See the full programme of the Irish Film Week here.

 

Documentary: Gabriel Byrne - Stories From Home

Gabriel Byrne - Stories From Home is a poetic and lyrical portrait of a man who, through both his life and career, exists in self-imposed exile. This feature documentary transcends the limitations of many such portraits, creating a truly cinematic work. The topics covered in the film are deeply personal, and demonstrate a palpable sense of trust between filmmaker and subject.

Over the last thirty years, Irishman Gabriel Byrne has established himself as one of the leading actors of his generation. He has starred in many films such as Miller's Crossing and The Usual Suspects, and more recently in the television series In Treatment. Byrne's producing credits also include the Academy Award-nominated movie In the Name of the Father. Leading critic David Thompson has said his performance in Miller's Crossing is "one of the great performances in American cinema".

The story unfolds in a collage of photographs, home video, archive clips and interviews. All these elements seek to explain the man we see in a candid moment at the opening scene, struggling to connect with the familiar.

Director Pat Collins joins us for a discussion session with the audience following the screening.

 

*Elokuva on englanninkielinen ja siinä ei ole tekstityksiä.

Thursday 30.09 at 18:00, Valve Concert Hall Doors open at 17:45
Tickets: 3€/2€; Valve Ticket Office
Duration: 76 min.; Language: English
Pat Collins (director), Tina Moran (producer)

http://directory.irishfilmboard.ie/films/695-gabriel-byrne-stories-from-home

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See the seminar invite

The keynote speaker of the seminar is OK Go, an american band known for their groundbreaking music videos. Other speakers are Antti Isokangas, jounalist/consultant and Kimmo Valtanen, CEO of SOny Music Finland.

Seminar attendances also get a free ticket to the OK Go´s gig in the same evening.

Mail you registration to info (a) nffc.fi by the 10th of August. Only 30 seats available.

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Other speakers at the seminar are Antti Isokangas (Digitaalinen jalanjälki) and Kimmo Valtanen, Managing director, Sony Music Finland.

Seminar is arranged in cooperation with Oulu Music Video Festival, Center for Internet Excellence CIE, North Finland Film Commission NFFC, Dimeke Project and Advertising Agency Työmaa.

More info at Oulu Music Video Festival website.

Go to OK Go official site and see the great and innovative videos!

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Download the NFFC Newsletter

If you want to join the mailing list, please send us a message to info@nffc.fi

 

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Q&A with Adam Richards and Hessu Tönkyrä

1. What was your role in the Hanna production?

Adam Richards: Location Supervisor.

Hessu Tönkyrä: I was a Location Scout, and later I became the Location Manager Finland.

2. What was your first impression when you arrived to Kuusamo on the location recce?

AR: It was the most amazing scenery I think I had ever seen. Not having been to Finland or any of the Scandinavian countries before, I really didn´t know what to expect, so I was pleasantly surprised.

3. What kind of locations you wanted to find for the film?

HT: Naturally beautiful, wild backwoods with lots of snow.

4. How did your co-operation work?

AR: I think it worked very well and very naturally. I obviously relied on Hessu completely and I think he understood our needs and wishes straight away. Hessu, basically, did his job extremely well and efficiently and I was there to make sure it happened the way Focus Features would have wanted things set up. Credit must also go to Hessu’s team: Panu, Teemu, Lari, Vesa and Risto.

HT: Adam is a professional to the bone. He gave me a full responsibility on the field and just said that someone from London probably shouldn’t start telling how to work in snowy conditions. He brought a number of large issues from their production culture with him, which is good, as they do things in a different manner compared to how we do them in Finland. Perhaps the best indication of how well we worked together is the fact that he also wanted me to participate in film’s shoot in Morocco.

5. How was the collaboration with North Finland Film Commission?

AR: From the beginning, I knew I was in safe hands with Turo Murtovaara (from NFFC Kuusamo office) and whatever I asked or demanded, was never a problem. I felt that I was taken to places that had been thought out and that were truly right for this particular project. From the time the decision to come to Finland was made, until the time crew turned up to shoot, was so short, about six weeks I think, that we certainly couldn´t have done that without NFFC. We needed their insight, knowledge and experience to deal with situations quickly and efficiently and they delivered every time.

