By: Vidal D’costa –
Having first gained recognition at the Young Director Awards at Cannes in 2013, later garnering praise and awards galore for his work at prestigious festivals such as Tribeca, Clermont-Ferrand, and BFI London, simultaneously showcasing his short films on Disney+ and The New Yorker, as well as receiving various honours including the “Discovery Award” at the Dublin International Film Festival, the” Bingham Ray New Talent Award” at the Galway Film Fleadh and fetching an Irish Film and Television Award for his 2018 short film Wave (following it up with a nomination in 2021 for another short film Silence), Irish filmmaker TJ O’Grady-Peyton now sets his sights on a potential Oscar.
O’Grady Peyton’s latest short film, Room Taken, which is a collaboration with screenwriter Michael Whelan and Dublin-based producer Colmán Mac Cionnaith (who previously produced Every Five Miles, an Oscar-nominated short by Vincent Lambe) recently nabbed the award for “Best Short Film” at the 2024 Cleveland International Film Festival and is a finalist at yet another Oscar-qualifying festival Manhattan Short 2024- both of which have instantly led to Room Taken generating enough Oscar buzz and rendered it eligible for the upcoming 2025 Academy Awards.
In this interview, the independent filmmaker discusses the motivations behind this tender short film which centers around an elderly blind woman and a refugee who unbeknownst to her has sought solace from the cruel and indifferent world within the four walls of her home due to the housing crisis. O’Grady Peyton also offers some humble words to aspiring filmmakers who are keen to leave their own mark in the industry with their stories and cinematic endeavours.
1) Congratulations on making the cut in the Oscars race. Our readers would love to know more on your journey as a filmmaker. So when, where, and how did the filmmaking bug bite you?
-Thank you! I’ve been passionate about filmmaking from a very young age. Growing up, I loved going to the cinema and watching movies at home. When I was nine, we moved from Ireland to the U.S. for three years, and during that time, I became a regular at both the cinema and the local video store. That’s where the filmmaking bug truly bit me.
After completing film school, I gained experience working on various film sets and studios, and I began making my own small projects on the side. These started out as smaller-scale productions, but with time and experience, they grew in ambition and complexity. Along the way, I’ve been directing commercials professionally for over ten years, which has allowed me to hone my craft while continuing to make short films to further develop my storytelling skills.
Room Taken is my seventh short film, and after this, I am ready to move on to feature films.
2) One of the protagonists in Room Taken, Vicki/Victoria (played by Irish actress Brid Brennan, of the Oscar-nominated ‘Brooklyn’ fame) is a blind woman. So naturally I felt inclined to ask whether you and writer Michael Whelan enlisted the help of a disability specialist/consultant to sketch out this character or to ensure an authentic onscreen depiction of visually challenged individuals, particularly in showcasing the perspective through which they navigate their surroundings differently or in conveying their emotions more realistically?
-It was truly amazing to work with Brid Brennan. Not only is she a fantastic actor, but she’s also a really lovely person. For Room Taken, we wanted to ensure authenticity when portraying a community we aren’t directly from, so we collaborated with Delores Cullen, a visual impairment consultant. While our writer Michael’s great aunt is blind, Delores brought a level of insight that truly transformed Brid’s performance.
Delores generously shared her life experience and they spent time together over coffee before the shoot. That meeting had a profound impact on Brid’s approach to the role. After their conversation, something just clicked for her regarding how to move, perform, and fully embrace the character. It became a crucial part of the production and was a real learning curve for me as a director- something I’ll carry into future projects.
3) The cast, too, can prove crucial to a director’s process. Did any of the impressive and talented actors in your short provide their creative input or feedback during filming, and how did it alter or improve upon your vision?
-Both Brid and Gabriel Adewusi, as did many of the crew, brought incredible creative input. Filmmaking is all about collaboration; many scenes evolved during the shoot and in the edit. Gabriel suggested speaking Yoruba in the opening scene, which wasn’t in the script but added a lot of authenticity. Brid, too, chose to stand for her final monologue instead of sitting as originally planned, and it felt completely right.
Our editor, Derek Holland, recommended extra shots that were crucial in the edit, and our DOP, Evan Barry, captured an unplanned but essential shot on the last day. Filmmaking is a team effort, and being open to ideas from cast and crew elevates the work far beyond what one person could achieve alone.
4) The narrative, structure, interactions, and themes in Room Taken also reminded me of another touching and thought-provoking independent chamber piece The Listener (directed by Steve Buscemi and starring Tessa Thompson) which much like your own short tackled themes of mental health, loneliness, the human connection, etc within a claustrophobic setting, i.e. a dimly lit house. Are there any movies set in a single location or in the chamber piece subgenre that influenced your short?
-I haven’t seen that, but I’ll definitely check it out- I love Steve Buscemi. Two films that stood out to me when preparing for Room Taken were Parasite and The Farewell. Parasite is largely shot in one location and masterfully balances suspense, humour, and serious modern-day themes, which is something I aspired to. The Farewell was beautifully acted and shot, and Zhao Shuzhen’s portrayal of the grandmother was incredibly inspiring. We wanted Victoria in Room Taken to have that same likeable, fun-to-watch presence.
5) Along with themes of loneliness, sense of community, etc, Room Taken pulls focus to a long-running crisis in Ireland and beyond too, which global political leaders and local MPs alike are turning a blind eye to – that of refugees seeking shelter. Are there any more socio-cultural or socio-political issues which you’d wish to shed light on in your upcoming endeavours (either within Ireland or outside)?
-Many great films, though not all, tackle deeper subject matter, sparking conversations that encourage people to reflect on their own lives and beliefs. Good storytelling introduces you to new places or characters you can still relate to, and I’m fascinated by how the film connects people and contributes to meaningful discussions about life’s complexities.
While I don’t always seek out specific themes, two of the four features I’m developing explore the growing wealth divide and the sometimes corrupting influence of extreme wealth.
6) Lastly, what is some sage advice you would offer to budding filmmakers who are in the process of hopefully realising their own Oscar dreams someday?
-Learn how to write, or at least understand writing- structure, dialogue, character arcs, and storytelling. Knowing how to use a camera is great, but working with actors and telling a compelling story is key. You can always lean on others for technical expertise if needed.
Don’t be afraid to fail, and keep creating- the more you do, the more things click. Directing commercials has helped me develop a systematic approach that makes me feel prepared. Taking a part-time acting course also improved my understanding of performance, and acting in front of strangers boosted my pitching confidence.
Finally, connect with other passionate filmmakers. Collaborating with a strong team makes a huge difference, especially since directing and writing can often feel isolating.
