I came to make this movie as passionately as I have taken to anything in my life. From the beginning, The Trouble with Aoibhe was driven by two keen motivations, to raise my standard of filmmaking both artistically and professionally, and to bring to culmination my long time dream to tell the story of an optimist who refuses to renege on her optimism in the face of adversity. And, when it came to finding the right story, all I had to do was look at the frightful campaign posters that lined Cork’s streets.


During the Summer of 2013, there was an abortion referendum in Ireland. An anti­abortion government littered the street with vile images of fetuses. Women, the government claimed, would supposedly suffer if abortion was legalised. The ruse worked and the amendment was not passes; but I was angry, not at the pro­life side, but at prejudice in general. From this anger came the character of Aoibhe, the embodiment of sweetness and good will. Aoibhe sees only the best in everybody and wishes only to do good. There’s just one problemAoibhe has had an abortion in 1980s Ireland.

And, so, I had a plot.


To realise this plot I needed the right team. Keenly, I longed for utter professionalism to make in order to make the best film possible. Crucially, my loyal friends and producers Adam McCarthy and Stephen Broekhuizen were the first in. They are champions of every project, and their willingness to embrace the skills of organisation that I lack make them my most valued partners in all film endeavors. In the case of Justin McCarthy, David Horgan, and Mary Ginnifer (DOP, Gaffer, and Make­up artist respectively), these were three professionals hose record in filmmaking was so great that I almost felt intimidated to approach such seasoned, award winning pros. But their warmth and humour made me feel instantly comfortable in our ability creating a “hit short.” Rounding off the production crew were the tireless and brilliant Phillip Connolly and my dear friend Emmet O’Brien.