As all Pulse students past and present are well aware, every year the first year students put an event pitch together with a theme and plan for the infamous end of year party. This year the proposals were of such a high standard that we took the decision to amalgamate two themes Rock and Roll Circus and Freak Show. Thanks to the talent, planning and coordination, this year’s party was a resounding success. Michael Callaghan took the role of lead organiser ensuring every detail was covered. At Pulse News we know that things don’t always go as smoothly as it appears. We spoke to Michael to get the low down on the drama behind the scenes.
“It took a pint glass of blue M&M’s, a box of Cuban cigars, 4 crates of Bud and 2 bottles of Moet champagne to get the 2nd year band to go on stage(rock stars ey!). But as soon as I heard the intro to “Enter Sandman” and Tom Slattery graced the eager crowd with his beautiful voice, I said to myself, Mick old buddy old pall tonight is going to be deadly! And it was.
But the Rock’n’Roll Freak show Circus didn’t just happen by accident, blood, sweat and tears went into getting it together! Actually there was no bloodshed that I know of and I don’t know about anyone else involved but I sure as hell didn’t cry! We all did our own little bit and credit must go to everyone involved.
As most of you know it all started with the FETAC event production module. A whole lot of fun that was but our group Blue D put together the idea of the Rock’n’Roll Circus and Red C had the idea of a Freak Show theme for the night. When it was announced that both our proposals won, we were delighted and knew it would be an amazing end to a fantastic college year.
After the initial panic of “how the hell are we going to do this” we called on the guidance of the legendary Skip to help get things under way. He told us everything was going to be ok (and we believed him) and set about organising a meeting with the awesome 2nd years who really were AWESOME! We organised the different crews and delegated tasks to as many people as we could, some of whom were not even at the meeting! (Sorry about that Naomi!). We needed to get the posters up and the tickets printed as soon as possible. Ross Stack did a great job on the design with such short notice. With that done and tickets selling we could order the decorations.
We ordered most of the decor off Party Shop who delivered within a few days. We ordered the bunting off another party website we found online but the delivery never came. I even drove out to the address that was listed on the site but it turns out it did not exist. This is not good” I thought. You can’t have a circus without bunting. You just can’t! It was now 4 o’clock and with time ticking away I drove to the Party Shop in Donnybrook and lucky enough I got their last 30 feet of bunting. “It will have to do” I said. After that hiccup everything was falling into place.
At half 2 the day of the event it was all hands on deck as we loaded all the gear out from Pulse into Richie’s van. Thanks Richie! We had the van full and 4 of us packed into the back of it ready to go when Richie opened the door again and said “right lads, everyone out. I can’t find my keys!” It didn’t take us long to find them (buried under a few guitar cases) before we were on our way.
We had the venue dressed and the bands were starting their sound checks at 6. Everything was going well when it just dawned on me, I forgot the raffle tickets! “Where the hell am I going to get raffle tickets?” I thought. Without a minute to spare my reliable Lisa Fox suggested I try Eason’s on O’Connell Street. My brisk walk up to the top of Abbey Street became a gallop across O’Connell Street as I saw the roller shutters come down at Easons. I shot past the security guard ignoring his shouts and jumped the barrier at the bottom of the escalator. I was getting raffle tickets no matter what, even if I was left to find them in the dark because they had turned off the lights! I was delighted with myself after that and I thought there was nothing I couldn’t do. I got back to the venue, got into my costume and waited for the guests to arrive.
The doors opened at 8, thankfully most of the guests arrived within the hour and began to mingle. The magician was doing his thing and some of the stuff he was doing was unbelievable! I have to say the bands that played really made the night an amazing one, they were excellent! The party depended on them so much and they really did deliver, the talent was outstanding. I think the guitar hero competition was a bit of a flop......; ok it was like watching a train derail! In fairness there was a lot of drink consumed by that time and I want to thank everyone for their patients. All said and done I think everyone had a good night which was the important thing.
I want to take this opportunity to thank everyone involved. I’m not going to name names because I’m afraid of forgetting someone! I said it on the night and I’ll say it again, YOU ALL KNOW WHO YOU ARE! Thanks very much. I also want to thank all the staff at the college for a great year and with a bit of luck I will see you again soon
Wednesday, June 30, 2010
Monday, June 21, 2010
Diary of a Leonardo Intern from Lorcan Dunne
After the success of last month’s diary of an intern, Pulse News got another opportunity to get the inside scoop on what it’s like to work with iconic actors and award winning directors. Lorcan was placed in the cutting edge, Mill Studio and tells us all about his experience working with the legendry William Hurt and the beautiful Isabella Rossellini.
Hi, my name is Lorcan Dunne and I’m on the full time film course. During my work placement in the UK, I spent a week on the film set of Late Bloomers and one week in The Mill, a world renowned Post Production company, based in Soho, London.
In 2007, industry magazine ‘Shots’ named The Mill 'the most-awarded VFX company in the world' and in March this year, The Mill was awarded a BTAA (British Television Advertising Awards). The Mill has built relationships with some of the industry’s finest directors including Chris Cunningham, Frank Budgen, Fredrik Bond, Ringan Ledwidge and Michel Gondry. The Mill ethos is to push the boundaries of creativity and technology, making it a very exciting work environment.
I worked on Late Bloomers, a Drama starring the multi award winning actor William Hurt and the very talented Isabella Rossellini. It was shot around many stunning locations in Central London. My contact was Farah Abushwesha, who was Production Manager for the film. Farah coordinates and teaches the excellent Screenwriting Workshop in Pulse and that’s how we initially met.
I assisted the lighting department on the film set. The lighting team consisted of Lee Walters, the Head Gaffer and four electricians/grips. Lee Walters is one of the top Gaffers in the UK and has lit major films such as Sahara, The Hours and Enigma. The gaffer works very closely with the Director of Photography and is responsible for all lighting on the film as well as having the huge responsibility of being the head of the electrical department.
