To start things off, can you introduce yourself to the readers?

My name is Caoimhin Coffey and Iím the director of Nymph. Iím from the west of Ireland and a speaker of our native language.

How did you get your start in the film industry?

My first successfully funded production was enabled by the European WRAP Fund. Taking the Swedish author Sven Lindqvistís phrase ďDig Where You StandĒ, the point of this scheme was to investigate local stories.

I made a documentary investigating the life of a would-be rapper from a rural village in County Galway.

Can you tell us anything about the short movie Nymph?

Itís the film with the most amount of me (both in taste and life-experience) that Iíve directed to date.

Filmschool gave me the opportunity to explore and experiment with shorts but now as the real world beckons, itís time to get a bit more honest.

What do you consider to be the strongest element of your work?

I try to always maintain a sense of freedom and spontaneity on set, Iím far more interested in shaping a structure, rather than executing a procedure.

Can you tell us about the greatest moment in your film career?

Screening my first funded short, as described, to an audience in Harlem, New York. I actually got to witness the cultural crossover, see what they understood and what they didnít. It felt like my first real step forward as a storyteller.

Do you think you've changed as a Director since you first started?

I believe Iíd be doing something wrong if I wasnít changing. Little bit more experience: little bit less patience, little bit more hope.

How did you come up with the idea for your film Nymph?

Very funny story actually, myself and my producer Eamon were out in the countryside walking my dog. It was a beautiful sunny day and we were pondering what our final year of filmschool would be like. Suddenly four wild horses came thundering up a field towards us. Unsure of what to do, and worried about my dog who getting skittish, we ran.

Can you tell us more about your upcoming project(s)?

Weíre developing two more horror scripts at the moment. Similar to Nymph, theyíre both aiming to expose a terrible ugliness that can hide in the banality of countryside life.

Where can we found out more about you and your work?

You can visit my vimeo at or follow me on instagram @cweeveen

What advice would you give to someone wanting to try a career in Director/Producer?

Watch more films than anybody else you know. Expanding your taste will motivate and shape your vision faster than any number of classes attended or scripts written.

If you could work with any Director/Producer who would they be and why?

If I was to include the dead, Iíd say Andrei Tarkovsky. Iíd struggle to name a more thoughtful artist that ever worked in the medium. Of the living, Andrej Zulawaski or Takashi Miike. Watching them go from the ideation to execution and all the small interactions that happen inbetween would be amazing.

What is the last horror film you saw? What did you think of it?

Diabolique by Henri-Georges Clouzot. Itís considered heresy but I really didnít enjoy it much. The atmosphere never got under my skin and none of the characters were particularly likeable. This film was billed as being on par with the chills of Peeping Tom, a film that left me deeply unsettled (I loved it), but it felt incredibly wooden by comparison.

Favorite country or place?

Iím fascinated by cultures all across the world but if I had to pick one in particular, itíd always be Japan. From anime, to Godzilla, to Kurosawa, Sono, Miike, the list of huge influences on my life that have emerged from that country is endless.

Did you know anything about Sweden?

Never been, sadly, never visited any part of Scandinavia for that matter. Hopefully our festival run will take us in that direction. Since filmschool began Iíve been methodically chipping away at Bergmannís filmography. The Seventh Seal in all itís grim absurdity remains my favourite so far.