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Chaine Grelots Key Holder


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In season 5 we said wouldn't it be terrific to see the Vikings on camels With shooting for season 5 officially wrapping up on 8th May, our interview with Morgan is timely as he and his team now begin work on post production for the new 20 episode season.

Morgan speaks to IFTN about louis vuitton bags yorkdale the ferocious year long filming process for season 5, the huge scale logistics and writing abilities of Michael Hirst and his skilled team involved in bringing this internationally successful series to actualisation here in Ireland and his hopes for more productions of this scale for the industry here. As MD of World 2000 Entertainment, Morgan O'Sullivan and his team have brought several large scale productions to Ireland. Along with Vikings they also currently make AMC martial arts action drama Into the Badlands and have been behind TV series such as Penny Dreadful, Camelot and The Tudors as well as past feature films such as Braveheart, King Arthur, The Count of Monte Cristo, Reign of Fire and more. Morgan received an IFTA for his Outstanding Contribution to the Irish Industry back in 2011 and more recently at this year's awards in April, he picked up another IFTA for Vikings which won Best Drama series. The series was also nominated across several other categories including Best Supporting Actor for Moe Dunford, Best Director Drama for Ciaran Donnelly, Best Production Design for Mark louis vuitton sign it bracelet Geraghty and it also won an IFTA for Best Makeup Hair a well deserved feat for the outstanding art department and hair makeup element of the show that at times see's an extensive array of actors and over 600 extras made up for scenes and battle ensembles, cue gallons of fake blood and an extraordinary prosthetics and SFX department. IFTN: Congratulations to yourself and the Vikings team for your IFTA win for Best Drama this year and other nominations. What does the win mean for you and the show? Morgan: It's terrific. It's important to get recognition in your own homeland and it meant a lot to the crew, the cast and everybody else. So it was a special moment for all of us I think. We all work as part of a team. We have a philosophy here that we are making Michael Hirst's vision. So it's very important that the design and direction and all of that is sustained by those individuals such as Ciaran Donnelly and Mark in order to carry that vision forward. We have a small tight knit community. What's interesting here is that Michael and I work a lot together and then there's everybody else. We formed a kind of creative unit, be it the director, the production designer, the costume designer a couple of those key people who certainly give feedback to Michael on scripts and pour ideas into scripts. It's very much a team effort and that's what is really extraordinary about Vikings, along with the fact that Michael writes 20 hours of television all on his own which is some achievement. We've been doing that for the last number of years and intend to do it for the next couple of years. He's incredibly disciplined, much of it is talent naturally, but to do this on such a scale takes extraordinary discipline. I don't know anybody else like him. When I accepted the IFTA I suppose he was the only one I singled out because of the fact he is so unique. He's quite extraordinary and he's able to retain all of those ideas and complexities of the drama in his head and it's wonderful to see that in action. He says he takes the dog for a walk in the morning and that's when he works out all his plots. It's quite unique really. IFTN: The entire production is a team effort on such a huge scale as Executive Producer on the series since 2013 how has the scale of production and the efficiency of the show developed over the past 4 years? Morgan: Well, our idea each year is to try and raise the bar. For this year with season 5, we've raised it extensively. We've not only shot in Ireland we've shot abroad as well we went to Morrocco we went to Iceland. So that has turned it into a huge operation from the point of view of logistics. You can imagine if there are 700 people working here then you're hiring another group of people in Iceland and Morrocco. You're having people go from here to Morrocco and Iceland and then you've still got people that have to manage the show in Ireland, so it becomes this logistical nightmare. Seamus McInerney is head of production management here, he's the guy who has all the headaches of having to put all of that together. But he I have worked together for years, we go back to when we made feature films together and he's a wizard with logistics. We've a whole team louis vuitton sign it bracelet replica though, like Breda Walsh, the line producer and a big team that deal with just the sheer logistics like the transport department and the scale of the thing is enormous. Even catering, we have days when Tara O'Sullivan, who would be in charge of the catering would be doing over 650 to 1000 meals and that's pretty challenging. The number of extras we have as part of the show is huge, even feeding them and making them up. The makeup alone you can imagine having to do up 600 people it's quite a task. It's as big as any feature film we've done. It's as big as Braveheart, which is amazing for a TV series. Well, I suppose this team is unique. Michael and I have worked with this team for the best part of 10 years now. It's not just Vikings all the same people if we go back were on The Tudors and Camelot. So we've had them together for a great number of years. I was amazed when Tony our Production Finance guy told me a couple weeks ago that we employ around 700 people for the show every week. It's a hell of a scale, so it's a big show. Our intention each year is to raise the production quality and production value and the great thing about this series is that you can use things from previous shoots you can remake it or refashion it and make it look different. You can build a whole town and change it into something else, which we've done that in many cases. So the sets we would build we are very good at recycling in a sense. A set can be used 3 or 4 times as something different from the original intention, but they are designed in such a way and if you have a really great art department and we have they can sort of milk it for all it's worth. IFTN: Having been associated with quite a number of successful TV series with such an international scope filmed in Ireland from Into the Badlands, Penny Dreadful, The Tudors and Camelot. How do you promote filming here in Ireland? Morgan: It's the kind of tone that we set for ourselves. What we said in order to promote Ireland abroad and to promote us as an industry is that when we go to US television and when we sell a series to US television we say look, we'll give you feature film quality in prime time so that's our main aim, to be better than the next guy so to speak. We've built the teams now because we do Into the Badlands which is another television series for AMC. It's a fairly large scale, big project and there's a lot of action in it. It's primarily martial arts so it has a very big action unit. So all of that is more logistics and expertise. So there are several teams here now that we've built over the years for Penny Dreadful and then James [James Flynn] did The Borgias in Budapest. So we have experience of doing other shows in other countries apart from Ireland.

But Ireland is our base and our headquarters and the idea is to develop shows from here, make them here and then go abroad for the hot look or the particular look that we need. I think the best way louis vuitton bags korea to promote anything is to be better than everybody else and to do it bigger and better and it's also in the quality of the people we have and one of the things we have is people with such a body of experience now and it's not just one crew or two crews its multiple crews. I think we've got wonderful talent in this arena here and with doing these large scale shows both in the feature film area and in the television area has honed those skills.

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