The Director of Photography decides the lighting effect required for a scene. Under the Gaffer's supervision, the team of riggers, carpenters & electricians physically position and supply electricity to all the lighting. This can range from putting lights on stands, to building elaborate platforms or the use of cranes to achieve the desired effect. Once the lights are in position, the task of shaping and focusing the light with flags, scrims and gels gets underway. This is all done to achieve the exact lighting effect that the Director of Photography desires.
In a sense, the Director of Photography is the brush and the lighting team is the paint. As part of my work placement, I had to produce a work log, this excerpt will give you an insight into a typical shooting day:
Day 2
The day started with a night time bedroom scene. All the windows were blacked out and tungsten lamps were used to create the warm look. Each shot change required a tweak in the lighting. It was a busy day, as the scene was shot from multiple angles and required a lot of lighting adjustments. Speed is crucial in the lighting department, you can’t have the crew or talent waiting around. Lighting changes from one shot to the next had to be quick and accurate. Normally, there is a crew rehearsal. All the department heads gather around the monitor observing hair, makeup, props, continuity and lighting, once this is finished, the various departments will make the necessary final adjustments, then they shoot.
This was the last day at that location and there was a lot of de-rigging going on behind the scenes. The lighting team consists of 5 members. The two electricians prepare the location and dismantle and pack away all the gear while Lee and his two assistants work on the next set up. There were only two scenes filmed and the last took place in another bedroom. This scene was lit very naturally with a daylight balanced lamp hanging directly over the window to accentuate the daylight coming in. It was heavily diffused and Depron, a white reflective card, was placed behind the bed to bounce some of the light onto the actors’ faces. Shooting finished at 4 and all the gear was packed into the lorries, ready for the next location.
The experience of working on a real film set cemented my interest in film lighting as a career. I learned more about lighting for film in seven days than I did on any of the courses I completed in the past. Working on a film set is a great buzz, but there are drawbacks; you have to work long hours and sometimes late into the night. When you are working, believe me, you work hard, but there is a lot of waiting around between takes. Ultimately though, all that is insignificant when you consider how privileged a position it is to be involved in the most collaborative art form of them all, filmmaking.
To say that it was a great experience would be an understatement: I made loads of industry contacts, participated in a film shoot and at the end of it all was invited to join the Lighting Team on the next Martin Scorsese film in Shepperton Studios this summer. Not bad for a work placement!
Hi, my name is Lorcan Dunne and I’m on the full time film course. During my work placement in the UK, I spent a week on the film set of Late Bloomers and one week in The Mill, a world renowned Post Production company, based in Soho, London.
In 2007, industry magazine ‘Shots’ named The Mill 'the most-awarded VFX company in the world' and in March this year, The Mill was awarded a BTAA (British Television Advertising Awards). The Mill has built relationships with some of the industry’s finest directors including Chris Cunningham, Frank Budgen, Fredrik Bond, Ringan Ledwidge and Michel Gondry. The Mill ethos is to push the boundaries of creativity and technology, making it a very exciting work environment.
I worked on Late Bloomers, a Drama starring the multi award winning actor William Hurt and the very talented Isabella Rossellini. It was shot around many stunning locations in Central London. My contact was Farah Abushwesha, who was Production Manager for the film. Farah coordinates and teaches the excellent Screenwriting Workshop in Pulse and that’s how we initially met.
I assisted the lighting department on the film set. The lighting team consisted of Lee Walters, the Head Gaffer and four electricians/grips. Lee Walters is one of the top Gaffers in the UK and has lit major films such as Sahara, The Hours and Enigma. The gaffer works very closely with the Director of Photography and is responsible for all lighting on the film as well as having the huge responsibility of being the head of the electrical department.
The Director of Photography decides the lighting effect required for a scene. Under the Gaffer's supervision, the team of riggers, carpenters & electricians physically position and supply electricity to all the lighting. This can range from putting lights on stands, to building elaborate platforms or the use of cranes to achieve the desired effect. Once the lights are in position, the task of shaping and focusing the light with flags, scrims and gels gets underway. This is all done to achieve the exact lighting effect that the Director of Photography desires.
In a sense, the Director of Photography is the brush and the lighting team is the paint. As part of my work placement, I had to produce a work log, this excerpt will give you an insight into a typical shooting day:
Day 2
The day started with a night time bedroom scene. All the windows were blacked out and tungsten lamps were used to create the warm look. Each shot change required a tweak in the lighting. It was a busy day, as the scene was shot from multiple angles and required a lot of lighting adjustments. Speed is crucial in the lighting department, you can’t have the crew or talent waiting around. Lighting changes from one shot to the next had to be quick and accurate. Normally, there is a crew rehearsal. All the department heads gather around the monitor observing hair, makeup, props, continuity and lighting, once this is finished, the various departments will make the necessary final adjustments, then they shoot.
This was the last day at that location and there was a lot of de-rigging going on behind the scenes. The lighting team consists of 5 members. The two electricians prepare the location and dismantle and pack away all the gear while Lee and his two assistants work on the next set up. There were only two scenes filmed and the last took place in another bedroom. This scene was lit very naturally with a daylight balanced lamp hanging directly over the window to accentuate the daylight coming in. It was heavily diffused and Depron, a white reflective card, was placed behind the bed to bounce some of the light onto the actors’ faces. Shooting finished at 4 and all the gear was packed into the lorries, ready for the next location.
The experience of working on a real film set cemented my interest in film lighting as a career. I learned more about lighting for film in seven days than I did on any of the courses I completed in the past. Working on a film set is a great buzz, but there are drawbacks; you have to work long hours and sometimes late into the night. When you are working, believe me, you work hard, but there is a lot of waiting around between takes. Ultimately though, all that is insignificant when you consider how privileged a position it is to be involved in the most collaborative art form of them all, filmmaking.
