To Catch A Crow
- On Line Press Kit
English film crew arrive in a small village in County Sligo, in the north-west
of Ireland to shoot a feature film. All the villagers want a part in the
movie, or to make a few quid from the production, including PADDY, a local
farmer. Unfortunately, PADDY's acting talents leave a lot to be desired,
but then MARTIN, the props master, comes to PADDY and his brother JOE,
looking for a crow to use in the film. They manage to catch a few crows,
but the demanding film Director wants a yellow beaked blackbird. The blackbird
proves to be a very difficult catch, and before long the whole village
is out searching for the elusive bird. As time runs out before the shoot,
the panic stricken film crew keep increasing the price on the head of
the blackbird , and crow hysteria takes over the whole village...but who
can catch the crow?
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The story of To Catch A Crow begins in Cliffoney, Co. Sligo, in the late
1970's. An English film crew come to town to make a feature length TV
drama for BBC Northern Ireland entitled "Yer Man from the Six Counties"
and produced by Oscar winning writer Colin Welland. Local farmer Mark
Hannon is approached by one of the film crew for some animals to use in
the production. Cattle, pigs, hens and various farmyard animals are no
problem, but when a live crow is requested......the fun starts.
Flash forward 20 years to Christmas 1997 and London based Dublin film
maker Shay Leonard sits in a kitchen in Cliffony listening to Mark Hannon
recounting the hilarious story of the 'crow incident' while on a visit
to the area. Shay takes up the story, "I had been working on a feature
length script based on two local farmers for production in Sligo, and
after hearing Mark's fantastic story I decided to make it into a short
script, the idea being to use my two characters in the lead roles, thus
providing a platform to introduce the characters within a short film format."
On return to London Shay begin to write the script; Mark's story provided
many of the necessary ingredients for the two farmers, then, all
that was required was some work on the English film crew side. For Shay
this task was aided by having spent over 4 years working on films and
television in London. "The ridiculousness of film crews has always fascinated
me, they expect the world to stop when the camera is rolling. They take
over peoples houses and streets, most of them walking around with inflated
egos and delusions of grandeur. I thought this attitude would provide
a nice contrast to the relaxed demeanour of the local characters."
Having finished the first draft of the script in relatively short time,
the task of finding a producer and finance proved to be more of a headache.
The script was sent to various Irish production companies, and while the
responses were encouraging, short scripts in Ireland are "two for a penny
these days", and finding a suitable producer dedicated to spending time
on the project was very difficult. Similarly, the various grant and funding
boards proved impregnable.
Undeterred, Shay decided to produce himself, raising the finance through
his own work in TV and film in England, and through local businesses in
the Sligo region. A year later and after several visits to Sligo the necessary
finance for the shoot was finally in place and Shay returned to Dublin
to begin preproduction.
Peter Caffrey first heard about To Catch A Crow in the summer of '98,
having received the script through his London agent. Peter loved the story
and immediately dedicated his support to the project, and luckily was
available to come to Sligo for the weeks shooting. Local theatre actor
Michael Roper had just returned from a tour in the States and also committed
himself to the film. The remainder of the cast were found through Letterkenny
casting company Munro Casting, and through articles in The Sligo Champion
newspaper requesting local talent.
To Catch A Crew...
For Shay the task of finding a full crew was daunting. "I've been in London
for twelve years, and many of the people I regularly work with were very
interested in coming over to work on the film, yet when it came down to
committing to the shoot almost everybody was working on some 10 week feature
or another, so the chances of them coming over to Ireland to work for
free for a week were pretty much nil". Once in Dublin Shay begin putting
the word out about the film, and after six weeks of phone calls, "sorry
not available", coffees, beers, driving around, and "I'd love to's", the
crew was finally in place.
The shoot was scheduled to begin on Monday 27th September, and everybody
began arriving up to the area over the weekend. "One of the most important
factors for me was getting a crew and cast who would get on with each
other. Unlike a city shoot where everybody goes there own way at night,
we would be living in each other's hair for 8 days - so we had to get
on. I was also very aware of the life imitating art issue - getting a
film crew in to make a film about an obnoxious film crew....so everybody
had to be good people, no bullshit". This worry was also reflected in
the local pub's landlady, who wasn't quite sure whether everybody would
be "asking for exotic drinks like Pimms", and be full of airs and graces.
