‘Male Rape’ paved the way for McGrath to continue documenting real-life issues with credits on John T. Davis’ ‘Uncle Jack’, and his own documentary ‘Blood of the Travellers’ shedding new light on the origins of the Travelling community in Ireland.
His latest documentary, ‘Unsettled: From Tinker to Traveller’, focuses on a similar topic, as he catches up with Californian anthropologist couple Sharon and George Gmelch, who return to Ireland after 40 years to catch up with the Traveller families they resided with during their stay.
McGrath’s documentary follows the couple as they return to the halting site they once called home, armed with an archive of photographs from 40 years ago, and discuss the changes they see in Ireland since their first visit in 1970. McGrath discusses ‘Unsettled: From Tinker to Traveller’ with IFTN’:
Did RTÉ fund this project with Scratch Films?
Yes RTÉ funded it 100 per cent. It all happened very quickly, after I made ‘Blood of the Travellers’.
How were you introduced to Sharon and George Gmelch and their story?
When we were working on ‘Blood of the Travellers’ in RTÉ we had film of a book with all these photos in it, and we had to seek permission from the authors to use the book in the film, and the authors happened to be the Gmelch’s. They said they were making a trip to Ireland that summer (2011). I thought this should be documented because the amount of things that have changed in Ireland in 40 years since their last visit would make for an interesting story. They arrived in Ireland and knocked on my office door and we started filming the next day ourselves, without RTÉ or anything. Then RTÉ came on board.
Is the documentary a one-off episode or series?
It’s a one-off documentary which will be aired on Monday (April 2) at 9.35pm.
What attracted you to the topic?
When we filmed ‘Blood of the Travellers’ a lot of issues came up, about history, origins, identity etc. I thought it would be interesting to see these issues through [the Gmelch’s] eyes, especially after 40 years with the way things have changed.
You have a keen interest in the Travelling community, do you prefer to work on real-life documentaries rather than fictional film?
I started my career working on music videos, but I‘m attracted to trying to understand themes in real life. I’ve worked on fictional things, but I’m more attracted to understanding real-life issues.
How involved are you in the storyline/content of documentaries?
I would be very involved in the storyline. Obviously I work from the other side as well, but I would have a strong input in the development of the story and documentary.
How long did the ‘Unsettled: From Tinker to Traveller’ shoot take?
When the Gmelch’s arrived at my office at the end of June 2011, we started filming the day after. We filmed for 10 days out of the three weeks they stayed in Ireland, and a further four days in October 2011.
How easy is it to pitch ideas like this to broadcasters, such as RTÉ? Talk me through your pitch...
It’s easier in Ireland to pitch things than other countries. When I pitched ‘Unsettled: From Tinker to Traveller’ to RTÉ I did it over the phone. I phoned RTÉ’s commissioning editor (Ray McCarthy) and he liked the idea from the start, but wanted to see what the proposal would be like. He (McCarthy) got Mairéad Ní Nuadháin and Colm O’Callaghan on board to executive produce it. I submitted the proposal through RTÉ’s e-commissioning process on their website. Nowadays RTÉ react much quicker to proposals than they previously did.
How does filming in Ireland compare with other locations? Is it easier or harder to get worked commissioned here?
I find it easier to get work here in Ireland. I think if you are from a country and culturally understand things it makes it a lot easier to come up with ideas and get them off the ground. I’ve worked in New York previously and found it very difficult to direct there, I felt like an outsider, as directors sometimes do. If you’re familiar with your surroundings you know what nuances to pick. If you’re making an Irish documentary as an Irish person I think it’s easier than an Irish person making a documentary for American TV for instance. I spent time working in Brazil and felt the same way.
Kim Bartley (Charlie Bird Explores: The Amazon) co-directed ‘Unsettled: From Tinker to Traveller’. Have you worked with Kim before?
I had never worked with Kim before, but had seen her work and we had met through work before. It was also my first time working with Oliver Fallen who edited the documentary.
Do you edit any of your own work?
I usually work with editors, but I am always in the editing room and involved in the process. I have a key production team here at Scratch, I have also worked with Tony Deegan (producer, Hostile Environments & Naked Camera) many times before, and I currently have an intern working with me at Scratch Films.
What type of equipment do you use?
‘Unsettled: From Tinker to Traveller’ was shot on a Sony EX 3, with additional lenses such as a Canon lens.
How important is quality equipment (camera) versus talented cameraman?
I think a great camera can make a director better, and vice versa. I think it is important to have good standard equipment, as well as a quality cameraman.
What advice would you give to freelance directors/beginners in the field who are looking to get work commissioned?
My advice would be to start filming. You’ve got to make things, and show people what you can make rather than telling them about it. Let people see what you can make and this will open doors down the road. Start writing proposals. I got my start by making a documentary for a college assignment (Boys For Rent) and RTÉ noticed it and I pitched another idea to them (Male Rape). I received funding from the Irish Film Board and RTÉ matched the funding and it got made. I’m not that up-to-date with funding opportunities and grants (for first time directors) but from my experience documentaries have always been supported by the Irish Film Board.
What’s the next project you will be working on?
I’m currently working on a project which stemmed from the idea of the Gmelch’s story again, it’s in pre-production at the moment and it’s called ‘Lonesome Boatman’ after a Finbar Furey song. It’s a documentary showing interviews with musician Finbar Furey’s parents from archives I got from 50 years ago. It is scheduled to air on RTÉ in May 2012.
After IFTN’s interview rapped, Liam was getting ready to attend the launch of Sharon and George Gmelch’s 3,000 photos being added to UCD’s National Folklore Collection. The Gmelch’s photos of the Travelling community taken 40 years ago will be added to the Photographic Collection, which already holds photos from the Urban Folklore Project: 1979-1980.
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