To say that it was a great experience would be an understatement: I made loads of industry contacts, participated in a film shoot and at the end of it all was invited to join the Lighting Team on the next Martin Scorsese film in Shepperton Studios this summer. Not bad for a work placement!
Thursday, June 17, 2010
Noel Quinn: Guest Lecturer Profile
Pulse has a renowned list of high profile experts, who regularly lecture on our courses. Many with interesting and varied careers, in this section of our newsletter we aim to delve into their background to get tips on how to succeed in the professional environment.
Noel Quinn: Guest Lecture Profile
Noel Quinn has been involved in the film business for almost forty years. He has worked on high profile feature films, documentaries, and commercials in Ireland and Australia. Noel's sound credits include Michael Collins, Veronica Guerin, Laws of Attraction and The Honeymooners; in 1989 he was nominated for an Emmy Award for his work on The Hijacking of the Achille Lauro. Noel has lectured extensively on film sound in Ireland and is one of Pulse College guest lecturers for location sound. We take an in-depth look on what life on location in some of the world’s most exotic destinations and find out if it really is as glamorous as it sounds.
Q1. Tell us a bit about yourself background where you’re from etc.
I was born and raised in Stillorgan in a family of three boys and three girls. I hated going to school I went to primary and technical school. My Dad was a self educated man and he always emphasised the importance of education. When I decided to leave school after my group cert he was not too impressed and wanted me to get a job straight away. It was when on a date with a young local girl whose friends came along, I felt I had to pay for them all even though I could not afford it, I knew then I had to look for a job. After that experience I went searching and was taken on by the Adelphi Cinema. It started off initially as a summer job but it was not long after it became fulltime. I met my wife Rita at 17 and was married at 20 my son was my 21st birthday present. Rita, my 2 children and 5 grandchildren keep me grounded. It’s an honour being a grandfather the grandkids still come to us every Friday. We have a little film and radio studio the grandchildren and I have made 23 dramas in total so it’s a lot of fun.
Q2. You have been involved in the film industry for over 40 years can you tell us what inspired you to become involved in this dynamic Industry?
While working in Adelphi I went to Kevin St DIT part time to become a draftsman. While I was doing that the Adelphi Cinema sent me on a training course in light and sound as part of their projectionist training. The tutor on the sound and light course spotted my talent and advised me that there was an opening coming up in Ardmore studios. When I told him my age he said I was too young but I went for it anyway and within a month I was working on my first film “Sinful Davy”.
Q3. Did the love of film come from your family growing up?
The love of film came from my Dad who always talked about film with passion. I had an eye for detail, when watching a film I understood how the technical and creative go hand and hand.
Q4. How did you learn your craft was it all by hands on training?
On the job training that came with a few clips across the ear which was due to me getting on my cocky horse and making quite a few mistakes. The most memorable was when I was working under sound recordist Liam Souran who I admired greatly. He gave me a very good training and was a great teacher. He thought me that 1. Time is money 2. Don’t take anything that happened on set seriously. He gave me a good grounding in the basics of sound from recording, syncing editing, track laying and boom operation. As a young apprentice it was not all plain sailing and I did have a few embarrassing moments. One that stands out was when I was working on “Quakers Fortune has a cousin in the Bronx”. I was using a mechanical boom, the platform was about four foot high. In between one of the takes I was on the floor talking to the sound recordist when I heard “turn over” which means they are about to start a take. I made a run for the boom splitting my trouser as I leapt on to the platform. I had to stay like that for another 3 takes. In the Ardmore era I had the privilege of working with acting legends, Peter O’ Toole and Katharine Hepburn but I have only had the courage to asks 2 people for autographs Marlene Dietrich for my mum and Lisa Kudrow for my granddaughter!
Q5. You work mainly in the field of location sound can you tell us about the highs and low of working on sets around the world.
On location sound you have to be prepared to work long hours. It can range from 60 – 70 hours a week and overtime on top of that. It puts a lot of pressure on young families. There are so many times that you make plans for birthdays or anniversaries that you have to cancel because the scene runs into overtime, which would be a low. The high is that you get to enjoy working on projects with inspiring directors. You get to go to parts of the world that others would not get the opportunity. I worked for 9 months working around the world filming a topic close to my heart Alternative Medicine. It was so interesting to get the opportunity to see first had how it all works.
Q6. What has been the most exciting experience on location to date?
The documentary on Alternative Medicine was an amazing experience, going to China and Asia, China in particular always held a fascination. When you are watching documentaries on TV it always brings up additional questions but as it is not interactive you don’t get to ask them. Working on the documentary I got the 1st hand experience talking with people who are renowned practitioners in the field Alternative medicine. It was truly an amazing experience.
Q7. You have worked with some of the most high profile directors from Joel Schumacher to Neil Jordan. Tell us about this experience?
As sound people you tend to be quite observant which I love, you have a lot of time in between takes when the lighting gets rigged. You get a good overview of the different directorial styles which can be fascinating. There are three main styles the actors directors, who are solely interested in performance, they put the emphasis on the actors. The technical director spends less time with actors and concentrates on shot set up. Then you have directors that combine both. Three that come to my mind are Neil Jordon, Joel Schumacher, and Jim Sheridan.
Jordon knows what he wants. On one particular scene on “Butcher Boy” he did not like the way the shot was working. He broke for lunch early and by the time we got back the scene had completely changed it around and it worked much better. Jim is an actor's director, if you show initiative he develops you.
Joel Schumacher works very differently, he did a lot of prep beforehand and very little on set. He also gave the actors a lot of leeway.
