{"id":28620,"date":"2016-11-21T13:35:24","date_gmt":"2016-11-21T13:35:24","guid":{"rendered":"https:\/\/www.skwigly.co.uk\/?p=28620"},"modified":"2017-11-06T09:00:15","modified_gmt":"2017-11-06T09:00:15","slug":"eoin-duffy-i-am-here","status":"publish","type":"post","link":"https:\/\/www.skwigly.co.uk\/eoin-duffy-i-am-here\/","title":{"rendered":"An interview with Eoin Duffy (&#8216;I Am Here&#8217;\/&#8217;The Missing Scarf&#8217;)"},"content":{"rendered":"<p><strong>UPDATE 06\/11\/2017 &#8211; Eoin Duffy&#8217;s <em>I Am Here<\/em> is now <a href=\"https:\/\/www.skwigly.co.uk\/eoin-duffy-i-am-here-released\/\">online in full<\/a><\/strong><\/p>\n<p><strong><em>Following his 2013 debut short film <\/em><a href=\"http:\/\/ondeparture.net\/\">On Departure<\/a><em>, made with the assistance of the <a href=\"http:\/\/www.irishfilmboard.ie\/\">Irish Film Board<\/a>, Vancouver-based Irish director <a href=\"http:\/\/eoinduffy.me\/\">Eoin Duffy<\/a>&#8216;s <\/em><a href=\"http:\/\/themissingscarf.com\/\">The Missing Scarf<\/a><em> wowed audiences internationally in 2014 with its nuanced, design-informed approach to timing and composition matched with an intensely charming story narrated by the incomparable George Takei. Having previously <a href=\"https:\/\/www.skwigly.co.uk\/how-to-market-your-short-film-online\/\">shared his insight<\/a> into the process of self-marketing as a contemporary filmmaker, Eoin has been gracious enough to shed more light on his filmmaking process, including his latest short film project (his first produced in association with the <a href=\"http:\/\/nfb.ca\">National Film Board of Canada<\/a>)<\/em> <a href=\"http:\/\/iamhere.tv\/\">I Am Here<\/a> (Je suis ici)<em>. Starring veteran Canadian performer Nicholas Campbell, this latest film showcases Eoin&#8217;s unique design style at its most atmospheric and adventurous, and will screen at Montreal&#8217;s <a href=\"http:\/\/www.sommetsanimation.com\/\">Sommets du cin\u00e9ma d\u2019animation<\/a> this week.<\/em><br \/>\n<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"I am Here\" src=\"https:\/\/player.vimeo.com\/video\/241213265?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>You have a quite succinct bio on your website \u2013 \u2018Writer and director of animation\u2019 \u2013 I assume there\u2019s more to that story\u2026<\/strong><\/p>\n<blockquote><p>(Laughs) Yeah, I guess I have to get better about talking about myself! My background is in graphic design, I graduated in 2006, started working in web design and then messed around with programs like Flash, teaching myself animation over the years. Then three or four years ago I applied for a grant from the Irish Film Board and that was my jump into animation.<\/p><\/blockquote>\n<p><strong>So you were entirely self-taught on the animation side of things?<\/strong><\/p>\n<blockquote><p>The motion design, yeah. I guess it isn\u2019t a major achievement; my stuff is very simple, extremely minimal design, the animation equally so. When I do need to do more complicated stuff I love teaming up with character animators or people who can do motion better than me. But for the most part one kind of feeds of the other &#8211; my abilities are pretty small so then the end result is pretty small and minimal.<br \/>\nI guess I probably spend more time on the timing than high-production values. Just one little sequence or transition I could spend anything up to a day just slightly easing the timing between certain little crossovers. I\u2019m not sure where that came from or where I learned it or what it\u2019s based in, I just thought it was me just being finicky (laughs). I played music for years and years, I was in bands, so I think maybe it comes with the music thing, just getting that timing, almost a beat to a script. Even when I write scripts I keep the sentences and the paragraphs all roughly the same size and length so it kind of has beat to it or a pattern to it. So yeah, I guess timing is key for me.<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"On Departure\" src=\"https:\/\/player.vimeo.com\/video\/68175219?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>Was <em>On Departure<\/em> the film that you were given the grant for?<\/strong><\/p>\n<blockquote><p>Exactly, I kind of used that as a catalyst to get into animation. I presented the boards and some little experiments I\u2019d done in animation to the Irish Film Board, who had massive balls and took a massive gamble on me &#8211; \u201cHere\u2019s a bunch of cash, go and make your first animation\u201d! So from that I made <em>On Departure<\/em>, that was the very first film.