As it turned out nobody needed to worry, the crew got on with each other
and the locals like two crows in a nest.
Another concern was food and lodging. Short films are renowned for cutting
corners, and catering and accommodation budgets are generally the first
to be trimmed. "Nobody was getting paid, so I thought the least we could
do was to feed them well, and give them a comfortable bed at night. We
hired out two holiday homes, Jesus, they were nicer than my flat, the
Sound Man was definitely happy - he'd spent 6 weeks on the floor of a
disused abattoir in Germany on one film! For the food we got two really
good chefs and didn't skimp on the budget. They provided three options
for dinner, unheard of on a short, and were better than most of the £5m.+
productions that I work on in England."
Shooting the crows
The shoot went with very little hiccups. The weather, worldwide renowned
for its 'changeable' tendencies in the North West was remarkable. A seven
day shoot, and the sun shinned every day...with the exception of one,
when weather cover saved the day. The locals all became involved, helping
out behind the scenes, and over 30 managed to get their faces on camera.
A charity pub quiz was organised by Peter Caffrey on the second last night
of the shoot, effectively providing a pre-wrap party, raising local spirits
and over £450 for the local Cancer Hospice.
Pre-rehearsal time had been limited, and the all important relationship
between the two brothers Paddy and Joe developed very quickly over a few
nights spent in the local. By the end of the week Peter Caffrey and Michael
Roper had most of the locals convinced that they were indeed brothers!
Yet they were upstaged in the film by local actress Florie Moffitt who
plays Finula, their Housekeeper. Florie had never seen a film camera before
in her life, yet took to it like a natural. Watch out Hollywood, Florie
Moffit is on her way.
Many people had suggested shooting the film in Wicklow, or even in the
English Home Counties, yet Shay wanted the story to be true to it's origins.
"Paddy and Joe's house and garden were actually the real locations where
the events of 20 years previous took place. The kitchen, the net between
the two trees, the chimney, are all the exact places where the original
story occurred." The vast exteriors of Sligo have not been seen on film
since "Yer Man From The Six Counties", and they provided a unique backdrop
to the action.
The post production on the film was completed with the help of many people
in London. Berkeley Cole of Remote Films offered his post production facilities
free of charge, and Alex McDonnell spent many long hours putting the final
cut together. In an effort to steer away from any 'diddly-eye' soundtrack,
London band Gallon Drunk were drafted in to provide the jazzy soundtrack.
As with many low budget short films director Shay Leonard became chief
post production runner on the project, racing around with boxes under
his arms between the post production facilities in Soho and West London
for months on end, whilst producer Alexis Bicât spent weeks on the
phone convincing very expensive facilities houses to offer their services
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Leonard is an Irish film-maker who has been making low/no-budget short
films and videos in London for over ten years. Shay studied film at the
University of North London, and at the City University of New York and
the University of Toulouse in France. In 1996 his graduation video The
Present Occupier: Final Demand was premiered at the Portobello Film
& Video Festival in London.
graduating in 1996 Shay has been working on short and feature films
in London, including the highly successful Lock, Stock, and Two Smoking
Barrels by Guy Richie, Hunting Venus by Martin
Clunes and the forthcoming feature films Five Seconds To Spare
by Scala Pictures, and Sexy Beast by the Recorded Picture Company.
He has also worked on many television productions such as the BBC's
Maisie Raine, Harry Enfield, and How Do You Want Me?
film work has been mainly in the Art Department, yet he has also assistant
directed, and worked as a camera operator. He has written a feature
length black comedy entitled 'Turf' that is also based in Sligo.
"To Catch A Crow" represents Shay's first work on Super16mm,
shooting with a full crew.
training as a film director Alexis graduated from the University of
North London (UNL) in 1995. It was here that Alexis and Shay Leonard
first began to work together. As part of his degree Alexis spent a year
making films in New York at the City University of New York (CUNY) in
Harlem. Alexis has directed and produced nine short films. His works
include many never before seen movies that deal with sometimes taboo
themes that touch many of us in today’s world.
autumn 1996 Bicât launched the highly successful SOHO SCREENINGS
Film Market. Since then Bicât has been indirectly involved in
the sale of well over thirty feature films, encouraging producers to
go it alone in the world of sales. THE SOHO SCREENINGS stands as a mark
of his determination, interest and commitment in helping to nurture,
encourage and display new filmmaking talent.