One funny story was on a film directed by Slazenger, he was about 80 at the time, but he was still extremely technically aware. Any changes made without his knowledge he would spot them straight away. It was just after lunch and the running scene was due to be cut but he did not call it so the actors continued with the dialogue for at least 10 minutes. They were beginning to run out of lines, when he eventually called cut and apologised. It turned out he had fallen asleep during the take, it was very funny.
Q8. You now work on a lot of documentary projects what prompted this change?
I don't feel I swapped one for the other, they are very much intertwined. As a sound recordist you can work on at least 3 films a year if you’re a boom swinger you can work on up to 7 films. If you’re a good boom you can work with any sound recordist and you can develop preferences on who you like to work with. So you can work on either documentary or film depending on what takes your fancy.
Q9. You took the brave leap moving to Australia. Tell us about your experience there?
In 1970 I was let go from Ardmore Studios as it went into administration at that time. I then worked freelance, while I applied for a position in RTE for which they made me permanent. They felt I had too much experience on location so they put me in the studio environment. I found out I didn’t enjoy studio as much as being out and about on location. I then decided to move to Australia! The last production I worked on in RTE was directed by Joseph Strick, he heard I was going to Australia and he put me forward for a job in a newly establish film college. With family in toe we got the assisted passage tickets which were £52 at the time and including a year’s accommodation. I was due to start in the Film School but it was not up and running until 7 months later. I worked for ABC on various projects while the film school was being built, when it was up and running I lectured there for five years on all areas of film. It was a very exciting time for me.
Q10. You received an Emmy Nomination for your work on “The Hijacking of the Achille Lauro” that must have been amazing.
It was really great. I was just finished filming a 16 week production of “Dadth is Death” which was a nightmare. The Director had no time for sound though I got support from the cast and crew. I came off that production no longer wanting to work on film, it left a bitter taste in my mouth. Tamor Asseyed managed to convince me to work on this lovely film "The Hijacking of the Achille Lauro" which I had a ball. After I got the nomination the doors opened up for me in Australia and work poured in.
Q11. Why did you decided to turn your hand to teaching?
I love passing on knowledge, my motto is if you play and have fun you can teach anything. Most of my lectures are outside the lecture room. It's important to have a great interactive philosophy and be supportive of film students who work out on a limb. The main aim I believe is to nurture the creative ability of students. I like to play, that is one of my strengths as a lecture and I do a lot of practical exercise that will stretch students potential. I usually chat and see what interests them to begin with and we work from there.
Q12. You now teach with Pulse how did this collaboration come about?
Aidan in Pulse College heard about my work as a lecture, and asked me come in on a trial; they must have liked me as the relationship with the college still continues today and I enjoying working in Pulse immensely.
Q13. What is the best thing you find about teaching in Pulse College?
Bringing peoples natural talent to the surface and let them shine, it gives you a real sense of achievement. I teach students to go with their gut and follow your heart. Some curtail this instinct, so it’s vital to encourage and nurture natural ability.
Q14. What advice would you have for students looking to pursue a career in location sound?
In this era students have to push for their dream. The main advice I would give would be
•1. Go out and meet the people who are working in departments they would like to work in and spend time with them
•2. I love the film school ethos and with ever changing technology, opportunities are endless. It's now more affordable to explore your creative potential.
Q15. 40 years on and a CV that is as long as my elbow, what still gets you excited about location sound?
I love what you can do with sound, the emotions you can stir within people subconsciously is always interesting. If you can build a good sound track you can bring people on an exciting journey they may not be fully aware they are going on.
Q16. What's next on your to do list?
There are two unfulfilled ambitions; I would love to do a live radio drama on location the other is to pursue my interest in alternative medicine in particular doing a course in hot stones. For the moment though I love lecturing, I love the drive and enthusiasm that students have and I enjoy watching their potential grow and develop.
Noel Quinn: Guest Lecture Profile
Noel Quinn has been involved in the film business for almost forty years. He has worked on high profile feature films, documentaries, and commercials in Ireland and Australia. Noel's sound credits include Michael Collins, Veronica Guerin, Laws of Attraction and The Honeymooners; in 1989 he was nominated for an Emmy Award for his work on The Hijacking of the Achille Lauro. Noel has lectured extensively on film sound in Ireland and is one of Pulse College guest lecturers for location sound. We take an in-depth look on what life on location in some of the world’s most exotic destinations and find out if it really is as glamorous as it sounds.
Q1. Tell us a bit about yourself background where you’re from etc.
I was born and raised in Stillorgan in a family of three boys and three girls. I hated going to school I went to primary and technical school. My Dad was a self educated man and he always emphasised the importance of education. When I decided to leave school after my group cert he was not too impressed and wanted me to get a job straight away. It was when on a date with a young local girl whose friends came along, I felt I had to pay for them all even though I could not afford it, I knew then I had to look for a job. After that experience I went searching and was taken on by the Adelphi Cinema. It started off initially as a summer job but it was not long after it became fulltime. I met my wife Rita at 17 and was married at 20 my son was my 21st birthday present. Rita, my 2 children and 5 grandchildren keep me grounded. It’s an honour being a grandfather the grandkids still come to us every Friday. We have a little film and radio studio the grandchildren and I have made 23 dramas in total so it’s a lot of fun.
Q2. You have been involved in the film industry for over 40 years can you tell us what inspired you to become involved in this dynamic Industry?
While working in Adelphi I went to Kevin St DIT part time to become a draftsman. While I was doing that the Adelphi Cinema sent me on a training course in light and sound as part of their projectionist training. The tutor on the sound and light course spotted my talent and advised me that there was an opening coming up in Ardmore studios. When I told him my age he said I was too young but I went for it anyway and within a month I was working on my first film “Sinful Davy”.
Q3. Did the love of film come from your family growing up?
The love of film came from my Dad who always talked about film with passion. I had an eye for detail, when watching a film I understood how the technical and creative go hand and hand.
