Filmmaker/Writer Sinead Murphy is one of An Táin Arts Centre’s Artists in Residence 2025. In this blog Sinead gives us an inside look at how her residency journey is going so far.
It was an honour to find out I’d been accepted onto the Filmmaker/Writer Residency with An Táin back in 2024. It came at the end of a whirlwind summer, filming my first feature mainly in Louth and South Armagh. ‘SLUDGE,’ is a micro-budget dark thriller, with I hope a pertinent social commentary and making it was no mean feat, in fact it almost killed me! So, it was a welcome break to begin the residency in March, I felt like I was getting a chance to clear my head and take stock.
My plan for the residency was to continue postproduction on SLUDGE and to complete the first draft of my next feature film, (working title,) ‘Priest.’ In an ideal world, I would have devoted all my time to writing the new script, but as every independent filmmaker / artist /parent / pet owner knows, life and the artistic itch is rarely so tidy. The creative process can be, rewarding but also stressful and turbulent. Trying to juggle the contemplative act of writing with the all-consuming reality of postproduction then throw in the mix, walking the dog, doing the laundry and being a mammy taxi etc… it’s no wonder I’m waking at 3am with my mind racing.
My submission for the residency was based on the initial synopsis for ‘Priest.’ In general, my projects begin with a vague notion a shadow of a visual. What prompted this was one day driving through the countryside of South Armagh when I spotted a church in the distant hills. That image took me back the village I came from and a priest I remembered for his own peculiar brand of honesty. This priest was a good man but struggles with his vocation and often spoke in his sermon, about his battles with addiction. He also liked a drink, and I think the company and would frequent the local pub. Nobody batted an eye… he was doing his job and was if all else honest about it. After I heard of his passing, his story kept coming back to me. This began to form the core of what I’m currently developing with the first draft of ‘Priest.’
The next step in the process is drafting the structure with plot outlines. Once I the idea is planted, I start thinking about the characters who inhabit that world. What makes them tick? What are their hopes and fears? It’s all about trying to carve out their narrative arc. For Priest, I knew the heart of the story was a man wrestling with faith, addiction, and isolation. But I needed to include other characters with their own personal story and arc that would drive on the narrative. One way I break down the script structure is to craft 15-minute segments, using each to map emotional shifts and deepen character arcs, always with the goal of building toward something that will make a good watch.
Of course, while Priest continues to evolve, the shadow of SLUDGE has loomed over this period. They say that shooting the film is the hardest part but honestly, I’m finding the postproduction seriously challenging. With the shoot you had a wealth of people around you all striving for the one goal but with post and not having a budget the isolation and stress is very real. Everything moves so slowly and at times you feel frozen waiting for people to get back to you and that is the most frustrating element.
SLUDGE is a low-budget feature with a big-budget look, a dark thriller set in a small town, with most of the filming completed in Dundalk and along the Navvy Bank although we did film in South Armagh also. Starring Shauna Radford, Louth based Katie Murtagh, Ray Malone and comedian PJ Gallagher. The project was ambitious, especially without significant funding, but I was inspired by the calibre of work coming out of Ireland’s independent film scene. The idea was simple, shoot the film with what we had, then apply for Screen Ireland’s completion funding.
What followed was an incredibly difficult, yet rewarding, process. Thanks to the generosity and dedication of the local filmmaking community, and wider community support we completed principal photography in January 2025. Director of Photography Colm Mullen and Lorcan Dunne from DKIT gave their time and expertise freely, giving their students an opportunity for on set experience. Jay Peter Javeri and members of the Louth Film Makers Society were invaluable. My brother, Donal Murphy, a first assistant camera operator, came on board as a producer and pulled in crew and camera equipment from all over the country. Everyone worked for next to nothing, driven by a desire to make films in this area and have this county and surrounds recognised for the potential it has. I’m immensely grateful for that.
An Táin’s support was also invaluable, Paul and Mary Claire provided space for rehearsals and even let us use their facilities as a unit base during filming we also received much-appreciated support from Moya Hodges and Louth County Council. One of the standout things for me was how much support local business gave us, we were given access to multiple locations in particular DKITs studios and hospital wing, Ridleys night club, The Spirit Store and Mo Chara.
Right now, I’m in the middle of a draft edit. The next hurdle is securing the backing of an established production company so we can move forward with completion funding. People keep telling me the hardest part is done, but I have sleepless nights thinking about the time and heart people invested in this film. Whether I like it or not, the weight of that sits on my shoulders. I owe it to them to see it through. There are moments I wish I could just click my heels like Dorothy and fast-forward to the finish line. But when you’re working with tight budgets and even tighter timelines, there’s really no choice but to be patient and keep going.
Being part of this residency has given me that rare thing, head space. It’s been grounding and inspiring to share it with artists like Sophie Coyle. We’ve ended up sharing a space together and I’m in awe of her the stunning work she’s producing daily on her fascinating graphic novel. It’s inspirational to be around other artists and to be witness to their progression. Paul and Mary Claire have created a warm, collaborative environment and even organised meet ups, it’s made me realise that you don’t have to be alone in this sitting in the spare room / office / cloakroom… sometimes bouncing your head off the wall. I rarely talk deeply about my work to friends or family and to get a chance to talk to other creative heads who are interested in what your doing is such a buzz. Art matters and artistic communities’ matter. Inspiration is the genesis of creation!