It’s been seven years since the man who brought us Pigs and Korea has made a film, but Cathal Black is back, with the crowdfunded short Butterfly. IFTN analyses the caterpillar.
The last time I interviewed Cathal Black was way, way back in 1995, for that year’s Korea, the Irish filmmaker’s acclaimed follow-up to Pigs.
That debut feature had come out in 1984. Since then, Black has delivered two more feature films, which gives the 62-year-old writer/director a batting average of one new film every eight years.
Well, good work takes time.
Black’s latest outing, Butterfly, comes seven years after Learning Gravite (aka The Undertaking), and it’s a 36-minute crowdfunded short starring Antonia Campbell-Hughes and Denis Conway.
I caught up with Black on the eve of the film’s premiere, in his native Maynooth...
PAUL BYRNE: Technology is changing not only how films are made, but where the money comes from too. Roger Michell last year released his latest feature, Tom & Issy, shot entirely on a Nokia phone. And now you’ve got a 36-minute feature that founds its funding outside of the traditional channels. Exciting, or confusing?
CATHAL BLACK: Both, really. There’s confusion because nobody really knows what way films will be viewed in the future. Will TV and other platforms take over? How does one fund small and medium budget films? Are the State funding bodies keeping up with this, or being left behind? Exciting, because there’s a sense of freedom in making something outside the usual restraints. It’s quicker – there are no ‘middle-men’ and scary too because of this same freedom.
The making of Butterfly outside of the traditional feature or TV restrictions - liberating? Or is it easier with a net/network?
It was liberating. I’m sure if I tried to get this off the ground though a more traditional route there would have been barriers as to length and story arcs, etc. And I wouldn’t be able to withstand all of that. I’ve had years of it and it erodes your confidence and creativity. I needed to make something – not talk about it, or pick it to death. But don’t get me wrong – the process needed discipline and some exact calculations.
Can you tell us a little of how Butterfly came to be? Your own idea, or was it brought to you by Neil Donnelly, by Nightingale Films?
Neil Donnelly lives near enough to me in Maynooth, and we’ve had manys a chat about scripts and subject matter. Frustration led me to declare one day that if I could find a two/three hander that didn’t have too many locations, I thought it was possible to make something ‘small’ or semi-small. He showed me his short stage play “Butterfly” and was surprised when I went for it. There was lots of dialogue and nowhere to hide for the actors, but I felt I could open it out a little, perhaps, subject to the constraints. It had a darkness to it, but also, in my view, a tenderness too.
You’ve got a fine cast, led by the rather wonderful Antonia Campbell-Hughes. Encourage everyone to improvise and offer input into this strange new world, or would you keep a firm grip on the traditional filmmaking methods, whatever the format?
There wasn’t much room for improvisation but lots of room for interpretation. Both Antonia and Denis Conway were great at diving in - and I went headlong with them - and although we had only 4 hours rehearsal the day before we started shooting, we went for it. It was scary at times, I only had both actors together for 5 days. But we managed to pull it off, and it’s a testament to their concentration and commitment. Essentially, we stook closely to the written word and later I edited out what I thought wasn’t necessary.
The screening is taking place at the Iontas Theatre in Maynooth because...? Link to the film? The financing? Near your house?
We edited the film in Kairos – just across the road from the main university campus. Kairos have strong links with the university, and they were incredibly generous with their facilities. Tony Cranston, a great editor, and I were secluded there. It was a great experience. I could walk to work each morning, and Tony came out on the train – out to the countryside!
The film was part funded by myself - borrowed, mostly - and a FundIt campaign raised the remainder – over €11k; not as easy to gather up as it sounds.
The Media department in Maynooth University helped, indirectly, to assist in any way they could. Some of the students and ex-students who worked on the film came from their media courses. Others came from design courses in Sligo, etc. So, although the 3/4 main crew were highly experienced, most of the crew were ‘training up’. I hope, and think, it was a good experience for them.
What are the commercial hopes for Butterfly?
TV – I would imagine.
It’s been seven years since Learning Gravity (aka The Undertaking), your 60-min 2007 feature, which, in turn, came out seven years after 2000’s Love & Rage. Slow worker, or just getting tougher and tougher out there to get your films made?
There were a few versions of ‘Learning Gravity’ – the longest version was 70 mins. Then a 60’ version for BBC4 and 52’ for RTE. It’s difficult to raise finance, yes. I’ve spent a good few years on two feature scripts that have hit the doldrums. It can be heartbreaking (one also needs a committed producer) and it’s the reason I needed to make ‘Butterfly’. To do it rather than talk about it. Sure, you make sacrifices, but that’s all part of it, no matter what size the budget is.
There was, of course, an 11-year gap between your acclaimed feature debut, Pigs, in 1984, and its even more acclaimed follow-up, Korea, released in 1995. Such acclaim should have meant budgets would be easier to find - was that the case?
I did get a bigger budget with ‘Love and Rage’ and that was a different beast altogether, and not a happy time for me. The film was doomed before it could fly.
You wrote Learning Gravity, your first script since your 1976 debut, Wheels. Tough line of work, or just too busy concentrating on directing, and producing?
I co-wrote Korea too, and have co-written other ideas with Philip Davison but they haven’t managed to get off the ground.
You produced Tony Donoghue’s animated documentary short Irish Folk Furniture in 2012 - how did that come about? And are you tempted to become a hot-shot producer to other directors?
I know Tony – he’s very talented, and a one-man band. He needed a producer, but most producers wanted too much on the back end, he said. I stepped in and told him he could have it all! It was terrific to see it do so well. It’s something I would do again if I thought I had a realistic chance of making it.
Checking out the Cathal Black Films website, you’re greeted first with your photography. Do you spend most of your time working on your films, or are you smarter than that?
That website was someone else’s idea. I need to tidy it up, I think. The photos are just something I like to snap away at. Then colour/treat them later. A lot of my time is spent looking for material. I’m picky, so it’s not easy!
Donal Foreman, director of Out Of Here, has just cited Pigs as one of his favourite films. Just wondering if Cathal Black feels a connection to the young generation of Irish filmmakers coming up...?
Well I used to teach film, so I’ve always had a connection. Perhaps not so much now. Of course I’m still very interested in who is coming along – even if, by chance or certainty, our tastes differ. Pigs is something I did when I was a bit dark and angry. It has a strange quality which even I can’t understand. But that’s what film should be about, in my view. Strange, with invisible stories. Thank you, Donal!
Where to next?
A low budget feature. Perhaps, soon, one of the two more expensive projects will see the light of day. I’ve also just directed a radio play for RTE; an interesting experience, even though we ran out of time.
Butterfly premieres at the Iontas Theatre, Maynooth Tuesday Nov 4th - to find out more click here