Q4. How did you learn your craft was it all by hands on training?
On the job training that came with a few clips across the ear which was due to me getting on my cocky horse and making quite a few mistakes. The most memorable was when I was working under sound recordist Liam Souran who I admired greatly. He gave me a very good training and was a great teacher. He thought me that 1. Time is money 2. Don’t take anything that happened on set seriously. He gave me a good grounding in the basics of sound from recording, syncing editing, track laying and boom operation. As a young apprentice it was not all plain sailing and I did have a few embarrassing moments. One that stands out was when I was working on “Quakers Fortune has a cousin in the Bronx”. I was using a mechanical boom, the platform was about four foot high. In between one of the takes I was on the floor talking to the sound recordist when I heard “turn over” which means they are about to start a take. I made a run for the boom splitting my trouser as I leapt on to the platform. I had to stay like that for another 3 takes. In the Ardmore era I had the privilege of working with acting legends, Peter O’ Toole and Katharine Hepburn but I have only had the courage to asks 2 people for autographs Marlene Dietrich for my mum and Lisa Kudrow for my granddaughter!
Q5. You work mainly in the field of location sound can you tell us about the highs and low of working on sets around the world.
On location sound you have to be prepared to work long hours. It can range from 60 – 70 hours a week and overtime on top of that. It puts a lot of pressure on young families. There are so many times that you make plans for birthdays or anniversaries that you have to cancel because the scene runs into overtime, which would be a low. The high is that you get to enjoy working on projects with inspiring directors. You get to go to parts of the world that others would not get the opportunity. I worked for 9 months working around the world filming a topic close to my heart Alternative Medicine. It was so interesting to get the opportunity to see first had how it all works.
Q6. What has been the most exciting experience on location to date?
The documentary on Alternative Medicine was an amazing experience, going to China and Asia, China in particular always held a fascination. When you are watching documentaries on TV it always brings up additional questions but as it is not interactive you don’t get to ask them. Working on the documentary I got the 1st hand experience talking with people who are renowned practitioners in the field Alternative medicine. It was truly an amazing experience.
Q7. You have worked with some of the most high profile directors from Joel Schumacher to Neil Jordan. Tell us about this experience?
As sound people you tend to be quite observant which I love, you have a lot of time in between takes when the lighting gets rigged. You get a good overview of the different directorial styles which can be fascinating. There are three main styles the actors directors, who are solely interested in performance, they put the emphasis on the actors. The technical director spends less time with actors and concentrates on shot set up. Then you have directors that combine both. Three that come to my mind are Neil Jordon, Joel Schumacher, and Jim Sheridan.
Jordon knows what he wants. On one particular scene on “Butcher Boy” he did not like the way the shot was working. He broke for lunch early and by the time we got back the scene had completely changed it around and it worked much better. Jim is an actor's director, if you show initiative he develops you.
Joel Schumacher works very differently, he did a lot of prep beforehand and very little on set. He also gave the actors a lot of leeway.
One funny story was on a film directed by Slazenger, he was about 80 at the time, but he was still extremely technically aware. Any changes made without his knowledge he would spot them straight away. It was just after lunch and the running scene was due to be cut but he did not call it so the actors continued with the dialogue for at least 10 minutes. They were beginning to run out of lines, when he eventually called cut and apologised. It turned out he had fallen asleep during the take, it was very funny.
Q8. You now work on a lot of documentary projects what prompted this change?
I don't feel I swapped one for the other, they are very much intertwined. As a sound recordist you can work on at least 3 films a year if you’re a boom swinger you can work on up to 7 films. If you’re a good boom you can work with any sound recordist and you can develop preferences on who you like to work with. So you can work on either documentary or film depending on what takes your fancy.
Q9. You took the brave leap moving to Australia. Tell us about your experience there?
In 1970 I was let go from Ardmore Studios as it went into administration at that time. I then worked freelance, while I applied for a position in RTE for which they made me permanent. They felt I had too much experience on location so they put me in the studio environment. I found out I didn’t enjoy studio as much as being out and about on location. I then decided to move to Australia! The last production I worked on in RTE was directed by Joseph Strick, he heard I was going to Australia and he put me forward for a job in a newly establish film college. With family in toe we got the assisted passage tickets which were £52 at the time and including a year’s accommodation. I was due to start in the Film School but it was not up and running until 7 months later. I worked for ABC on various projects while the film school was being built, when it was up and running I lectured there for five years on all areas of film. It was a very exciting time for me.
Q10. You received an Emmy Nomination for your work on “The Hijacking of the Achille Lauro” that must have been amazing.
It was really great. I was just finished filming a 16 week production of “Dadth is Death” which was a nightmare. The Director had no time for sound though I got support from the cast and crew. I came off that production no longer wanting to work on film, it left a bitter taste in my mouth. Tamor Asseyed managed to convince me to work on this lovely film "The Hijacking of the Achille Lauro" which I had a ball. After I got the nomination the doors opened up for me in Australia and work poured in.
Q11. Why did you decided to turn your hand to teaching?
I love passing on knowledge, my motto is if you play and have fun you can teach anything. Most of my lectures are outside the lecture room. It's important to have a great interactive philosophy and be supportive of film students who work out on a limb. The main aim I believe is to nurture the creative ability of students. I like to play, that is one of my strengths as a lecture and I do a lot of practical exercise that will stretch students potential. I usually chat and see what interests them to begin with and we work from there.
Q12. You now teach with Pulse how did this collaboration come about?
Aidan in Pulse College heard about my work as a lecture, and asked me come in on a trial; they must have liked me as the relationship with the college still continues today and I enjoying working in Pulse immensely.
Q13. What is the best thing you find about teaching in Pulse College?
