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 film is based on a real person I knew who was a brilliant but disillusioned artist always in pursuit of truth no matter what the cost. I was always a huge admirer of anyone with strong principles such as that, particularly if they go against the popular grain because that's the hardest thing to do. It was also inspired by my own daughter who asked me whether Santa Claus exists and my reflections on how I should answer her. I just thought this very basic question would make an interesting and universal premise for a modern satire on truth. Like any story, it evolved throughout the process while working closely with the cast and crew and ultimately I am really happy with how the film turned out."

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

"The most fulfilling aspect of any film is the collaboration, in particular working with the extraordinary cast and crew. Sometimes a limited budget can bring out the best in everyone and this was definitely the case on Murphy vs. Christmas. I remember at the start, we discussed the script and we were daunted by the amount of locations we required: a courtroom, hospital, prison, mobile-home, small shop, supermarket, museum, primary school and most importantly a staff room with a window looking out at two billboards, including one that would ultimately read Eoin Murphy's message to the world. We searched billboards all over Dublin hoping to find the right ones, which needed a window to look out at them. Ultimately we found an office with a window, which by sheer chance was empty and the owner of the property allowed us to use it. Incredibly, it not only looked out at two billboards but it was beside a primary school, which was exactly what we needed. That was a great moment. However, we also needed a special effects artist who could deliver on mocking up the billboards in post and Eoin Mahon in EGG did an incredible job. I also think Irish people have a natural love for satire but for whatever reason, we don't make many and I hope this film can be viewed as something original as a result."

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

"They were vital to the success of the film. I can honestly say I spoke with Johnny Elliott, who plays Eoin Murphy, everyday for 18 months. He is brilliant at adding natural dialogue and characterisation while also helping to construct scenes. Both he and John Connors were also producers on the film and I remember early on talking to John Connors about the idea of him playing ten distinct roles – all authority figures and representation of Murphy's father. He is incredibly intelligent and was able to subtly inhabit the same sense of authority with each role while also adding the necessary range to play a judge to doctor to priest among many others. Tania Notaro (Clare) and Fernanda Bastos (Rachel) also had tough roles in that they needed to be simultaneously empathetic to Eoin Murphy, while also strong enough to stand up to him with two very distinct styles and coming from different points of view. Again, it was so inspiring to watch them work and they were also vital to the process."

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

"It means everything to be acknowledged by peers. Most of the time, we work in isolation and so it's very human to hope for some form of validation; that our efforts are not in vain or even sometimes to know we exist at all – especially while making non-funded films. To have our film shown to IFTA members is extremely important, as they understand the process of making a film and how to watch one. As a documentary maker for many years, it is also exciting to work in drama, which I want to continue with alongside docs and hopefully this film can act as a springboard to make more fictional films."