funders, BSÉ/IFB, BBC Storyville and RTÉ. He spoke to Liz and the germ of the idea was born.

After she had done her research period here in Ireland and they knew they wanted move forward with it, James paired to two of us up. It seemed to make sense as it is such an Irish film and I knew the lay of the land here.

What particularly attracted you to this project? The subject matter or working with Liz?

There were a few things that attracted me to it. The main thing was obviously the opportunity to work with Liz. I really liked her previous films and I thought I could learn a lot from her and the whole experience. Getting another chance to produce a feature doc with those financers attached was also a factor because as a freelancer it’s all about building up your track record and credits. The subject matter also played a role. I like that it’s quite a strange one. It’s great to get the opportunity be a part of something that’s creatively challenging.

Were you aware of Liz Mermin as a filmmaker before you started working together?

I was aware or her through Little Bird and Shot In Bombay but we had never met. Her films had definitely registered with me before that, though. I had read about The Beauty Academy… and had caught some of Office Tigers on BBC when it went out. I really liked Shot In Bombay so I was really excited and a little nervous at the prospect of working with her.

Is there a different dynamic when the producer/director team are both women?

Not necessarily. The producer/director dynamic can be a tricky one, male or female. I’ve worked with both and I think that it’s more important that you have personalities that are suited to one another. It’s such a long road, making a film together; I think it’s important that you get on. I think Liz and I approach things in a very similar way so we’re off to a good start.

What stage is the project at?

We are actually in production already. We kicked off last July and will be shooting on and off until March 2009. The idea is to fill the build up to a big racing even like Cheltenham, all going well. We’re posting over the summer and are then aiming for a good festival premiere for it. Fingers crossed!

Was there any funding attached when you came on board?

When I came on board they had a small amount of development finance from BBC4, which went into the research period. Then I came on board and we worked on the BSÉ/IFB production application, which was successful. Then the BBC fully came on board and RTÉ followed around the same time.

Does Liz's reputation as a filmmaker help when approaching financiers/commissioners?

Yes, I think it definitely opens doors as she has a proven track record but I don’t think it makes anything more certain. I think it’s just as difficult when you have experience behind you to get your projects financed. There is such a limited pot out there.

What advice would you give to anyone thinking of producing documentaries?

A few weeks ago I might have said get a job in the bank but given the current climate it might be the one area that’s just as uncertain as being a freelance doc producer. What would I advise? Just make sure you’re realistic about what you’re getting yourself in for – it’s a tough slog. Also, I think you need to be really passionate about documentaries; it’ll get you through the dark days!

Read interview with Liz Mermin here.