Tom is an award-winning narrative, documentary film and TV director and producer producing media for international audiences.
Tom’s output includes a 12-part lifestyle series TEACH GLAS for TG4 on environmental and green technologies in the home, the documentary AMHRAN NA BHFIANN for TG4 on 100 years of the Irish National Anthem and a range of film output broadcast on RTE, CHANNEL 4 and featured and prize-winning at film festivals to include VENICE, NEW YORK, CLERMONT-FERRAND, BFI LONDON, EDINBURGH, PALM SPRINGS and MONTREAL.
Tom has produced theatre, collaborating with theatre company GUNA NUA to produce a successful run at the PROJECT ARTS CENTRE for SKIN DEEP – a devised multimedia play that received the STEWART PARKER AWARD for best new writing.
Tom has directed and produced many TV commercials for clients across many sectors – to include Centra, Brown Thomas, Cuervo, 1800 Tequila, ECOMM and The Banking Federation of Ireland.
Film by One Productions Producer When you're gone - what's left behind
Woman of the House
Film by One Productions Producer Her model life is shaken by the discovery of her husband’s wandering eye, but in her fairy-tale, there is only one woman.Genres: Short | Drama | Romance | ThrillerWritten and Directed by Aidan Gibson Producers Tom Hopkins Laura Hopkins Trevor Curran Starring Eva Hein West Sarah Tapes Jenkinson Sophie Merry Kevin O’Flynn
Film by One Productions Producer Young girls and boy bands, a perfect match. But two such friends are devastated when they are denied concert tickets by their parents. They hatch a plan to do the next best thing, meet their idols in person. This requires eloping from home and cycling through the night. But will they see what they hoped for? Director: Niall Cutler 11 mins / Ireland Cast: Yvette Dempsey , Jordan Brown
Amhrán na bhFiann
Documentary by One Productions (Documentary) Director We sing it at the beginning of every football match but many of us don’t know the words of the song, let alone its history and inception as our National Anthem. This half hour documentary celebrates the centenary of the composition of our national anthem, first written in English at the start of the twentieth century and originally named The Soldier’s Song.Do anthems, or even nation states, have a future in the face of globalisation? Are other tribal anthems, such as “You’ll never walk alone” for Liverpool – or “One” for U2 – more immediate, more relevant, more defining? When the anthem talks about resisting those who came to enslave us from across the sea, does that apply to McDonalds? Microsoft? American movies?“No more our ancient sirelandshall shelter the despot or the slave”admirable sentiments – but is is true? Who are now the despots? Who are now the slaves?Most national anthems arise from the turmoil of a nation’s birth, and reflect the pain of that birth. As Ireland moves into a freewheeling adolescence from a repressed childhood do we want to forget the pain of that birth? Or would we prefer to remember? Our call.
TV Series by One Productions (Documentary) Director There is a fundamental shift in the way we look at the houses we live in. Rising energy costs, property values and government legislation mean that making our houses more energy-efficient is no longer the provence of the eco-warrior, but of mainstream home-owners. This series looks at how you can save money on energy bills and maintain and increase the value of your property.In this 2-season, 12 episode, half hour series – we separated snake-oil from sound investment and explored all aspects and proponents of the new wave of green technology taking hold in Irish homes – from wood pellet boilers, to solar panels, to heat pumps to wood frame houses, all and every possibility was discussed here.Over 2 seasons with repeats, the program achieved the 4th-highest viewership on TG4 on its years of release, and achieved over 3 million views overall – an impressive number on the niche channel
Theater by One Productions Director In Hollywood, it’s common to re-visit a successful screenplay two, or even three times. The ‘re-make’ is an integral part of the film industry. That’s entertainment; in theatre, the trend is even more pronounced. How many times have we sat through “Waiting for Godot”, “Juno and the Paycock” or “A Midsummer Night’s Dream”? Although no one can argue that each performance may be unique and individual, this habit of re-hashing old themes can sometimes act to stifle innovation. At the other end of the scale, of course, we see an eruption of the bizarre; avant-garde productions hovering somewhere in the hazy territory between performance and art, and tending to make their presence known at fringe festivals around the world. While fresh and innovative, they sometimes lack finesse, or entertainment value. Somewhere in the middle lies the recent One Productions / Guna Nua collaboration, “Skin Deep”.Sometimes it takes courage to break the mould. But that’s exactly what Guna Nua Theatre Company and film and tv production company One Productions did when they began work on their summer hit, “Skin Deep”. The piece featured a brand new script and married live performance with multimedia in a thoroughly entertaining and visually exciting piece. Audiences responded by voting with their feet, filling the venue for the unknown play’s three-week run at the Project Theatre last summer.Unlike many attempts to engage with new technology, the results were in no way gratuitous, exclusive or inaccessible. In fact, the play was very entertaining to watch. Use of the projection screen, live video recording, soundtrack and lighting were well thought out, and added to the performance, rather than distracting from it. So how did One Productions and Guna Nua manage to pull off this delicate balance?The answer lies firstly with the unique experience and backgrounds of the contributors. Guna Nua is a well-known theatre company with a name for quality and innovation, previously witnessed in stage hits ‘Taste’ and ‘Scenes From a Water Cooler’. They took care of the acting