6. Was there anything special to be taken into attention when planning the Hanna shoot in Kuusamo?

AR: The main thing was of course the cold, which most of the people on the shoot had not dealt with before. It’s not until you come to a place like Finland with deep snow and cold temperatures (it was -38°C when I was there on the recce) that you appreciate the difficulties of filming in these conditions. Shots and camera positions and where actors walked, had to be probably more thought out than usual and agreed in advance, so that tracks and paths could be pre-made. The camera truck had to be kept just below 0 degrees so that the lenses didn´t get condensation on them, and so the truck was kept overnight in a temperature controlled building.  All these things, I´m sure, are obvious if you live in this environment all the time, but to us, as outsiders, they were all new challenges.

Location Supervisor Adam Richards in the snowy scenery of Kuusamo.

HT: The majority of foreign crew members had never before worked in Arctic conditions like these, which is why we were specially prepared to take care of the crew’s well-being: we built heated tents and toilets for 150 people in the site. For this reason, the coordinating team was considerably larger than in Finnish film productions. Large base camps were constructed near the shooting locations. At first, the foreigners were a little afraid to shoot on ice. Universal Studios had brought their own security supervisor, who ensured the safety of the shooting locations before we started filming.

7. What was your overall impression of Northern Finland as a filming location?

AR: The locations were excellent and better than I had expected. I know the director was very happy with the chosen places as it really gave this film another dimension which we wouldn’t have got in Morocco or in Germany.

I think everyone, without exception, was captured by the beauty of the area we were filming in. From the snow-covered trees to the frozen lakes and of course, the northern lights (which I was the only one lucky enough to see!), it was just a magical place. The Finnish crew was professional and hardworking and genuinely friendly people. The services we experienced were first rate.

Permits were certainly easier and cheaper to come by and the location owners much more film friendly compared to some other countries I have worked in. The local authorities were willing to help out with some locally spent funds, such as hotel accommodation and local services, which was unexpected and something which I hadn´t experienced before. If only your government would do the same, then you would have so many more international productions coming to Finland. What you have is quite unique. It is a little short sighted of them, but you all know that already.

8. Would you come to Northern Finland to shoot again?

AR: Yes, without a doubt. If the filming locations demanded a snowy environment, I would suggest Finland every time.  It was such a pleasure to shoot in your beautiful country.

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The seminar and the main topic of incentives for film industry was widely presented in Finnish media. Also the regional newspapers were interested about the discussion about international financing methods which could also help Finland to lure international audiovisual productions to shoot in the area.

On the workshop on Wednesday, location manager Steve Hart from UK lead the participants on big production location secrets: sometimes it might be useful to build a bridge or cut the coconuts off trees to get the movie done.

More info about the topics been presented visit seminar home page .

 

 

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Focus Features holds worldwide rights to the movie and the production service company in Finland is Helsinki-Filmi. Finnish Location Manager is Hessu Tönkyrä from Tmi Tasankojen Mies.

North Finland Film Commission has helped the production on shooting in Kuusamo by offering location scouting and consultation. The city of Kuusamo, Nordic business center Naturpolis and VisitFinland have given their support to cover the costs of shooting in Finland.

Cast for the film are Academy Award nominee Saoirse Ronan (of Focus' Atonement, also directed by Mr. Wright), Academy Award winner Cate Blanchett (soon to be seen in Robin Hood), and Eric Bana (Star Trek). Joining the cast is Niels Arestrup, who last month won the César Award (France's Academy Award equivalent) for Best Supporting Actor for A Prophet [Un Prophète].

Hanna (to be played by Ms. Ronan) is a teenage girl. Uniquely, she has the strength, the stamina, and the smarts of a solider; these come from being raised by her father (Mr. Bana), an ex-CIA man, in the wilds of Northern Finland. Living a life unlike any other teenager, her upbringing and training have been one and the same, all geared to making her the perfect assassin. The turning point in her adolescence is a sharp one; sent into the world by her father on a mission, Hanna journeys stealthily across Europe while eluding agents dispatched after her by a ruthless intelligence operative with secrets of her own (Ms. Blanchett). As she nears her ultimate target, Hanna faces startling revelations about her existence and unexpected questions about her humanity.