Bringing peoples natural talent to the surface and let them shine, it gives you a real sense of achievement. I teach students to go with their gut and follow your heart. Some curtail this instinct, so it’s vital to encourage and nurture natural ability.
Q14. What advice would you have for students looking to pursue a career in location sound?
In this era students have to push for their dream. The main advice I would give would be
•1. Go out and meet the people who are working in departments they would like to work in and spend time with them
•2. I love the film school ethos and with ever changing technology, opportunities are endless. It's now more affordable to explore your creative potential.
Q15. 40 years on and a CV that is as long as my elbow, what still gets you excited about location sound?
I love what you can do with sound, the emotions you can stir within people subconsciously is always interesting. If you can build a good sound track you can bring people on an exciting journey they may not be fully aware they are going on.
Q16. What's next on your to do list?
There are two unfulfilled ambitions; I would love to do a live radio drama on location the other is to pursue my interest in alternative medicine in particular doing a course in hot stones. For the moment though I love lecturing, I love the drive and enthusiasm that students have and I enjoy watching their potential grow and develop.
Monday, June 14, 2010
Pulse Announces Exciting Summer of Creative Courses In Audio, Gaming and Film
Pulse College are pleased to announce their cutting edge creative media courses set to take place throughout the summer in Audio, Gaming and Film. If you would like to kick start you career in this fast paced growing industry log on to our website www.pulsecollege.eu. Here below is a quick glance at what is to come.
Film: You Shoot
This intensive course offers students a chance to learn the basics of professional film production. Each student will be given the opportunity to write, shoot, direct and edit his or her own films. You Shoot is designed for people with little or no experience in making films. The program is focused on the fundamental elements of visual storytelling that teaches you to take on the real life challenges of film making.
Duration: Monday July 5th 2010 for 5 days
Gaming: Intro to Gaming Design
This course aims to introduce students to the core concepts and technologies behind interactive applications and video games.
Topics include: Introduction to Programming, Introduction to Game Audio, Introduction to Game production techniques and much more.
Duration:
Part-Time Basis: Every Saturday from June 26th for 8 weeks
Full-Time Basis: Mon-Fri starting July 5th for 2 weeks
Audio: 8 week intro to Audio Engineering
Pulse College's audio courses are currently Ireland’s most popular audio engineering qualification. With an internationally celebrated reputation, we attract student from around the world. As a result our graduates have gone on to work with some of the top artists in the world including U2, Van Morrisson and Kylie Minogue. Our commercial studios have hosted artists such as 50 Cent, Jon Bon Jovi, New Order and Bryan Adams. The 8 week part time introduction to audio engineering has been designed to train novices in the dynamic world of sound giving them an insight into the many varied aspects of sound design. Pulse have trained some of the top audio engineers in the world and are committed to providing the highest standard of training for our students.
Duration: Every Saturday, 11am - 5pm for 8 weeks from June 12th June
Film: You Shoot
This intensive course offers students a chance to learn the basics of professional film production. Each student will be given the opportunity to write, shoot, direct and edit his or her own films. You Shoot is designed for people with little or no experience in making films. The program is focused on the fundamental elements of visual storytelling that teaches you to take on the real life challenges of film making.
Duration: Monday July 5th 2010 for 5 days
Gaming: Intro to Gaming Design
This course aims to introduce students to the core concepts and technologies behind interactive applications and video games.
Topics include: Introduction to Programming, Introduction to Game Audio, Introduction to Game production techniques and much more.
Duration:
Part-Time Basis: Every Saturday from June 26th for 8 weeks
Full-Time Basis: Mon-Fri starting July 5th for 2 weeks
Audio: 8 week intro to Audio Engineering
Pulse College's audio courses are currently Ireland’s most popular audio engineering qualification. With an internationally celebrated reputation, we attract student from around the world. As a result our graduates have gone on to work with some of the top artists in the world including U2, Van Morrisson and Kylie Minogue. Our commercial studios have hosted artists such as 50 Cent, Jon Bon Jovi, New Order and Bryan Adams. The 8 week part time introduction to audio engineering has been designed to train novices in the dynamic world of sound giving them an insight into the many varied aspects of sound design. Pulse have trained some of the top audio engineers in the world and are committed to providing the highest standard of training for our students.
Duration: Every Saturday, 11am - 5pm for 8 weeks from June 12th June
Thursday, June 10, 2010
Chris McCabe Reviews new Pulse Screenwriting Course
Having recently launched our contemporary screen writing course with the guidance of award winning writer Farah Abushwesha, we sent Chris McCabe along for a neutral perspective on what we hope should to be a great addition to Pulse College.
"I attended the 5-day Screenwriting Course in Windmill and I must say that it provided a superb supportive environment that fostered my expressive writing. It is an intensive 5-day course which, rather than focussing on theory, assists the participant to generate filmic ideas and to be confident in their own writing.
Priority is placed on putting a lot of the scary myths of screenwriting to rest and creating a context in which the participants can develop their own scripts over the week. It’s about knowing how to get your ideas down on paper and turn them into film scripts.
We got to understand how important short films are, how they work and that these shorts are a necessary part of a career path. Making a successful short film is very often a springboard to a career in films, documentaries and TV drama. One of the highlights of the week was that we got to make a short 1 minute film with the help of the Film Course students.
During the week there is an opportunity to brainstorm ideas with other writers and get feedback from a professional, practising screenwriter. Among the topics covered were:
•use correct script formats and layouts
•understand how the industry works
•understand how to receive and give feedback
•understand how to apply for film funding
•promote your film script and yourself
•network in the film industry and know where to network
•apply to and attend Film Festivals – creating a strategy for film submission
During the week we got to meet some industry guests who were easy to talk to and gave us some valuable pointers. One of the highlights being a talk from Bosco Hogan (Tudors, King Arthur, In the Name of the Father fame). Most people think they can't write a script but it's not rocket science, we’ve all got more than one film idea in us. This course is designed to break the myths with exercises and interactive tasks and in this it succeeds. If you get an opportunity to attend this course I would recommend it highly"
"I attended the 5-day Screenwriting Course in Windmill and I must say that it provided a superb supportive environment that fostered my expressive writing. It is an intensive 5-day course which, rather than focussing on theory, assists the participant to generate filmic ideas and to be confident in their own writing.
