Creative Writing
r e k a m m l i f n o Close-up Helen F lanagan Eileen Casey profiles a multi-talented director and scriptwriter
‘I don’t really have any set rituals around writing. I think I used to choke myself up by overthinking..’ Helen Flanagan
Having completed an enjoyable, informative and challenging screenwriting series with filmmaker Helen Flanagan, I felt readers would like to know more about this vibrant, intelligent maker and script writer. Especially now, as film watching continues to form such a major part of our lockdown routine. Where to begin then but the beginning! And what a beginning it was. At an early age, Flanagan learnt that life can and will give lemons. In her case, however, it happened to be Munchies! Eating them is very much part of an early memory entwined with her first time ever cinema experience, a momentous occasion by any standard but in her case, traumatic. A re-release of Snow White and the Seven Dwarves, instead of triggering awed delight, had the opposite effect. This much loved Disney favourite brought about such a terrifying response from child Helen, resulting in tears and screams; her mother had no option but to take her daughter home, placating her en route with a big packet of chocolate treats. An early lesson then in the light and shade, sweet and sour of drama. A couple of decades later, the child who exchanged tantrums for chocolate, has become an established, much respected, vibrant voice; not only in an Irish context but a global one. Right from the get go too. One of her early short films, made for Film Offaly called The Debt, screened in around 50 festivals around the world and toured as part of a couple of best of festival programmes. It was even dubbed in Japanese and shown across Japan, an achievement she’s rightly proud of. ‘It’s a little caper about friendship from the perspective of ten-year olds. The two young actors were amazing’. There’s no doubting that 52 Senior Times l March - April 2021 l www.seniortimes.ie
The Drive - 2015
when the stars align (literally); an already good script elevates to excellence. Who hasn’t enjoyed a film not just for the story telling quality but for the way the main characters project that story? After all, although cinema is a collective activity, viewing the screen in a darkened auditorium delivers a very personal one to one experience. A true paradox, collective sensibilities distilled into the private. On the question of matching character to plot, Flanagan agrees, ‘Yes, casting is so important. I think you have to look for an actor who brings a part of their own humanity to a character. It can be really hard to find the right actor and for everyone to be available at the right time.’ This is undoubtedly