1999 he successfully brokered a two year sponsorship deal with Kodak
Professional Motion Imaging that gives five new independent feature
films per year a place in THE SOHO SCREENINGS for free. At 1999's
SCREENINGS Bicât received much praise in Variety, Moving Pictures
and The Hollywood Reporter for launching a working database driven web
site that unified the registration process for Buyers and Sellers attending
the pre-MIFED event at a stroke.
O' Hagan (Production Manager)
began working with Graph Films as an Assistant Producer in 1993. She was
consequently a Producer with Midas Films from 1995 to 1997 working on
various broadcast, corporate and pop promo productions. For the past two
years Joanne has produced and directed numerous short films, television
programmes, and corporate video presentations for RTE and other Irish
companies in a freelance role.
Cotter (Director of Photography)
graduating from Dun Laoghaire College James has been lighting both
short drama films and corporate projects. He has also directed his own
short film "Life on Mars", broadcast in August 1999 on Network 2 as part
of the 'Debut' series. His most recent work was the short "Nowhere
Flanagan (Sound Recordist)
is also a graduate from Dun Laoghaire, and has developed his sound skills
by working with some of the country's top sound mixers. He has worked
on over 40 short films and many feature films throughout Ireland. In October
1999 he achieved the rare distinction of winning two BAFTA Technical Awards
for sound composition and design. Robert has also received awards at the
Galway Film Fleadh and the FUJI Short Film Awards in London.
in Liverpool Alex rose quickly through the ranks to become the in-house
editor for Remote Films in Battersea, London. A position he has held for
more than 5 years. Now a director of the company Alex likes nothing more
than the work he does on low budget dramas. His experience extends well
into short films, pop promos, commercials, documentaries and corporate
Johnston & Gallon Drunk (Original Music)
Drunk's dark, boozy rock & roll became a cult favorite in the U.K.
in the early '90s. The band formed in London in 1990, releasing singles
on their own Massive record label. Gallon Drunk have played the UK gig
circuit for over ten years, with lead man James Johnston also touring
with Nick Cave and the Bad Seeds during the early 90's. Their early singles
received favorable reviews and the band signed with Clawfist records in
1992. Gallon Drunk released their first major label record, From the Heart
of Town, in 1993, and have since released 4 albums. In recent years the
band have turned to soundtrack composing, initially for short films yet
they have just had their first original soundtrack CD released to accompany
the Greek feature film "Black Milk". Their strong impact on the
soundtrack recording world has been comfirmed with the recently completed
score for the feature film “The Most Fertile Man in Ireland”.
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Caffrey ("Paddy" Character)
a regular on Ballykissangel over 5 series, Peter is one of the
'familiar faces' of the production. In recent years he has also appeared
in Channel 4’s Fr. Ted , the acclaimed low-budget Irish feature
I Went Down, and the BBC’s A Love Divided. He also features
in the highly acclaimed feature Night Train (1999) with John Hurt.
Peter agreed to play the leading role of "PADDY" in the film having greatly
admired the script.
Roper ("Joe" Character)
is somewhat of a latecomer to film, having acted on stage for over 25
years, taking the lead in plays varying from many of the Irish Classics
to contemporary works such as 'One Flew Over The Cuckoo's Nest'.
He recently starred in the Donegal shot short films 'Charlie's Mission'
and 'Bang Bang', and has also had leading roles in both 'End
of the Season' and 'The Synthesizer'.
Hopkins ("Martin" Character)
recently directed and played "Gerry Evans" in Friel's "Dancing at Lughnasa"
for KDG Theatre Co. "A peerless production" - Main Event RTE. Currently
working on two short films and a pilot radio soap...
"The Clown's Lament" with Dublin based Juanita
Wilson, "The Tidiest Town in Ireland" (Munster Films) & "The
Last Resort" Radio Corca Baiscinn (Eire)
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The PFJ for this production were…
|Dave "The Producer"
|Woman in Pub
|2nd Woman in
||Dr. John Mark
|Film Crew Member
||Big Joe Gilmartin
||with Ed Rose
& Ian White
/ Daphne O'Connor
|2nd Unit Director
|2nd Unit Camera
|Art Dept. Assistants
(& Unit Winnebago!)
||Rob Dunne /
||City Air Express
/ Kodak Ireland
Oscar the dog
Johnny the pig (RIP)
& Most of the crew ...