<\/p><\/blockquote>\n<p><strong>So were you then working with other people on that one or was that kind of a solo effort?<\/strong><\/p>\n<blockquote><p>Well, they\u2019re primarily solo efforts, even with <em>The Missing Scarf<\/em>. My go-to thing that I tell a lot of animators starting out is to pump your entire budget into audio. That\u2019s what I did with all these films, I got the best composers, voiceover artists, sound designers, so that left little-to-no budget for animation, so I just whacked out all the visuals on a laptop. It\u2019s hard to tell animators that they\u2019re just 20% of the process, that it\u2019s primarily an audio experience, so I think visuals play a smaller role than audio. So yeah, pump all your money into audio and worry about visuals later.<br \/>\nI think the best evidence I\u2019ve ever seen of that is there\u2019s an amazing video on YouTube of some kid who re-enacted the entire movie <em>Toy Story<\/em> with actual toys!<\/p>\n<p><iframe loading=\"lazy\" title=\"Live Action Toy Story\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/5G0j_Huv2Fg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>He just uses the audio of the feature film, but frame for frame he recreated the whole film &#8211; the thing is, it\u2019s very watchable, more so than very polished animation, and it\u2019s all down to that audio base being very strong, and you can just tack on any visual. So while my visuals seem very simple and easy I think yeah, the complexities are in the audio.<\/p><\/blockquote>\n<p><strong>Was <em>The Missing Scarf<\/em> made under similar funding circumstances as <em>On Departure<\/em>?<\/strong><\/p>\n<blockquote><p>Yeah, the exact same grant through the Irish Film Board\u2019s Frameworks program. Halfway through <em>On Departure<\/em> I got the idea for <em>The Missing Scarf<\/em>, so I applied for the grant and went through the exact same process. The Irish Film Board are really nice people to work with and there are very few funding bodies that just completely hand you the film at the end and let you do what you want with it, where you own all the rights, I think that\u2019s very rare.<br \/>\nSo with <em>The Missing Scarf<\/em> I teamed up with a good friend, a fellow designer who was a producer on the film, Jamie Hogan. He was a massive help in pushing the film to be what it is today.<\/p><\/blockquote>\n<p><strong>And you and Jamie still work together on commissioned projects?<\/strong><\/p>\n<blockquote><p>Yeah, that\u2019s what we\u2019ve tried to do. I kinda got sucked into this latest NFB film for the past few months, but I\u2019m hoping to jump back on that and connect up with Jamie. He\u2019s really good about pushing the script to be the best possible script it can be; with <em>The Missing Scarf<\/em>, say, I took the script through like 80% of what it was and he was like \u201cNo we need to get an editor involved and do 20 rewrites, we need to push it to that extra level\u201d. So he\u2019s a good pushing force and I\u2019m excited to team up with him again.<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"The Missing Scarf\" src=\"https:\/\/player.vimeo.com\/video\/107395294?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>It\u2019s a really solid script, had you had much experience writing before?<\/strong><\/p>\n<blockquote><p>To be honest, no &#8211; <em>The Missing Scarf<\/em> is the first script I ever wrote. <em>On Departure<\/em> and all the earlier work just had no dialogue simply because it was the easy option, I never knew anything about recording voiceover artists. Even recording George Takei for <em>The Missing Scarf<\/em> was my first time in a voice-acting studio, I was hugely out of my depth! So I\u2019m glad it came through.<\/p><\/blockquote>\n<p><strong>There\u2019s almost a folksiness to the story, was there any sort of conscious reference to stories \u2013 or fables &#8211; you\u2019d read as a kid?<\/strong><\/p>\n<blockquote><p>No direct reference, but I\u2019m sure there\u2019s something there. Because it\u2019s like a kid\u2019s storybook, it kinda sets you into these false sense of security just so we can slap you in the face.<\/p><\/blockquote>\n<p><strong>So right now you\u2019re based in Vancouver, was it mainly working with the NFB project that prompted that move or was it something else?<\/strong><\/p>\n<blockquote><p>No, my wife is from Vancouver, we met years ago just touring around and toured around for another couple of years and have just ended up back here. So yeah, as good a reason as any!<\/p><\/blockquote>\n<div id=\"attachment_28625\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/11\/I-Am-Here_02.