Working In Entertainment Series Part Three – Becoming A Film Director

Greg Byrne is a freelance film director with a penchant for indie and short film. 2014 was his busiest year to date, having written and directed the accomplished ‘Spokes’, a drama which poses questions about race and snap judgments. Throughout the year he also assumed assistant directing duties on ‘The Mother’, a visual accompaniment to a poetry reading by Roddy Doyle’s mum, and he edited ‘Colin In The Wilderness’ a comedic satirical short.

Working in the creative arts has long been a passion of Greg’s.

“I’ve been mad about music and film since I can remember. Once I had realized I had no discernable musical talent I shifted my efforts in the film direction. My Da is a solicitor and he always told me to steer clear of any kind of office job, so that’s what I’m doing!”

The road to becoming a qualified film director has been a long one for Greg, and he’s currently juggling freelance work with the final year of his studies. Though it’s no mean feat, Greg recognizes the benefits of studying his craft in an academic environment.

“I did a 2 year diploma in media production that got me into the final year of a BA in Film production that I’m currently in the middle of. I don’t think a qualification is totally necessary to be honest, but if you find the right course you can learn a lot more, a lot quicker than you would on your own.  Plus, you get a fancy piece of paper at the end of it all!”

Greg reckons that good people skills are integral to the success of any film project, and being personable is especially vital in the role of director. “The two things I would say that are most important if you want to be a director are firstly, the ability to work well with others and secondly, confidence in your vision and what you want to achieve.

“Making films is a massive team effort. As a director, you should aim to galvanize your cast and crew to all pull in the same direction. If you don’t believe in the project or you aren’t able to get along with your team, then you’re probably going to end up with a shit film and worse than that, you’ll have no craic making it.”

Working in the field has presented the up-and-coming director with some pretty mad situations. “On the last short we shot we had a lot of scenes inside a car. The car we had to use was a Ford Fiesta, which if you don’t know, is feckin’ tiny! We had to fit 2 actors, our soundman and cameraman in there, which left no room for my co-director Stephen and I. The car was driving around with our actors doing the scene and we had no idea what was going on. Hard to direct when you aren’t there! We had to just hope we were getting what we needed.”

So just how easy is it to forge a career as a film director from scratch? Greg has some simple advice for anyone with ambitions of making a living behind-the-scenes: “You just need to get out there and start making stuff! Get a cheap camera, some cheap editing software and just start filming. The more you shoot, the more you’ll learn and grow as a director. They’ll be shoving IFTAs down your neck in no time I’m sure!”

Check out Greg’s showreel here.

Working In Entertainment Series Part Two – Becoming A Lighting Designer

Conor Biddle has illuminated stages the length and breadth of the country in his role as a renowned lighting designer. If you’ve been to see a show at Vicar Street, the Button Factory or many of Dublin’s other famed venues over the past few years, chances are you’ve caught Mr Biddle in action. Conor currently works as a dedicated lighting designer with Nathan Carter, and tours nationwide with the country singer on the regular.

Conor’s interest in the entertainment industry goes back to his childhood. “Whether it was acting on stage or being involved in school, it was always something I wanted to be involved in. If you look back at my school books I was forever drawing stages and lights on the covers!”

Conor took his interest to the next level when he finished school, and decided to focus his third level studies firmly on the entertainment industry. This process was a learning curve for Conor.

“After completing a higher certificate in Music Technology I realized sound wasn’t my thing and I had always had an interest in lighting. I first got to try my hand at it using our Student Union’s small gigs in the SU bar. After college I was lucky enough to get an apprenticeship and work my way up from there as well as using books and videos to improve.”

But does Conor think that going down the academic route is a must for an up-and-coming lighting designer? He says, “A qualification isn’t all that necessary but it can give you a good introduction and help get your foot in the door. I’m a very practically minded person so it suited me [better] to learn in a hands on way.”

Nathan Carter live at The Marquee, Cork. Lights by Conor Biddle. Photo by Sean Smyth.

Conor does share one important requirement for all lighting designers with ambitions of success – a bit of charisma! “Personality is the most important factor!” he shares. “This job means long hours in high-pressure situations so how you get along and work with people is make or break.”

And are there any particular skills that can go to making a good lighting designer?

“Being good with technology and being able to adapt to hectic situations is always a plus. I feel a musical background really helps with the design and operating shows in time and an eye for colour combinations.”

Conor has enjoyed many memorable moments over his career, and has been fortunate enough to design lightshows for some of the country’s most prominent performers. “One of the recent highlights would be two nights in Vicar Street with Damien Dempsey last December. There was such an awesome atmosphere with the crowd singing every word and Damo is a powerhouse performer. Jerry Fish is always a true gent to work with, and Overhead, The Albatross give me free rein to give a mad lightshow at any of their gigs!”

OK Conor, sign us up! What do we need to do to match your success as a lighting designer? “Get involved as early as you can. Most techies are very approachable. I remember as a kid going up asking questions at our school musicals!

“Also be prepared to work hard to make your way up the ladder. I’ve had to wrap a lot of cables and push a lot of cases but I wouldn’t have it any other way! Hard work and perseverance pays off in this business.”

Check out Conor’s work on www.conorbiddle.com.

Working In Entertainment Series Part One – Becoming A Resident Singer

Colleen O’Reilly is one of Dublin’s most in-demand singers. As a long-term artist-in-residence at renowned restaurant Siam Thai, and a regular contributor with Bentley Boys Band, Colleen has a unique insight into Dublin’s music scene. But did she always want to be a singer?

“Always. My parents even have wonderfully embarrassing videos of me putting on ‘gigs’ at the age of four! It was just a natural instinct.”

A residency is a coveted position for any singer, a vocation where work can be fleeting and hard to source. So just how did Colleen come to be an artist-in-residence at Siam Thai?

“By a bit of luck and some very good timing! As a teenager I routinely entered singing competitions to better myself, and years later I ran into a girl I’d sang against in a final. I’d lost my job the day before and was feeling pretty down, and without even mentioning this she asked me would I join her in a residency. It was fate!”

Colleen is currently in her fourth year of a BA degree in Vocals at the celebrated BIMM Dublin Institute of Music. Studying a singing qualification isn’t a necessity, she says, but it does have its benefits. “I wouldn’t say a degree is absolutely necessary to become a successful singer, there are plenty who have done without. I do feel though that nowadays it is much more difficult to get out there as a singer, and when attending auditions my degree and the skills I’ve learned with it have definitely given me an edge.”

But though it may sound like the dream job – and for many, it is – Colleen has to remain at peak health and take her job very seriously to succeed. “It always keeps you on your toes. You need a good vocal stamina and also a great memory – I typically sing about 50 songs per set which chop and change each night, depending on the audience.”

Sounds a little daunting? Maybe, but Colleen has reaped the many rewards of her work. “I’ve gotten to sing with some great homegrown acts, such as Imelda May, The Script and The Coronas. They were all so down to earth and great people to work with.”

So, for those of you who may yearn to follow in Colleen’s footsteps as a successful artist-in-residence, she’s got some invaluable advice. “Practice as many songs and as many styles as you can, while keeping it appropriate for the venue style you’re aiming for (such as restaurants, bars, hotels). Also use your contacts! List up anyone relative who could help you get an audition. If they can put a good word in for you that will help you be remembered.

“Finally persevere, you’ll get there eventually!”