Very Special Thank You to…
Michael Mullaney & Michael Quigley, Mullaney’s Soliciors, Sligo
Cormac Meehan, Sean Meehan & Co. IAVI, Bundoran
Ronan MacConUisce, Shoot The Crows, Sligo
Berkeley Cole & all at Remote Films, London
Jim & Stella Leonard
|The Beach Hotel,
Atracta Boyle, Harbour View Holiday Homes
Columba Henneghan, Concorde Anois Teo
Steve Kyte, CFS
The Canavaun Lounge
Jim Gray, The Sligo Champion
Martin Reilly Motors, Sligo
Ronnie Gillanders, Auctioneer, Sligo
Guinness, North West Sales
Hire & Sell Centre, Bundoran
Jimmy McAuley, City Air Express
David McGowan, McGowan’s Funeral Services, Ballina
Packie & Kathleen Harrison
Mick O’Toole, Cine Electric
Mary Davey, Davey’s Pub
Sligo County Council
Much gratitude to
Mark Hannon, the original storyteller, crow catcher, and local hero!
Dolby SR Licence provided by Dolby Laboritories UK
Post Sound by LipSync Post London
Post post by Remote Films Ltd. London
costs by The Irish Film Board
top David Freeman
No animals or birds
were harmed specifically by / on behalf of the film makers in this production.
(although most of the crew did feast on the beast and dine on the swine
throughout the shoot)
Thank you to the
residents and businesses of Cliffoney
Shot on location in and around Cliffoney, Co. Sligo, Ireland
This film is dedicated
to the memory of
Uncle Paddy & Gorevans Pub
Paddy & Joe
will return in
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Interview with Carrion Alexander Crowe, lead crow in To Catch A Crow
by Mark A. Noying,
voice of the Evening Low Standard
conducted 6th September 2000
MARK: To Catch A Crow has been termed a light hearted comedy romp,
yet, for me, I consider that what you were actually trying to achieve
within the tableau of the text is intrinsically a classical analogy
for the English invasion of Ireland, in one sense, asking the reader
to confront any questions of imperial colonial doubt that may still
niggle at the heart of the English psyche. Tell me about what drew
you to the part Carrion?
CARRION: Squwark. No seriously: I suppose, in all honesty Mark,
it was the drugs.
C: Yeah, one of the local farmers tried to poison me with some
lethal drug or other, and if it hadn’t been for one of the crew
who nursed me back to health, I don’t think I’d be here today
talking with you Mark.
M: For me, the carrion crow is a creature that has long symbolised
the viciousness of Mother Nature, feeding on the misfortune of
others, and more recently considered a pest in the rural communities.
Yet you elevate this black fowl of the air to mythical status.
For me the crow represents the lands of the 19th century Irish,
taken away by the plundering Saxons – for a token reimbursement.
How did you approach your character?
C: Well, I suppose I just went with the flow, the director didn’t
really speak much with the animal actors, but then again I am
M: So, did you rehearse much with the director?
C: No, as I say, Shay didn’t spend much time with the actors,
although I think he did have a soft spot for Johnny.
C: The pig… So I did most of my rehearsals alone. Ya know, just
a few practice flybys and stuff…
M: And what about the scene where you go crazy in the pantry?
C: Have you seen Apocalypse Now?
M: OF COURSE!
C: Well, that opening scene where Martin Sheen trashes his Saigon
hotel room provided the perfect inspiration for the claustrophobic
pantry smashing scene.
M: It seemed so natural, even though most of the action was off
C: Yeah, we got it all in one take. Shay’s quite fond of the
method acting style, so he just locked me in the pantry for the
whole day before the shot. Then Rob, the sound man replayed The
Doors “The End” throughout the take to add the final touch. I
tell ya, a few feathers were lost in there!
M: How did you get on with the other birds? It must have been
quite a laugh doing the chimney scene?
C: Ha! I wasn’t even there for that one. They used stunt doubles
– mainly for the insurance thing, but also cause I’m not great
with heights. I don’t know where they got my stunt double from
but the resemblance was uncanny. We used to joke with the crew
about who was who!
M: And what about your final scene, your break for freedom.