Priority is placed on putting a lot of the scary myths of screenwriting to rest and creating a context in which the participants can develop their own scripts over the week. It’s about knowing how to get your ideas down on paper and turn them into film scripts.
We got to understand how important short films are, how they work and that these shorts are a necessary part of a career path. Making a successful short film is very often a springboard to a career in films, documentaries and TV drama. One of the highlights of the week was that we got to make a short 1 minute film with the help of the Film Course students.
During the week there is an opportunity to brainstorm ideas with other writers and get feedback from a professional, practising screenwriter. Among the topics covered were:
•use correct script formats and layouts
•understand how the industry works
•understand how to receive and give feedback
•understand how to apply for film funding
•promote your film script and yourself
•network in the film industry and know where to network
•apply to and attend Film Festivals – creating a strategy for film submission
During the week we got to meet some industry guests who were easy to talk to and gave us some valuable pointers. One of the highlights being a talk from Bosco Hogan (Tudors, King Arthur, In the Name of the Father fame). Most people think they can't write a script but it's not rocket science, we’ve all got more than one film idea in us. This course is designed to break the myths with exercises and interactive tasks and in this it succeeds. If you get an opportunity to attend this course I would recommend it highly"
Tuesday, June 8, 2010
Pulse Announces Short films to be Translated onto the Big Screen
Pulse College is delighted to announce the two film treatments by Mark Symmons and Paul Mahon from the full time Film Diploma course, have been chosen to be produced into short films. This is part of Pulse College’s ongoing commitment to hands on practical experience on all of their courses. We talk to the successful duo to find out the philosophy behind their concept and the plans that are in place to take on the mammoth task of getting their short films on to the big screen.
Mark Symmons: Film Title: 'These Aren't Toys'
Q1. Your background? Where you’re from? What did you do before you came to Pulse?
I did an MA in Film and Television in 1994 -1995, purely on the theory side of the discipline before moving to the US to get work experience in the industry. I eventually can home to work in the family business and have been doing so for the past 15 years. I always felt that I had unfinished business with film, and it was something I could never quite get out of my system. It was when my girlfriend saw the ad for Pulse College on TV and suggested I go for it.
Q2. Tell us about the concept behind your short film.
It's a story about the internalization of grief and how it can affect previously secure relationships. I've written it and am Producing and Directing it. My colleagues’ from the course will form the crew, I hope! Getting the casting right - it's the next most important thing after the script. The whole idea of how internalisation of grief can affect family dynamics and personal relationship has always been an interesting topic for me to explore, so I can’t wait to see how it translates onto the Big Screen.
Q3. What are you film influences who inspires you from a Director point of view?
Directors - Arthur Penn, Sam Peckinpah, Lasse Halstrom, Woody Allen, John Sturges, Larry Cohen, early Polanski, Coen Brothers, Ridley Scott, Spielberg - all in no particular order, and to varying degrees! Writer - Directors especially, like Allen and the Coens, because it all starts with the writing. Ennio Morricone, Composer - His musical landscapes are incredible, his cues are characters in their own right.
Q4. How did you feel when it was announced that you were shortlisted?
A great deal of satisfaction, followed by panic!
Q5. What are your plans after you finished in Pulse College?
I am starting my own Production company, and doing some script doctoring for a friend. After that I have a couple of ideas for shorts, but nothin
g concrete yet!
Paul Mahon: Film Title: Eric
Q1. Your background? Where you’re from? What did you do before you came to Pulse?
I am Paul Mahon. I am from Kilkenny City. Before I was in Pulse I had done a lot of stuff involving video, a few skate videos, music videos, live visuals along with other projects I've had on the go. Then as most Irish youths with no direction in life I decided to travel the world to find Jesus. Lucky for me I found him, he had some awesome advice, mostly about my hair and beards though. Unlike Jesus I couldn't rely on the fame of family members to get me anywhere, so I decided I'd like to get into TV and Film work. Step one was Googling it. I found details of this course on the Pulse website, and it looked interesting. It was, and still is.
Q2. What prompted you to take up the Film Diploma with Pulse College?
I wanted to learn more about how to get into the business and meet new people with the same plan and/or idea. A friend of mine had done an audio course in Pulse and said it was the bees knees, so that’s why I decided to go, along with my parents saying they would no longer answer my calls if I couldn't
secure an interview on the Late Late Show within the next 5 years. So pressure's on really.
Q3. Can you tell us the background behind the concept of your film?
My short film is about a puppeteer and his puppet. It will just have to be watched for further detail. Most of the class will be helping out with the production but as far as the writing goes, fellow classmate Eoghan McKenna helps me structure things out. I pace up and down the room shouting ideas, and then he decodes them and puts them onto paper. It’s great. I think the entire process of making a short is challenging, in fact anything to do with film is, so much to organize and sort out before filming and its all ahead of me!!, It is amazing to watch a film now and think... "How in the name of God did they sort out a shot like that...?” Where did the idea for basing you film around puppetry? I was always fascinated by Pinocchio as a child growing up and the whole idea of the dynamics between the puppet and puppet master fascinated me. As an adult AI really inspired me from a film stand point.
Q4. What are you film influences who inspires you from a Director point of view?
Music videos have inspired me more, people like Michel Gondry & Spike Jones. Their progression into film is pretty inspiring, and the fact they still do shorts and music videos is great. I think people around me have inspired me more than any name that happens to appear after "Directed by..." in film credits or DVD box.
