The Directors: Kate Dolan

Kate graduated with an honours degree in film and television production from the National Film School, IADT in 2012, majoring in directing and minoring in editing. Her short film, 'Breathe In', was selected for various festivals.

In 2014, she attended Berlinale Talents to develop 'Little Doll', which premiered at Berlinale 2016. For this, she was included in the British Council's fiveFilms4freedom 2016 Global List. In 2017, Screen Ireland funded her horror short 'Catcalls', which won Best Short Film at YDA Ireland 2018. Her feature, 'You Are Not My Mother', premiered at TIFF 2021 and won several awards. She directed two episodes of AMC/RTE’s KIN. 

LBB> How do you approach creating a treatment for a spot compared to a long form project treatment? 

Kate> Regardless of the project type, my approach to creating a treatment starts the same way. I like to digest the material and then spend a day pulling imagery that resonates with it—whether scenes from movies, photography, people, or places.

Once I have a substantial collection of references, I organise them, asking myself questions like, “Why am I drawn to these recurring colours / shapes? What is it about this composition I like?” From there, I start working up my thoughts and write them up. Specific job requirements come into play later, but this is my initial process for every project. 

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad compared to a long form project? And why? 

Kate> Again I feel like this changes project to project, but I feel like my DOP and my first AD are my key supports. Then on a long form project the actors need to be your most important relationship really. There needs to be an immense amount of trust between the director and the actor. 

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to? 

Kate> Horror is my happy place as I know that world so well. I have more knowledge about horror than most other things, so I feel confident in that space.

Also as a queer woman, I’m passionate about female-driven and queer stories that explore what that means, and finding new ways to tell these stories. 

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Kate> I’m not sure I can answer this. I don’t think I have encountered this much to be honest. Some people watched my debut feature 'You Are Not My Mother' and said “wow I really normally hate horror movies, but I enjoyed your film” – I guess a lot of people think horror is just one thing (jump scares etc.) but it can encompass many things. 

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it? 

Kate> Once a particularly disgruntled man didn’t like that we were filming in a laneway behind his house so started hitting golf balls in his back garden so our sound would be interrupted by a loud thwacking noise every thirty seconds. We had to send someone to beg him to stop but he wouldn’t – but I think eventually he got bored! 

LBB> How do you strike the balance of keeping within the style of the project while still adding your own flare when directing episodes of a TV series that might have multiple directors? 

Kate> You pitch to be part of a TV show because you like its style, which should align with your aesthetic. That makes it easier to stick within the style of the show. Obviously, your job then as a director is to elevate it and put your stamp on it, whether that’s trying something visually ambitious or working with the showrunner to try things you think will bring something new to a scene or a set piece.

In my experience I have had collaborative showrunners who have been open to trying things out. Your personal style will inevitably come through. 

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set? 

Kate> I’ve had many shadow directors on set. I always aim to help anyone who needs it to get to the next level and share my experiences transparently with up-and-coming talent. I believe in removing the veil of mystery some directors maintain around their process. It’s really important to give people opportunities on set who wouldn’t normally have access to that space. 

LBB> As a female director, were there any challenges you faced while making a name for yourself and what advice would you offer to aspiring female directors? 

Kate> From my experience in the Irish film industry, most people have supported me and helped throughout my career and wanted me to succeed. However, you might face occasional scepticism or inappropriate comments. I do think sometimes as a woman you have to prove yourself more so. It’s important to ignore the detractors though and stay focused on your goals. Caring about how others perceive you is a killer. Try to work hard and ignore others’ biases.

LBB> Which pieces of your work do you feel show what you do best?

Kate> You are not my mother (feature film) 

KIN (TV Series)

Pillow Queens - Be By Your Side 

Call it out campaign - Have you ever felt? (Commercial)