CFP-E/shots Young Director Awards: Conor Byrne

Conor Byrne: FOUREYES

First prize: Short Film Northern America

What was your route into directing?

In my sixth grade yearbook, they asked us all to name “what we want to be when we grow up.” My buddy Rob Doyle said he wanted to be “the owner of a 7-Eleven [store],” but I said I wanted to be a movie director. So it’s always been the plan. I was obsessed with movie directors in high school, studied film in college, and hit the ground running after graduation with the help of my brother/producer Tyler. We now work together as Brudder Films. Sadly, though still a chum, Rob Doyle does not own a 7-Eleven today.

Where did the inspiration for FOUREYES come from?

I’ve worn glasses since I was two years old – my mom caught the emergence of a lazy eye when I was watching Sesame Street – so glasses have always been an symbol for me. I have Requiem for A Dream-esque recollections of being subjected to odd eye tests as a kid, hence the freaky ophthalmologist scenes in FOUREYES. Just as vivid are those from the onset of puberty, a time wrought with intense moments of both horrific insecurity and transcendent joy. We decided to tie the symbol of glasses to the ups and downs of puberty, with the aim of balancing zany comedy and sincere emotion.

How long did the film take to make and what was involved?

We developed the story and screenplay over about eight months, shot the film over six days in July 2013, and finished it in December. We shot mostly in our hometown of River Edge, New Jersey. We found an incredible house in town that was stuck in the 70s – shag pile carpet, wood panelling, patterned wallpaper – the whole shebang. Two days after we wrapped, the house was torn down. Our suburban Jersey roots is a major influence on our work.

Is FOUREYES set in the past for the autobiographical reasons you’ve mentioned?

FOUREYES is designed to take place in a world apart from any specific time period – but before the advent of the internet. It’s about puberty in a bygone era. In creating this comic otherworld, we combined elements of suburban Americana from the 50s and 60s (US sitcom Leave it To Beaver -type parents), 70s (house setting), 80s (the teen mag-reading sister), and the 90s (Bobby’s VHS tapes and BMX bike). We wanted the film to feel nostalgic and timeless. It is autobiographical in that I based Bobby’s journey to find girlie magazines on my own stealth missions. Don’t tell my parents.

What was the most challenging aspect of the production process?

For me, the toughest part is always writing, which entails locking oneself in a room, sweating and agonising, pacing, pulling one’s hair out, eating junk food and guzzling coffee. Maybe that’s just me. Alas, it’s also the most important part – if the foundation of your project isn’t rock solid, you’re doomed from the start. The production was thankfully pretty smooth – we had an incredible team of collaborators and friends. We shot the Little League scenes on the hottest day of 2013 – that was a challenge, but no match for our craft services department (our mother) who provided Gatorades and icepops.

What was the most important thing you learned, and the most interesting experience you had, in making the film?

Working with a child actor was special. Jake Ryan, who played Bobby in the film, memorised the entire script even before the first audition – the kid is a real whiz. His spirit and imagination were inspiring, which I think speaks about the value of collaboration while making a film. Be sure to listen and learn from all of the talented people working alongside you – especially if one of those people is a 3’ 10” brainiac.

Where do you find your inspiration generally?

I have a gluttonous appetite for movies. I’m currently watching 80s team sport movies. I’m also obsessed with visual research – mainly on the internet and in photo books.

What’s your next project and what can we expect from you in future?

Tyler and I are excited about diving into the commercial realm. Our central focus is our narrative work – we’re developing several feature projects with the hopes of making audience-friendly films in the very near future. I’m also working on a line of Brudder Films-flavoured temporary tattoos.

What does it mean to you to win a Young Director Award?

Life-affirming really (I know that’s corny!). But it’s an honour that makes me blush with glee, and also motivates me to soldier on in the name of what I love! Plus, the last trophy I got was in an 8th grade basketball tournament, so it’s nice to finally

To read the interviews with the other winners click below: