As a first-time director, Paul's initial instinct was to surround himself with people who knew their onions. Teaming up with experienced producers Michael Donnelly V and Dawn Mac Allister, they set out to assemble the best talent around.
Getting first choice cinematographer - Eimear Ennis Graham - on board was a massive step in the right direction. The up-and-coming cinematographer in Irish film, she brought along a crack (or should that be craic?) team of Mark Lawless, Adam Ozmin, and JJ Sullivan.
Mike Fitzpatrick was the next great coup, a production designer of huge experience and talent - he single handedly built the confession box which served as the backbone of the whole production. With the help of Tom North, he also transformed St. Multose church to become the perfect location.
Michael and Dawn's regular collaborators Sharon Cronin, Gill Brennan, Ciara Coleman Geany, Chris Carroll and Christine Dilworth next came on board to complete the A-Team of Irish production. A dash of Brazilian flair was added by First Assistant Director (and accomplished writer/director in her own right) Lidia Damatto Moreira. All in all, mighty stuff!
With production complete, Paul returned to the more familiar territory of Los Angeles to get cracking on post-production. Abusing every contact available, the final four elements needed to complete the project were found. Emmy-winner Dan Kenyon to craft the perfect echo-y quiet that can only be found in an Irish church. Emmy-nominated composer McKenzie Stubbert to capture the unsettling tone of Catholic guilt and repression with his original score. Seasoned editor Grant Hall to tie everything together with deft timing and precision. Finally, André Brandão to apply the last artful touches of magic and mood with his magnificent eye for colour. He and his comrades at Clandestino carried the project over the finish line, readying it for the world.
To everyone involved in any way, shape, or form with this project, Paul is eternally grateful.