Ahead of it's International Premiere on August 23rd at this year's 25th Anniversary Edition of Pigeon Shrine FrightFest, we spoke to John Farrelly, the Newry based Writer/Director of 'An Taibhse', the first horror film ever released in the Irish Language. John talks about the inspiration behind the film, how he met Executive Producer and hero Jim Sheridan and how important it is to keep the Irish language alive.
FC: Congratulations on writing and directing the first horror film in the Irish language. Its already played to a sold out audience at Galway Film Fleadh and its about to have its International Premiere at Frightfest on August 23rd. How have you felt about the response to the film so far?
JF: I am incredibly happy and grateful for the response. It's fantastic to see an Irish-language film reaching more and more audiences and I believe it shows that the Irish language is here to stay and thrive.
FC: As a pioneering film within the genre, what prompted you to make it in the Irish language? Was it always your intention to make it that way?
JF: Yes, from the outset, it was crucial for me to make the film in Irish. This choice was about ensuring the film’s authenticity, grounding it in the time and place it portrays, and making the experience more immersive for the audience. On a broader level, I’m passionate about creating more art in the Irish language, it’s a beautiful, evocative language that deserves to be celebrated and preserved through film.
FC: Jim Sheridan is listed as an Executive Producer on the film. How did he get involved in the film and what influence did he have over the production?
JF: A friend of mine who worked for Jim in catering mentioned the project to him. I was fortunate enough to meet him and after viewing the first cut, he was impressed enough to come on board. For me, it was a dream come true, Jim Sheridan is a hero of mine, so having the opportunity to work with such an industry giant was truly surreal.
FC: The first thing that struck me about the film was the location. It plays such a major role in giving the film a sense of authenticity. Where did you shoot the film?
JF: We shot the film at Coolattin House, an abandoned estate that had been untouched for 25 years. Once we saw the location, we adapted the script to fully harness its potential. The house itself became a character in the story. Filming in the depths of winter, in such a remote location with no Wi-Fi or phone service, truly enhanced the immersive nature of the experience.
FC: As you just mentioned there, the film is set in the dead of winter and does a great job at capturing the bleakness of that time of year in Ireland. How difficult was it to shoot around this time of the year and what challenges (if any) did you face from this approach?
JF: It was absolutely freezing, so the breath you see on screen and the snow and frost are all real. It was tough, but we kept fires burning to stay warm, which also helped the actors fully inhabit the world of the story. We sometimes wore up to seven layers, but it was essential to shoot in winter to authentically capture that season's stark, raw beauty on camera.
FC: The film is very much a two hander for the most part with Tom Kerrisk and Livvy Hill leading the film. Can you tell us a bit about the process in casting them for the film?
JF: I had previously worked with Tom and Livvy, so I knew they were perfect for these roles. They are both phenomenal actors and an absolute pleasure to work with. Livvy didn’t speak Irish, so she had to learn her lines phonetically, while Tom had to master Ulster Irish. Despite these significant challenges, they delivered outstanding performances throughout.
FC: With these two actors speaking Irish throughout the film, was there much room for improvisation or was it very much a production that had to stick closely to the script?
JF: There wasn’t much room for improvisation, particularly because Livvy learned her lines phonetically as she did not have any Irish. However, the film itself doesn’t rely heavily on dialogue, there’s a ten-minute segment in the middle with no dialogue at all. We did tweak some lines, but by the time we reached the set, everything had been thoroughly rehearsed so the production ran like clockwork.
FC: When making the film did you use a lot of storyboards or was it a case of utilising the location at the right time depending on the likes of the weather? How difficult was it in utilising natural lighting in the making of the film?
JF: We planned every shot in advance. Ross Power and I developed a comprehensive shot list, so when we arrived on set, everyone knew exactly what needed to be done. Our assistant directors, Cathal Fitzpatrick and Rebecca Monaghan, were brilliant at coordinating the next location while we were shooting, ensuring everything was ready to go when we arrived. Given our small crew, we all wore multiple hats. Cathal, for instance, was not only the 1st AD but also acted as a camera assistant, gaffer, and even a puppeteer. We had to carefully plan our shooting schedule to ensure that every scene was backlit by the sun. This involved timing our shoots and choosing locations based on the sun's position in the sky.
FC: With ghost stories in general there are a lot of tropes and clichés associated with this sub-genre, How do you try and find originality within this or is it a case of trying to reinvent the wheel in some circumstances?
JF: The film delves into the trauma and devastation caused by the Great Famine and explores how trans-generational trauma has been passed down through Irish history. The idea was to craft a ghost story that would symbolise the real-life horrors of that era. The narrative was inspired by a true story of someone close to me, upon whom our protagonist, Máire, is based. The horror genre offers a unique freedom to experiment with ideas and delve into complex themes, using metaphors like ghosts and monsters to represent real-life terrors. Ghost stories, by their nature, are about the past haunting the present, making them a perfect vehicle for exploring themes of trauma and abuse.
FC: The film is very much an example of how real life horror presented in it is more frightening than anything supernatural. How difficult was it dealing with the delicate subject matter in the film?
JF: Dealing with such a delicate subject was challenging, but it was essential to give a voice to those who endured these real-life horrors. The true terror lies in the historical trauma of the Great Famine, which still haunts Ireland today. We approached the material with great care, striving to portray the pain authentically and respectfully. Through the character of Máire, we wanted to not only highlight this trauma but also offer a glimmer of hope. We hope to show an ending where Máire breaks free from the cycle of abuse, symbolising the strength and resilience needed to overcome such deep-seated suffering.
FC: Thank you so much for you time John and we wish you all the best with the film and it continues to make history on the festival circuit.
'An Taibhse' receives its International Premiere at FrightFest '24 on August 23rd
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