part. The co-producers, One Productions, are experienced producers of film and TV, and well versed in the more contemporary multimedia arts. This partnership gave expertise in both fields, rather than a bunch of actors trying to get their heads round live video feeds, or a film production company trying to fathom stage-craft from scratch.The second thing “Skin Deep” had on its side was time. Enough time for the idea to mature. The script was in development for nearly eighteen months. After Guna Nua and One Productions Directors Tom Hopkins, Paul McDonnell, David Parnell and Paul Meade came up with the idea for “Skin Deep”, their first challenge was to develop a script which would incorporate live acting and multimedia. They developed the idea part time, over a period of twelve months, taking time to think the various elements of the production through in detail. The results were a two-page synopsis of the story.Arts Council development funding of 12,000 Euro was essential to the process. With this came the opportunity to develop the script in collaboration with actors, who were locked into a rehearsal room for two weeks with the synopsis, a projection screen and a video camera. From this intensive workshopping process, the draft script and the ideas for use of video technology were established.Every Sunday for the next six months was spent refining the results, which were finally handed over to Paul Meade of Guna Nua to polish up. Based on this final version, the Arts Council parted with another 20,000 Euro; enough to get the production on to the stage, but not enough to see it through its three week run. Another 40,000 Euro would be needed for that, but One Productions and Guna Nua were certain they had a product that would go the distance. The play was booked in to the Project Theatre, Temple Bar, for a three week run.The initial script and workshopping process resulted in a carefully planned and highly effective approach to media cross-pollination. By the time it hit the stage, “Skin Deep” boasted a twelve-metre wide video projection screen, showing a mix of photographic images, live performance and pre-recorded footage. It also had two live video cameras and a vision-mixing desk, giving a sort of ‘TV Studio’ set-up for director Tom Hopkins, and One Productions musician Paul McDonnell had produced a polished, movie-style soundtrack. Cunning use of floor lighting, in combination with the projected backdrop, meant that the minimalist set pieces could be quickly altered to produce a staggering range of ‘sets’ – from a morgue to an airport arrivals lounge. From the opening act to the movie-style credit sequence, the production was visually and technologically superb.During the performance, actors frequently engaged directly with the cameras – picking them up, looking into them, holding the cameras in their hand. Everything was projected onto the screen in real time. The result? Theatre with close-ups. And the difference it makes to the audience’s engagement with the subject is amazing.The use of pre-recorded footage also added to the piece. Swirling dance visuals, photographs from an airport, a stream-of-consciousness glimpse into a character’s inner visions – all added to the visual impact, and the depth of the audience’s experience.Although brand new, and co-produced by a company new to the theatre world, “Skin Deep” proved its credentials, pulling in a constant stream of crowds during its three-week run at the Project Theatre, and breaking even in the process – a difficult feat for a first production, and especially an unknown script, as any theatre insider will tell you.But what made “Skin Deep” such an instant success? Clever use of technology certainly added a memorable feature to the production, making it accessible to a wider audience than traditional theatre. But the modern themes of the script – credit card debt, ‘shock’ art, gossip columnists, fashion photography and drug use, while in no way gratuitous, also made the script relevant to a modern-day punters. Maybe theatre audiences are a little tired of harking to the past – the equivalent of living in a Merchant Ivory film – and are keen to latch on to something fresh and contemporary. That’s certainly what One Productions and Guna Nua offered them. Theatre has now officially entered the twenty-first Century.Whatever the reasons for their success, the hard work of One Productions and Guna Nua has paid dividends. The play has won the Stewart Parker award for best new writing and was nominated for two Irish Times EBS Theatre Awards – one the Special Judge’s Award for ‘Best Use of Multimedia in a Stage Production’, the second for ‘Best Lighting Design’.
Film by One Productions Director When Jill awakes after a serious car crash, she finds herself floating above her own body, still lying in the wreckage of her car below. Not finding encouragement in the bitter thoughts she hears as she floats over the bystanders, she prepares to leave for good – but a sudden jolt pulls her back. CLOSE is the story of one person’s journey through a Near Death Experience. What is on the other side? What is death? Do you have a choice to come back? What does it feel like? CLOSE takes its audience through this adventure between two worlds and out to the other side…
Film by One Productions Director A Birthday party becomes a matter of life and death.
Money, Fear & Justice
Film by One Productions Director Money, Fear and Justice (13 min 18 sec). Gangster noir where a house call goes bad. Short film drama premiered in Galway film fleadh, finalist at Venice film festival and shown at Cork, New York, Clerment Ferrand, Sao Paolo, Rio de Janeiro and – and shown as part of RTE’s debut season (writer/director). Independently produced, and subsequently in receipt of completion finance from Irish Film Board for exhibition film prints.
Winner - Best Short Film - Digital Media Awards
Special Mention - Venice Film Festival - Shorts in Competition
Winner - Best New Writing - Stewart Parker Award
Dun Laoghaire Film School
Trinity College Dublin