C: That was hilarious. The other actors kept messing up, fluffing
their lines, so every time I’d fly out of the box the whole shoot
was held up for ages, cause I’d just fly away. Then the crew would
spend ages trying to get me to go back into the bloody box!
M: And what about the future, have you had any offers for any
other screen parts.
C: I feel that inevitably I’m being typecast. Ya know – lots
of calls from the BBC Natural History Unit (yawns) – all the usual
Docusoap stuff, but my agent’s advised me to keep to the dramatic
roles, so at the moment I’m resting, although I did hear some
rumours of a remake of the American Film by Gus Van Sant (Hitchcock’s
The Birds” - Authors Note: crows are wildly superstitious and
like stage actors with the Scottish Play, they never refer directly
to the title of Hitchcock’s masterpiece).
M: And finally, I know you don’t like to talk about it but how
have you and your close relative Russell Crowe been getting on
since your movie debut?
C: Sorry Mark, no questions on Russell please, although if you
want to chat about Sheryl…
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here to download an MS Word copy of the press kit.
Click here to download an MS Word copy
of our three crow press releases.
Click here to download an MS Word
copy of the exclusive interview with our lead actor Carion Alexander
Click on the link underneath each picture to download a high resolution
JPEG for print purposes.
Please note: Right click on text only (not pictures) to save pictures
on your hard drive.
FINULA (Florrie Moffitt) dashes
cross the landscape chasing crows. Image size: 1.7MB (7x5 inches).
MARTIN the Props Master (Robert
Hopkins) looks pleased to see our heroes. Image size: 375KB (7x5 inches).
Young talented new Irish director
and vegetarian Shay Leonard works the actors into a performing frenzy.
Image size: 283KB (6x4 inches)
PADDY (Peter Caffrey), JOE (Michael
Roper) and FINULA examine their latest catch. Image size: 1.3MB (7x5
Afeared of nothing, Leonard works
with animals and children on his film debut. Image size: 291KB (6x4
A wide shot of our final scene: the
set of the English film crew. Image size: 618 KB (7x5).
PADDY and JOE hear the news about the impending
English Film Crew's invasion. Image size: 1.9MB (7x5 inches).
JOE and PADDY hatch another plot to catch
the elusive bird. Image size: 137 KB (7x5 inches)..
First time film actress Florrie
Moffitt (FINULA) takes a well earned break during shooting. Image size:
717KB (7x5 inches).
OLD MIKEY (Lionel Gallagher) cycles his
way to the audition. Image size: 464KB (6x4 inches).
The talented young new London
based film director and vegetarian Shay Leonard. Image size: 262KB (4x5
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Premiere of Shay Leonard's first film To Catch A Crow at the
Empire Leicester Square as part of the BBC British Short Film Festival
on Super 16mm colour print with Dolby Surround sound.
Wednesday 27th September 2000 at 9:00pm
Tickets available from UCI Box Office on +44 (0) 870 588 8955
or directly from the cinema.
Please do not
call the BBC for tickets.
We hope to
see you there.
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Leonard’s To Catch a Crow Wins
at BBC British Short Film Festival
Shay shows off his winnings outside London's
famous Empire Leicester Square Image size: 2MB (6x4 inches).
News Pre-Pieces to Date:
- Five minute interview with Gargy Patel with clips from the film on
BBC Newsroom South East 28 October 6:30pm
- Twenty minute interview with Nigel Barden of BBC London Live 23 October
- Half page coverage in Camden New Journal
At the closing ceremony of the BBC British Short Film Festival last
Thursday, new writer/director Shay Leonard accepted the popular
prize of the Red or Dead Audience Award for his short film comedy To
Catch a Crow.
On Wednesday evening the film received an extraordinary reception at
it’s World Premiere at London’s famous Empire Leicester Square. The
following day it played again as one of the award winning shorts to
a sell out audience who were attending the Awards Ceremony guested by
Richard Blackwood, Tara Palmer-Thompkinson and Gemma Kidd.
Shay Leonard, an ex student of the infamous University of North London,
well known for being a political hot bed and school of hard knocks,
has crafted a wonderfully unassuming tale of two Irish farmers from
a remote town in North West Ireland in their frantic pursuit of a live
crow for a pompous English film crew.
The true story of To Catch a Crow is close to the heart of the young
new director. One of the lead characters PADDY is based around Leonard’s
own uncle, Paddy Leonard.