Q5. How did you feel when it was announced that you were shortlisted?
It was great to get my script picked to be made into a short, especially knowing who was picking them. It's a frightening thing sending something like that away to get judged. Nothing to lose though, so it’s all good.
Q6. Do you have a dream film festival win?
Expresión en Corto International Film Festival, Festival du Nouveau Cinéma.
Q7. What are your plans after you have finished in Pulse College?
Move to the country and get stuck into the projects that are mentioned below and am very excited about!
Q8. Do you have any projects planned for the future that you can share?
The ground work has been set for a few other projects I’m involved in alright. I'm in studio with Stephen White from the audio course recording an EP down for a collective band I started last year called Geppetto. Then there is Geppetto:CoLab, which is a live visuals duo consisting of myself and artist friend, Mick Minogue. We have also just got into some installation projects (one of which is getting an audio make over by Brendan Rehill from the degree course in Windmill). That’s fun. I also provide live visuals for RSAG, so that keeps me quite busy as well with editing and live shows.
Mark Symmons: Film Title: 'These Aren't Toys'
Q1. Your background? Where you’re from? What did you do before you came to Pulse?
I did an MA in Film and Television in 1994 -1995, purely on the theory side of the discipline before moving to the US to get work experience in the industry. I eventually can home to work in the family business and have been doing so for the past 15 years. I always felt that I had unfinished business with film, and it was something I could never quite get out of my system. It was when my girlfriend saw the ad for Pulse College on TV and suggested I go for it.
Q2. Tell us about the concept behind your short film.
It's a story about the internalization of grief and how it can affect previously secure relationships. I've written it and am Producing and Directing it. My colleagues’ from the course will form the crew, I hope! Getting the casting right - it's the next most important thing after the script. The whole idea of how internalisation of grief can affect family dynamics and personal relationship has always been an interesting topic for me to explore, so I can’t wait to see how it translates onto the Big Screen.
Q3. What are you film influences who inspires you from a Director point of view?
Directors - Arthur Penn, Sam Peckinpah, Lasse Halstrom, Woody Allen, John Sturges, Larry Cohen, early Polanski, Coen Brothers, Ridley Scott, Spielberg - all in no particular order, and to varying degrees! Writer - Directors especially, like Allen and the Coens, because it all starts with the writing. Ennio Morricone, Composer - His musical landscapes are incredible, his cues are characters in their own right.
Q4. How did you feel when it was announced that you were shortlisted?
A great deal of satisfaction, followed by panic!
Q5. What are your plans after you finished in Pulse College?
I am starting my own Production company, and doing some script doctoring for a friend. After that I have a couple of ideas for shorts, but nothin
g concrete yet!
Paul Mahon: Film Title: Eric
Q1. Your background? Where you’re from? What did you do before you came to Pulse?
I am Paul Mahon. I am from Kilkenny City. Before I was in Pulse I had done a lot of stuff involving video, a few skate videos, music videos, live visuals along with other projects I've had on the go. Then as most Irish youths with no direction in life I decided to travel the world to find Jesus. Lucky for me I found him, he had some awesome advice, mostly about my hair and beards though. Unlike Jesus I couldn't rely on the fame of family members to get me anywhere, so I decided I'd like to get into TV and Film work. Step one was Googling it. I found details of this course on the Pulse website, and it looked interesting. It was, and still is.
Q2. What prompted you to take up the Film Diploma with Pulse College?
I wanted to learn more about how to get into the business and meet new people with the same plan and/or idea. A friend of mine had done an audio course in Pulse and said it was the bees knees, so that’s why I decided to go, along with my parents saying they would no longer answer my calls if I couldn't
secure an interview on the Late Late Show within the next 5 years. So pressure's on really.
Q3. Can you tell us the background behind the concept of your film?
My short film is about a puppeteer and his puppet. It will just have to be watched for further detail. Most of the class will be helping out with the production but as far as the writing goes, fellow classmate Eoghan McKenna helps me structure things out. I pace up and down the room shouting ideas, and then he decodes them and puts them onto paper. It’s great. I think the entire process of making a short is challenging, in fact anything to do with film is, so much to organize and sort out before filming and its all ahead of me!!, It is amazing to watch a film now and think... "How in the name of God did they sort out a shot like that...?” Where did the idea for basing you film around puppetry? I was always fascinated by Pinocchio as a child growing up and the whole idea of the dynamics between the puppet and puppet master fascinated me. As an adult AI really inspired me from a film stand point.
Q4. What are you film influences who inspires you from a Director point of view?
Music videos have inspired me more, people like Michel Gondry & Spike Jones. Their progression into film is pretty inspiring, and the fact they still do shorts and music videos is great. I think people around me have inspired me more than any name that happens to appear after "Directed by..." in film credits or DVD box.
Q5. How did you feel when it was announced that you were shortlisted?
It was great to get my script picked to be made into a short, especially knowing who was picking them. It's a frightening thing sending something like that away to get judged. Nothing to lose though, so it’s all good.
Q6. Do you have a dream film festival win?
Expresión en Corto International Film Festival, Festival du Nouveau Cinéma.
Q7. What are your plans after you have finished in Pulse College?
Move to the country and get stuck into the projects that are mentioned below and am very excited about!
Q8. Do you have any projects planned for the future that you can share?
The ground work has been set for a few other projects I’m involved in alright. I'm in studio with Stephen White from the audio course recording an EP down for a collective band I started last year called Geppetto. Then there is Geppetto:CoLab, which is a live visuals duo consisting of myself and artist friend, Mick Minogue. We have also just got into some installation projects (one of which is getting an audio make over by Brendan Rehill from the degree course in Windmill). That’s fun. I also provide live visuals for RSAG, so that keeps me quite busy as well with editing and live shows.
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