FOR YOUR CONSIDERATION

Q: What was the genesis of this film, and how did it evolve over the course of development to production and completion?

"The story of Faraway Home originated in Marilyn Taylor’s novel, which shines a light on historical events during WW2 in Austria and Northern Ireland. When I read Stephen Gibson and Clare Sera’s adaptation, I was immediately drawn to bringing this little-known and very timely Irish story to life. We originally planned to shoot much of the film in Vienna, but the realities of an ever-decreasing indie budget eventually quashed those epic dreams, ultimately shrinking a 10-week international shoot down to a daunting 6 weeks, all to be shot in Ireland.

Having John Leslie’s experience in production design was an absolute gift, as his creative genius meant we could recreate Viennese streets on a studio set, with a few strategic exteriors of appropriate Belfast architecture and cleverly adapted period interiors thrown into the mix.

However, the film did not lose its cinematic and narrative ambitions. First-time cinematographer Carl Quinn and I storyboarded and shot the film with both epic scale and compelling storytelling in our sights.

After the adrenaline-fuelled intensity of filming, it is quite the gearshift to find yourself sitting in a dark room looking at screens for weeks on end, trying to piece the film together from the material you somehow got in the can. Editing once again with John Walters, I drew on his reassuring level-headed focus on STORY as we restructured the through-line to deliver the most engaging and dramatic narrative.

Once picture was locked, I entered one of my favourite parts of filmmaking – working with the composer. Stephen Warbeck, my go-to musical genius, brought gorgeous subtleties to the score, deftly introducing Irish tones and instrumentation to the opening European themes. His work helped weave the story together beautifully."

Q: What did you feel was the most fulfilling element of working on this film?

"It’s impossible to isolate one aspect. Working with skilled HODs is always a privilege, and the whole team, veterans and newcomers, brought their A-game to Faraway Home.

However, one of the biggest challenges was a horrible combination of logistical and creative issues – so much of this story takes place after dark, and having so many child performers meant that there was simply no scope for scheduling night shoots. This wasn’t helped by the fact that we were shooting in the longest days of summer. We eventually concluded that our only option was to shoot good old-fashioned Day-For-Night, which neither I nor Carl had done before.

It was a leap of creative faith that thankfully paid off. Gorgeous creativity and attention to detail from our colourist Peter Oppersdorff, along with expert VFX and sound design from Nikki Moss and the team in EGG, delivered the tension and threat required for our big set pieces."

Q: To what extent was your on-screen talent vital to the success of the film?

"The challenge of casting young actors from so many countries was especially tricky, but our Casting Director, Amy Blair, was determined to represent the diverse nationalities authentically.

We all knew that filling the central roles of Karl and Rosa was going to be critical – we had to present a totally believable sibling bond, with Karl shouldering the burden of being both the older brother and a surrogate parent. And speaking fluent German as well as English was also imperative. Having no luck from a wide search in Ireland and the UK, we then cast the net into Europe. Somehow, we were lucky enough to meet Leo in Berlin and then Freyja in London, and the screen family began to take shape.

Building the parents around the children was a rewarding process. The timely wartime story of the fractured family resonated with Michiel and Anna, and thus the Müller family was born.

Once these roles were filled, we had the luxury of building a great ensemble of Irish and international talent. I have the greatest respect for actors who are willing to be a part of something they feel is important, even if they are not front and centre throughout. Each cast member gave of their best, and their warm and honest performances provide a wonderful bedrock of warmth to support Karl and Rosa’s story."

Q: What does it mean to have your work acknowledged by your peers in the Irish film community and have it showcased for consideration for the IFTA Awards?

"Feeling the strength of the audience and industry response at the première back in the Galway Fleadh is something I’ll never forget. Having it showcased now for the Academy members and being considered for the IFTAs feels like a similarly important career milestone.

Screening it for my filmmaking peers – who have experienced first-hand the seemingly interminable odyssey of getting a film off the page – will be a little nerve-wracking, but hopefully rewarding. And nothing beats the thrill/terror of screening an Irish film for an Irish audience."