On receiving the gong Leonard noted how fitting it was that the film
had been awarded the popular prize exactly one year to the day since
To Catch a Crow had wrapped.
Shay and his co-producer Alexis Bicât have already been approached
by two major feature film production companies to talk about their next
project, a sequel to the Crows entitled Turf.
Originally chosen from over 3000 entries and voted favourite out of
368 short films in competition, the film now has the great distinction
of winning an award at it’s first ever screening.
“The film won by an enormous margin.”
Amanda Casson - Festival Director, BBC British Short Film Festival
“This award means a lot to us. For a start it means we can now afford
a decent pair of shoes,” said Leonard on receiving the 500 pound voucher
from Red or Dead boss Wayne Hemmingway.
“All along, we’ve tried to make quite a modest film. To entertain people,
bring a smile to their faces. After watching last night’s screening,
I thought we’d done pretty well. This award represents the vote of the
people – I don’t think we could ask for anything more.”
Shay Leonard – Writer/Director, To Catch a Crow
“I can’t wait to get started on the further adventures of PADDY and
Shay Leonard – Writer/Director, To Catch a Crow
“I’m really happy for him [Shay] and for the whole crew. Winning
the Audience Award will mean a lot to everybody who worked on the film.”
Alexis Bicât – Producer, To Catch a Crow
THE DIRECTOR (Roger Barton-Smith), Shay's
Mother, FINULA (Florrie Moffit) and Shay's Father share the lime light
outside London's famous Empire Leicester Square Image size: 160KB (6x4
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Ferrand Market Details
To Catch A Crow Winner
of the Red Or Dead Audience Award at the BBC British Short Film Festival
and 'Highly Recommended Short Listed Finalist' in the Turner Classics
Shorts Competition is available for viewing and for sale at the Buyers
Market in the Clermont-Ferrand Short Film Festival
Simply present your ‘red dot’ accreditation pass at the Market Reception
Desk between the hours of 9:00am and 9:00pm from Saturday 27 January
to Friday 2 February 2001 and ask for To Catch a Crow. Staff at the
Market Library will be pleased to help you discover how To Catch a Crow.
In attendence at Clermont Ferrand Short Film Festival and Market will
be Writer/Director Shay Leonard and Producer Alexis Bicât.
Sales Contact details
for the market are the same as those below.
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Distribution for an Irish Film in Ireland? Never!
In many parts of the world it seems that the North Americans have the
main theatrical distribution chains sewn up for their movies only. It
is indeed a rare thing to see an Irish film in an Irish cinema. But
why should this be the case when so many locals would like nothing more
than to see films about themselves on the silver screen.
The complete control
of cinema screens by Hollywood majors is repeated all over the world
with what some might call a choke hold by the studios on regional talent.
Not so at Buena Vista International because the notable exceptions to
this rule are France and Ireland, yes Ireland.
For years now Buena
Vista International Ireland have been ground breaking in their approach
to distributing films set in the Emerald Isle and To Catch a Crow is
the latest film to be subjected to Buena Vista’s particular brand of
innovation and commitment to local product.
The Award Winning
short film To Catch a Crow has been selected by Buena Vista International
to play in fifteen theatres nationwide this Spring 2002.
Two years in the
making To Catch a Crow (15mins 19secs) took the BBC British Short Film
Festival by storm winning that most coveted of awards the Red or Dead
With sales to Japan,
North America, Ireland and the UK and a healthy international festival
circuit ahead of it, the Crows have made seven years of cabbage soup
for writer/director Shay Leonard and producer Alexis Bicât seem
The duo were widely
shunned by British (and Irish) funding bodies before they started even
planning this delightful and charming short film comedy.
The film tells the
story of a pompous English film crew who come to the beautiful North
West of Ireland. The demanding film director (is there any other kind)
is in search of a live crow to use as a prop. Naturally all the locals
are desperate to either get themselves into the film or make a few bucks
off the back of the production and it is not long before the entire
village is searching for the elusive bird.
& Sales Contact
- Producer, To Catch a Crow
eu: +44 (0) 777 555 8970
us: +1 (323) 839-2345
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British Short Film Festival Home Page
gone crow crazy trying to catch that damn bird."
"The birds haven't been this nervous
came to town."
dir. To Catch
"Hollywood here I come."
"Watch out Al Pasino