Seth Lochhead wrote the initial screenplay and has written subsequent drafts, as have David Farr, Joe Penhall, and Mr. Wright. Academy Award nominee Leslie Holleran (Chocolat) is producing Hanna with the team of Marty Adelstein and Scott Nemes (who are in post-production on The Experiment). Barbara A. Hall, who executive-produced Focus' Academy Award-winning Milk, encores in that capacity on Hanna. Focus senior vice president, European production Teresa Moneo is supervising Hanna for president of production John Lyons. European locations for Hanna's filming will include Finland, Bavaria, Morocco, and Berlin (the latter in part at Studio Babelsberg).

Alwin Küchler, who shot the upcoming Morning Glory, is the director of photography, and Lucie Bates (Go for Zucker!) is the costume designer. Mr. Wright is reunited on Hanna with several longtime collaborators, including film editor Paul Tothill (Focus' Pride & Prejudice) and the thrice-Academy Award-nominated team of production designer Sarah Greenwood and set decorator Katie Spencer.

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NFFC coordinated the visit by fixing shooting locations, scheludes, interviews and transportation. The visit was supported by Oulu City Marketing team.

The host of the tv show is Martins Ritins, chef, celebrity and a owner of a five-star-restaurant in Riga. Producer Andra Cerina was pleased to the NFFC arrangements and the content: they got material for 5 episodes instead of planned 3. The crew also included cameraman Edgars Daugavvanags and assistant Janis Kravecs. The Latvians visited the locations such as Oulu Marketplace and the Market Hall, Hailuoto island, reindeer farm in Yli-Ii and numerous local food and grocery producers as well as restaurants.

The episodes of “Kas var būt labāks par šo?” are broadcast on Latvian TV 1 on five following Saturdays starting from 27th February. The videos can be seen in internet video archive Delfi: http://tv.delfi.lv/album/287/

 

Picture: Juha Heikki and Martins Ritins making the flat bread in Huovisen Leipomo bakery. (c) Labvakar

 

Picture: Martins Ritins in Marjaniemi, Hailuoto (c) Labvakar

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The newsletter can be found at http://www.nffc.fi/uploads/Newsletter_winter09.pdf

If you want to join the mailing list, please send us a message to info@nffc.fi

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Q: What kind of services does your company offer?

A: Mediakaari provides productions with set building services. At the moment I don't have any permanent staff besides myself, but when needed I assemble a group of builders. My company has also provided various vehicles for productions. The company was established in 1999. In the beginning we also produced radio and TV commercials as well as corporate videos. Since 2003 the company has focused on set building.

Q: What was your role in the film Backwood Pholosopher?

A: I worked as the set constructor under Markku Pätilä, the set designer. My responsibility was to build the sets and manage the construction team.

Q: What was build for the production?

A: The film is set in the beginning of the 1950's and some existing buildings were altered to match that period. The biggest individual construction was covering modern roofs with sheet metal roofs. We also transferred an old log sauna from one place to another and built a few interiors, fencing and a boat that was used to transfer hay.

Q: How was filming in the Kainuu region?

A: The filming went well. Some changes considering the locations and schedules had to be made due to changes in weather.

Q: How is it to work outdoors in North Finland?

A: One great thing with the summertime in the North is the light, so you can work even in the middle of the night if you like. The Finnish winter can be challenging from the set building point of view. Low temperature, snow, ice and rain can cause problems. These things require good preparation. Luckily my team and other local people working in productions have experience in working in such conditions and problems rarely occur. In addition when working in the nature one has to take in to consideration many things, such as electricity, water and logistics.

Q: What kind of productions have you worked in?

A: I've worked as a set constructor of set builder in feature films such as Valo, the Mystery of the Wold, The Matriarch, Dark Floors, Sisters Apart and Mannerheim. I've also worked in three TV productions and done set constructing work in a theatre in Oulu called Rio.