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-28625\" class=\" wp-image-28625\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/11\/I-Am-Here_02-620x349.jpg\" alt=\"I Am Here (Dir. Eoin Duffy, \u00a92016 NFB\/ONF)\" width=\"600\" height=\"338\" \/><\/a><p id=\"caption-attachment-28625\" class=\"wp-caption-text\"><em>I Am Here<\/em> (Dir. Eoin Duffy, \u00a92016 NFB\/ONF)<\/p><\/div>\n<p><strong>So when did the relationship with the NFB start?<\/strong><\/p>\n<blockquote><p>It was maybe about two years ago I first approached them, or a year and a half ago. I\u2019d just shot them over an idea and said \u201cWhat\u2019s the process of working with you?\u201d, and they jumped on it. The NFB has offices all over Canada and they\u2019re reigniting their animation office here in Vancouver, so it was kind of the perfect storm, they really wanted to push animation in Vancouver. Then I just happened to approach them at that exact time, when <em>The Missing Scarf<\/em> was exploding, so they jumped on board and were happy to team up.<\/p><\/blockquote>\n<p><strong>Did their approach to the production of the film differ in any major way to what you\u2019d been used to before?<\/strong><\/p>\n<blockquote><p>Very much so. My only experience is with the Irish Film Board, where maybe 40% of our time went into paperwork; I\u2019ve done commercial projects on a much, much larger scale, but I\u2019ve never had a project have so much of my time eaten up by the amount of paperwork that they require to justify giving out little lump sums of budget. With the NFB they just say \u201cGo for it, we\u2019ll handle the budget, we\u2019ll be the producer, you just be creative and do it\u201d but then the flip side is the IFB hands you the film and you own all the rights at the end of it, but the NFB work like a production company where they\u2019re hiring you to make a film and at the end of it they 100% own the film and then they decide how to distribute it, what festivals to enter, when to put it online, everything.<\/p><\/blockquote>\n<div id=\"attachment_28626\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/11\/I-Am-Here_03.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-28626\" class=\" wp-image-28626\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/11\/I-Am-Here_03-620x349.jpg\" alt=\"I Am Here (Dir. Eoin Duffy, \u00a92016 NFB\/ONF)\" width=\"600\" height=\"338\" \/><\/a><p id=\"caption-attachment-28626\" class=\"wp-caption-text\"><em>I Am Here<\/em> (Dir. Eoin Duffy, \u00a92016 NFB\/ONF)<\/p><\/div>\n<p><strong>So was this an idea that was fully-formed when you presented it to them, or did it develop as it went?<\/strong><\/p>\n<blockquote><p>Yeah, it was pretty much fully-formed, I presented a slight tweaking of the script, but the thing that wasn\u2019t fully formed were the visuals, so with them it took months and months of designing. The NFB weren\u2019t intrusive at all, but anytime they did step in and give a small bit of advice (which you weren\u2019t obliged to take on), it was good advice.<\/p><\/blockquote>\n<p><strong>Did they put together any kind of team for you? Back to your earlier point, certainly a lot of work has gone into the audio with this film, for example.<\/strong><\/p>\n<blockquote><p>Yeah, they really helped out. We paused production for six months because we\u2019d approached Paul Giamatti about doing the voiceover, who\u2019d said yes, but there were huge complications in hiring an American actor for a Canadian funding body and it didn\u2019t really happen. So then the NFB suggested Nicholas Campbell who <em>nailed <\/em>the script, he was amazing! He\u2019s a TV actor here in Canada, a really interesting character. Then I suggested <a href=\"http:\/\/www.cypher.audio\/\">John Black<\/a>, a Toronto-based sound designer and they suggested <a href=\"http:\/\/menalonmusic.com\/\">Menalon<\/a>, a Montreal-based composer duo, who were amazing as well. So yeah, we got that amazing stack of audio people who made my job super easy once again.<\/p><\/blockquote>\n<div id=\"attachment_28627\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-28627\" class=\"size-full wp-image-28627\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/11\/eoinduffy_pic.jpg\" alt=\"Eoin Duffy (Photo \u00a9Kristina Shu)\" width=\"600\" height=\"398\" \/><p id=\"caption-attachment-28627\" class=\"wp-caption-text\">Eoin Duffy (Photo \u00a9Kristina Shu)<\/p><\/div>\n<p><strong>The opening part has some very adventurous visuals \u2013 were they at all informed by the sound mix or was it more traditionally animated first with a sound mix specific to the visuals?