How Dermot Malone navigated the RNLI's new campaign

How did this project come about, and did you immediately know how you wanted to approach it?

So, we had worked with the RNLI a few years before, on a 60-second film [directed by Steve Kenny through Banjoman] that captured what they do and their association with the Gaelic Athletic Association. It went great, and we had always hoped to team up again. A few weeks back, they reached out and asked would we do something similar for their Float to Live campaign. 

I knew what I wanted to do - a visual poem that was nostalgic, pure and connecting.

Instead of going with a version of the previous approach, I asked if I could instead write them a short film that followed one particular teenager and the rhythm of his life. They almost signed it off over the call. I wrote it up, they loved it and off we went. Immediately I knew what I wanted to do - a visual poem that was nostalgic, pure and connecting. Show the audience a full life and just why it is so important to know what to do when struggling in water.

Above: Dermot Malone's recently released film for the RNLI and the Gaelic Athletic Association, Float to Live.

It was initially meant to be a more prosaic, talking head/instructional film; why did it morph to a more creative approach, and what did that add?

I started with a blank page and my first inclination was to consider the types of PSA films that moved me the most growing up and into adulthood. For me, they were always emotional stories that held up a relatable mirror to our own lives; mini films. I thought of Frédéric Planchon, Ringan Ledwidge and Jonathan Glazer, heroes of mine who had made masterpieces in this vein. The facts are that, with better weather, teenagers in the UK and Ireland are dying far more regularly in the water. I wanted to show audiences what is actually happening and how we need to share this important message in order to stop more tragedies occurring. 

The facts are that, with better weather, teenagers in the UK and Ireland are dying far more regularly in the water.

I think that approach adds because it is subtle, and brings you on a poetic journey rather than starting with facts, information or scaremongering. We get to know this charming young man and we root for him and his life. It is therefore because we are on his side that the threat becomes so harrowing at the end. This type of film/arc is the type of thing that has always affected me and, as such, I felt in my bones it was the way forward for Float to Live.

Above: Banjoman and Sweetshop director, Dermot Malone. 

Can you tell us about the casting and how you found your actors?

My plan was to cast an amazing lead actor and then to build out the Trina character and his friends with the actors actual friend group, and ideally his own girlfriend. [Casting Director] Shauna Griffith helped us find [main actor] Rylee Neilly-Large and it was nearly immediate for me how perfect he was. Rylee has that Tom Hanks type face/warmth where, from frame one, you are on his side. 

I wanted water, as a theme, to weave throughout the story as a silent spectre that quickly turns from oasis to threat at the drop of a hat, as it does in real life.

Thankfully, Rylee’s real life partner Martha was keen to give it a go, as were his pals. This was important for me as it allowed us skip past the chemistry elements that are so key in this film. I wanted to let Rylee lead and then direct with a very soft touch, observing rather than instructing - setting up scenarios or scenes and letting them play out naturally. Directors like Derek Cianfrance, Lenny Abrahamson and Ken Loach are masters at this approach, and I have always found it to deliver the most authentic work. Once we had Rylee, it was easy. 

The sea is a constant in the film, but only becomes a threat near the end; why did you make that choice?

I wanted the sea to feel like a beautiful, ritualistic, safe place; a place of fun and escape, where the group go to cool off, play and take in the summer. But, like with all water, you are never far from danger. I wanted water, as a theme, to weave throughout the story as a silent spectre that quickly turns from oasis to threat at the drop of a hat, as it does in real life. This choice, as with pretty much all choices, were guided by authenticity and capturing the real. 

Above: Malone on set with lead actor Rylee Neilly-Large.

It was a low-budget shoot, but looks amazing; how did you pull that off?

Matt D’Arcy and the Banjoman team are wizards in pulling off what we have comically coined 'the Banjoman special', wherein we create a film that looks/feels bigger in scale than the budget may be. It’s something we have done several times over the years. We are a craft first, margin second company and I am always blown away by how far they can make a budget go. 

The Foggy Dew came on and I nearly cried as it played over writing the final scene.

Along with their excellent producing, we naturally had a lot of good will, given the nature of the project and the importance of the message. Everyone bought in and we were blessed with good will, great deals and genuine support from our crews, equipment houses and locations. Everyone has been touched by water danger in some way or another and that was incredibly apparent when we were in pre-production. 

The soundtrack is beautiful; why did you choose it and what did it bring to the piece?

I love Ye Vagabonds and ,as I was writing the script, I was listening to them. The Foggy Dew came on and I nearly cried as it played over writing the final scene. That was that. We had worked with the band before on my feature film, King Frankie and again, they were delighted to support. The brothers in the band actually grew up on an Island out west and were acutely familiar of the important work of the RNLI.