To start things off, can you introduce yourself to the readers?
My name is Eamon Hughes, I am a creative producer based in Dublin, Ireland. My primary
concern is to bring the strengths and long tradition of Irish storytelling to an international
How did you get your start in the film industry?
My interest began with an early obsession for film that only naturally made me want to get into the industry. Since then Iíve been continually getting more and more ambitious with the films that I make and feel as though I have just begun to take strides!
Can you tell us anything about the short movie Nymph?
Nymph is an engrossing story set in rural Ireland that hopefully gives a glimpse into life here as well as a take on the horror genre.
What do you consider to be the strongest element of your work?
For as simple as it sounds, I think my value in storytelling and cast in films adds a lot to a project. Anyone can do a schedule or send an email but a producer or HODs primary concern should always be the film. My taste in films is unique to everyone else and therefore that makes me unique as a producer.
What do you look for in a script?
I look to see if I care about it personally. Making a film can span a long time and you have to know that you are invested enough in a project to be able to see it through.
Itís not necessarily about whether itís a good script, if itís a good script the chances are it will be made, but if I read a script that includes something that rings true in myself then I know I can bring something to it. Describe how you set a deadline for a project and keep it on schedule.
What are some strategies you use?
I would say that its about respecting who you are working with and being knowledgeable of how long something takes. There is no point setting unrealistic deadlines if they are unrealistic, there can be tight turnarounds but having an awareness of what it takes to make a film should inform the process.
It goes both ways then, if I respect someones job and their craft then it comes back to them understanding that deadlines need to be set and hit. Strategies are beneficial but can always change, I never allow them to stagnate the creativity of a project.
What is the most difficult production problem you had to solve?
I donít think there is a single answer for this but thatís partly why I enjoy production. Every day there are new challenges, some are more bizarre than others, ďWhere can I find and rig a washing machine so that we can set fireworks off inside it for a shot?Ē vs. ďI need to logistically figure out the delivery of catering to set for tomorrow?Ē
Every challenge is different and the all hold similar weight. If one problem isnít solved then the whole project mightnít work. I juggle them all simultaneously and they are all as difficult or as important as the other.
What would you change in a movie you produced that you believe would
make it better?
More finances for sure, money isnít everything but it can certainly make things easier.
Can you tell us more about your upcoming project(s)?
Evidently myself and Caoimhin canít get away from each other and do have plans for our next project, still at an early ideas phase but we do plan to get the wheels turning on that soon.
Where can we found out more about you and your work?
My instagram @Eamon_Hughes or if you go to our FB page www.facebook.com/Nymph2020/ youíll be able to see all the announcements and further details about the film and our work.
It changes all the time. Iím always coming across new and exciting cinema but for this question I
usually revert back to Rumble fish by Coppola, Annie Hall by Woody Allen, Its such a beautiful day by Don Hertzfeldt, A Ghost Story by David Lowery or Nightwatching by Peter Greenaway
What is the last horror film you saw? What did you think of it?
Killer Klowns from Outer Space! While cooped up Iíve been diving into some dated horror and
loving the campiness of it all.
Did you know anything about Sweden?
I visited once! I spent a day in MalmŲ after crossing the Oresund bridge. Beautiful place.