West Cork Studios founder: 'These films have put us on the map'

When the founders of West Cork Studios, Édaín O’Donnell and Stephen Park, set out to create a production hub, their ambition was clear: to put the region on the international film-making map and attract film-makers and productions from around the world.

That vision is now becoming a reality. Everybody Digs Bill Evans, filmed in Cork and using the county as a stand-in for cities including New York, has gone on to win a Silver Bear at the Berlin Film Festival.

The film is set to open in cinemas, offering a striking example of West Cork’s growing potential as a destination for major international productions.

O’Donnell says the production was a true dream come true.

“It was our dream to attract films of Bill Evans’ calibre. We knew we had the potential, but it also took brave producers to take a leap of faith, and so far, they all want to come back to make more films with us in West Cork.”

The film brings the life and music of legendary jazz pianist Bill Evans to the screen, with Norwegian actor Anders Danielsen Lie in the lead role, alongside Hollywood stars Bill Pullman and Laurie Metcalf, as well as Irish actors including Barry Ward.

Directed by Grant Gee, the film was written by acclaimed Irish screenwriter Mark O’Halloran.

O’Donnell says West Cork Studios can provide productions with a complete filming facility, including sound stages, hair, costume, and make-up departments, construction, green rooms, and offices, as well as resourceful support.

“That could be access to our local crew database, of which we have heads of every department living locally, exceptional local catering companies, extensive local knowledge of locations, a highly experienced maritime department, access to our extras database, a full list and introduction to all forms of local accommodation with very favourable rates.”

O’Donnell says West Cork offers such a wealth of stunning vistas that it can suit almost any type of production, while also providing high-end accommodation for actors and crew.

“We are a four-minute drive from the breathtaking Liss Ard Estate House, where many of our incoming actors have stayed. West Cork has a unique and diverse landscape, the scope of which is only beginning to be realised on the world stage. We have rugged cliffs, pastoral fields, wild oceans, majestic castles, towns and villages, farms, country house estates, stunning islands, and are also not far from Cork city.”

O’Donnell says West Cork’s food tradition is a big attraction, as are the many places for cast and crew to spend downtime, and the support from stalwarts of the film industry.

“We have a thriving creative community around us, with high-ranking filmmakers like David Puttnam, who has mentored us through the development of the studios, and several world-renowned actors.”

O’Donnell says the team embraced the challenge of making West Cork look like the U.S.

“We were lucky during the Bill Evans shoot that the sun came out when we needed it. We have a microclimate around our coastline, which means vegetation can look quite exotic. In ten months, we had to find Texas, Florida, New York, South of England, Pennsylvania, LA, and more recently, I am scouting for potential future projects in Antarctica, Cape Cod, France, and outer space.”

Irish crews have long been celebrated for their talent, and O’Donnell says West Cork is no exception.

“There was an excellent Irish crew on this film, many of whom live locally. We have a talented designer, Ellen Kirk, local carpenters, scenic artists, and art departments. Bill Pullman’s driver was a woman from Baltimore; we had local accountants involved; the assistant director was local, not to mention the world-famous Skibbereen-based photographer John Minihane doing stills photography.”

Did O’Donnell and Park have many issues transforming West Cork Studios into locations that felt authentically American, rather than simply “American-looking”? She says that through exceptional design and set dressing, they did manage it.

“We built a lot of the sets, and there was a specific 1970s bungalow requirement, which we found locally. My house in Skibbereen was built in 1970, so I was glad to have a couple of scenes shot there. The intelligent design and art direction, clever set decoration, great construction, incredible camera, and lighting departments all contributed to this masterpiece.”

The studio founder says it was a privilege to work on Bill Evans.

“To be part of this amazing team to bring this to the screen was an honour. We thoroughly enjoy a challenge, and building New York in the 1960s/1970s in West Cork Film Studios was a highlight for us.”

With two major releases this year, Damian McCarthy’s Hokum and Everybody Digs Bill Evans, and two more to come, Jimmy and The Body Is Water, O’Donnell says it is an incredibly encouraging endorsement that opening a film studio in West Cork was the right thing to do, but they need government and council support if they are to continue.

“[These films] have put us on the map as a serious contender for world-class filmmaking. To maintain momentum, it’s essential for the government and councils to maintain support for the regional film industry. It’s a very precarious and competitive business, and to attract films to the area, we must incentivise with tax benefits, continue to welcome filmmakers to our area with competitive pricing, and everyone in the community will benefit.”

With Everybody Digs Bill Evans already gaining attention on the festival circuit, did O’Donnell expect such a strong reaction?

“We are not surprised Bill Evans is garnering so much attention. Whilst working on this film, it felt like a very special one. It is further proof that we can make virtually anything in West Cork and West Cork Film Studios."