<\/strong><\/p>\n<blockquote><p>Yeah, it was more traditional \u2013 John was just throwing me ideas, so we didn\u2019t really have the sound design locked down, but from that we imagined this character transmitting a kind of distorted signal through space which isn\u2019t really picked up on. That idea of a distorted, unheard signal was where the visuals came from. With the sound design he got pretty experimental, he got these specialised mics he could put right up to, say, an old CD-Rom and he was able pick up something to do with, I think, the magnetic fields of the electronics. The end result was amazing!<\/p><\/blockquote>\n<p><strong>Is the \u2018reveal\u2019 of the film \u2013 which I don\u2019t want to spoil, so I\u2019ll tread cautiously &#8211; based on real-life observation?<\/strong><\/p>\n<blockquote><p>For me, I guess it was a bit. It\u2019s hard to talk about it without giving everything away, but I like the idea of pulling everybody back to reality. It wasn\u2019t based on any one event but we\u2019ve all kind of known that character, seen that character somewhere, so maybe they have more to tell us than we think. There are definitely complexities going on there that we just don\u2019t know a lot about, I guess this film slightly touches off that.<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"Happy Holidays\" src=\"https:\/\/player.vimeo.com\/video\/149293798?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>You also do a lot of microshorts, are these for the most part entirely personal and done in your free time?<\/strong><\/p>\n<blockquote><p>Yeah, just 100% my free time, I\u2019ll go onto Freesound or download some audio samples and then I usually have some type of idea in my mind. I try to give myself a timeline, from idea to concept to script to storyboard to animation to sound design to getting it out there, I try and do it all in like ten hours or something, just do it super, super quick. Like how Picasso\u2019s sketchbook is more interesting than a lot of his finished art, I love just pumping out something really quick for the sake of it. If you spend too much time polishing it you might wreck the idea, or shave something off. I just like the idea of quick animated sketches, I want to do more but I seem to be running out of time these days.<\/p><\/blockquote>\n<p><strong>Is there anything you\u2019re working on at the moment that you\u2019d like to talk about?<\/strong><\/p>\n<blockquote><p>Yeah, I\u2019m working on two other short films and another project for <a href=\"https:\/\/vimeo.com\/185336500\">TED Ed<\/a>, and then a couple of applications for funding for other short films. So yeah, trying to split myself 50-50, chasing client work and doing short films. I guess if you do more, or completely go the short film route, for one thing it\u2019d be hard to make a living and the other thing is you don\u2019t really push yourself outside of your comfort zone. With client work they can throw these completely random concepts at you and you have to come up with a solution, more so than what you\u2019d do on your own.<\/p><\/blockquote>\n<p><strong>I Am Here <em>will screen this week at Montreal\u2019s Sommets du cin\u00e9ma d\u2019animation as part of International Competition 1, which runs Thursday 24<sup>th<\/sup> 7pm and Saturday 26<sup>th<\/sup> 9pm at the Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise. Eoin will also be part of the film funding panel discussion <a href=\"http:\/\/www.cinematheque.qc.ca\/en\/programmation\/projections\/film\/money-and-eyeballs-du-fric-et-du-public\">Money and Eyeballs<\/a> on Thursday 24<sup>th<\/sup> 3pm.<br \/>\nSee more of Eoin Duffy&#8217;s work at <a href=\"http:\/\/eoinduffy.me\"><cite class=\"_Rm\"><b>eoinduffy<\/b>.me<\/cite><\/a><br \/>\n<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>UPDATE 06\/11\/2017 &#8211; Eoin Duffy&#8217;s I Am Here is now online in full Following his 2013 debut short film On Departure, made with the assistance of the Irish Film Board, Vancouver-based Irish director Eoin Duffy&#8216;s The Missing Scarf wowed audiences internationally in 2014 with its nuanced, design-informed approach to timing and composition matched with an [&hellip;]<\/p>\n","protected":false},"author":114,"featured_media":28628,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[247,755],"tags":[2449,4640,3030,4801,4804,2121,693,557,4803,4802],"class_list":["post-28620","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured","category-interviews","tag-eoin-duffy","tag-i-am-here","tag-irish-film-board","tag-je-suis-ici","tag-john-black","tag-menalon","tag-national-film-board-of-canada","tag-nfb","tag-on-departure","tag-the-missing-scarf"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.6 - 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