Q: Mention some unforgettable productions from your career:

A: The most unforgettable must be the Lordi motion picture Dark Floors. It was shot in Oulu and for the production we build 1000 m2 hospital interior. That is the largest studio set ever build in Finland, and I think it will stay that way for a long time. 50 builders, painters and technicians were involved in the process and work was done around the clock for four moths. Another interesting project was Mannerheim in which I got to work in a really big production. Unfortunately the project is put on hold for the time being. The battlefield with saps and foxholes exists and is ready for the project if it someday proceeds to production.

The contact information for Hantte Oivo from Mediakaari can be found at the NFFC services database: http://www.nffc.fi/index.php?action=search&page=services&q=mediakaari&x=23&y=11

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See the pictures and read the article here.

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The newsletter can be found at http://www.nffc.fi/uploads/Newsletter_summer_09.pdf

If you want to join the mailing list, please send us a message to info@nffc.fi

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The film is based on a real-life skating competition that took place in the Netherlands in 1963. For a shooting location, rivers, channels and even a lake were constructed on the ice of the Bothnian Bay. The crew consisted of 70 people in total, of which 40 were from Finland, and the production was supported by 300 extras from the Kemi region. Production company: De Hel van '63 Film BV, the Netherlands, (Klaas De Jong, producer). Production services in Finland were provided by Klaffi Productions Ltd from Oulu.

 

To find out more about building a set on ice the NFFC had

Mr. Tapani Launonen from Klaffi Productions for a short Q&A:

 

What was your role on the Hell of 63?
I was the Finnish line producer.

What was built on ice for the Hell of 63?
We built a little piece of the Netherlands on ice - the location was selected for its vast whiteness and the possibility to build wide scenes. We also did some scenes on a nearby river. On the ice of Bay of Bothnia we built rivers, canals, a copy of the Bartleheim -bridge, few smaller constructions and even a lake.

What should one consider when planning a set on ice?
Generally speaking - safety. The thickness of the ice makes the working on it possible. We are conscious for example of the dept of water, ocean currents and reefs that have an effect to the structure of the ice. We work with a person holding a master of science in engineering of snow and ice. For safe working conditions we measure the strength of the ice and the effects of weight and speed. We are also well considered on the composition of the ice, behaviour on working on ice and the effect from the natural conditions. When planning the shoot we are also aware that working in snow and ice is bit slower compared to such in bare land. The speed limits for cars are strict on ice. We really endorse having a professional crew that is also "ice literate".

The equipment - was that on the ice as well, what can the ice take actually?
Depends of the strength of the ice, the water below, the frequency of the vehicles etc. In Hell of ´63 some of the trucks were at the shore. The heaviest truck on ice was 7700 kg and on the ice at the same time we had three cherry pickers that weight 7500 kg.

The Hell of ´63 was shot at Feb - March, what is the peak period for shooting on ice?
The period from December until March is quite safe, some years April is still possible. It of course all depends of the natural conditions.

Line producer Tapani Launonen measures the thickness of ice.

Photo: Arto Majava

Klaffi Productions Ltd: http://www.klaffi.com/EN/klaffi.html

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White as Snow (Blanc comme Neige), directed by Christophe Blanc, tells the story of three French brothers becoming entangled in smuggling cars. Once the events take the brothers to the wintry Finland, the shooting locations for the thriller were found in the snowy centre of the city of Oulu, on the ice-covered Bothnian Bay and in the hibernal country landscape surrounding the city. Production company: Blue Monday, France (Bertrand Gore, producer). Co-operation partner in Finland: Helsinki-Filmi Oy. Production services in Oulu were provided by Vaski Filmi Oy.

Producer Bertrand Gore tells about filming the feature White as Snow in Oulu region in the article Putting Finland on the Big Screen is published in Meet in Finland magazine. It also covers the role of Film Location Finland project and regional film commissions in bringing international productions to Finland.

Read the article starting from page 10 here: http://www.nffc.fi/uploads/MeetInFinland_magazine.pdf

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