James Doherty and his filmmaking journey
- eightfolk
- Jun 24
- 5 min read
Updated: 3 days ago
June 23rd, 2025 || News by Eightfolk
Having recently been nominated by Channel 4’s 4Stories for his television drama debut — The Final Countdown , James Doherty has steadily been om a trajectory of crafting his artistic voice as a director. As the creator of Action On The Side (AOTS), we managed to catch up with James during his busy
schedule to gain some insight our cinematic roots...
[AOTS] How did you get into filmmaking?
[James] One of my first creative jobs was designing the menus on DVD and BluRays - which really opened my eyes to the breadth and depth of cinema. Before that I'd only been aware of mainstream cinema and it wouldn't have even entered my head to think I could be part of that world. But discovering filmmakers like Andrea Arnold, Lynne Ramsey, Lenny Abrahamson - somehow it seemed more possible to make work like that. So then I set out to learn about how films are made, starting with short films.
[AOTS] Your work spans various themes, when you begin a new project, what informs your narrative choices?
[James] Instinct. But I think at the start there's a period where most writers are trying things that are a bit unfocused and random. We enjoy a wide variety of films and so we might try emulating some of those films. But as time goes on you gradually start to notice that you're drawn to certain moments, scenarios, or themes - and you become a bit more focused. For me I seem to be for some reason drawn to stories about parent/child relationships.
In July 2013, AOTS ran its first project where two films were made: Reconstruction, a short film based on a woman living with amnesia — produced by James; and Elle Fatale, about a serial killer who meets her match - produced by Patricia Hetherington.
[AOTS] What led you to set up AOTS, and what was that experience like?
[James] I came up with Action On The Side because I wanted to experiment with making short films but struggled to do so when I was also trying to earn a living during the week. So I created it as a platform to bring people together to take their first steps into film. I was aware of initiatives like the 48 hour short film but those tended to be very chaotic and often formed from preexisting filmmaking teams. With the process split into four weekends - writing, shooting, editing, and screening - it became more accessible and collaborative. Personally it really helped me to understand the processes and roles involved in making a low budget short film - which was invaluable when I went on to making my own. Ultimately making my own projects became my focus, and so I stepped away - but was delighted that Patricia wanted to continue running the project. It's really a credit to her that Action On The Side has for twelve years been supporting filmmakers to tell their stories, develop their skills and build up a community.
In October 2013 James produced another short film Soap, leaning into absurdism, whereas Patricia produced tech-inspired short films WhosApp and Facetracker. James was Executive Producer for AOTS shorts Escape and Office Ugetsu in February 2014. After that, he stepped away from AOTS to focus on his own projects and passed the reins to Patricia, who continues to run the projects.
[AOTS] Could you tell us about any projects you are currently working on?
[James] I've made quite a few shorts and just had my first TV directing project air on Channel4 last year, and am now focused on writing/directing my first feature - which is called Everything Not Saved Will Be Lost. It has been selected by Screen Ireland for development funding. If it should successfully move through all the stages of development and get greenlit then it would be something like 2028 before it hits screens. When I was starting out I don't think I quite realised how slowly these things move. It can be slow going through traditional funding routes even with short films - which I think is a good argument for doing something like Action On The Side, as a way of testing the waters, developing your skills and very quickly having a finished film to look at.
[AOTS] Do you have any advice about entering competitions or festivals?
[James] It depends on your goals - and it's difficult as there's so many festivals now it's overwhelming for new filmmakers. On reflection I've gotten the most out of festivals where I've met fellow travellers. Meaning people who are making films in a similar area, and who you might well collaborate with in the future. Because over years of watching each other's films that grows into a community of peers, which is rewarding and valuable. I've also had amazing experiences travelling to far flung festivals, but there are less likely to be lasting relationships or collaborations from those. So particularly if you're starting out without a strong network of filmmakers around you only think of the gigantic prestige festivals, also think about the best festivals that are nearby.
[AOTS] How do you balance making meaningful art with the demands of making a living in the film industry?
[James] That's the battle for most creatives getting started I think. We make concert visuals through my production company Ruckus, where it's possible to make a living because ultimately I am lending my creative skills to the larger production. That sort of work can still be meaningful, but it's important to understand your position within it. If you are selling your creative skills for hire, but still think of yourself as an "artist" then it's quite possible to end up very frustrated. My writing/directing work is of course personally meaningful since I'm the lead creative voice, but getting that work made is a longer endeavour - which is where it's important to be able to support yourself. Unless you're independently wealthy, or are able to survive on a very low income - then there's likely going to be a bit of a balancing act while you get started.
[AOTS] What motivates you to keep going through issues that crop up during production?
[James] I still find it amazing that all of those little moments, captured under pressure, with a crew just trying to get through the day, can be strung together to create a seamless reality for the audience. It's an incredible magic trick. So when the going gets tough I'd say just think: someday soon you will sit in a dark room with an audience and sense them being collectively moved - it is all worth it.
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