The Coward will be a visceral live-action short film about fear, betrayal, redemption and the immigrant experience in Canada, framed within the pivotal War of 1812.
STATUS: Prep for 2027 Kickstarter
Screenshot from Vanity Fair, Ep.5
Directions
Like Kelly, I am also an Irish immigrant to Canada. The Coward is an artistic expression of my own journey integrating into a new world.
"I’ve gone through homesickness, at least twice in my life. Even after over a decade here, I can easily visualize the landscape of my childhood. The Galtee mountains, bare and silent. The rolling fields of our family farm and the small river a short cycle away, its water fast and shallow beneath the heavy green foliage on the banks.
I imagine it would be just as easy for Kelly, or anyone else who has left home, to do the same and become haunted by that absence of familiarity. With Kelly as my avatar, I am exploring those feelings and using the War of 1812 as a specifically Canadian framing device.
The themes of cowardice, redemption and belonging are shown through an immigrant’s perspective because of my shared background with Kelly. In the end, I want to blend my original heritage with the history of my new home, adding a new story to our shared Canadian identity."
THE HERO
KELLY, a recent Irish immigrant, sought adventure and a better life. Bored with labor, he enlisted in the British Army in 1812, not realizing the brutal cost of war.
HIS JOURNEY
Thrown into a desperate battle against the invading Americans, Kelly struggles with both his rising panic and an aching longing for home that threatens to overwhelm him...
OUR OBJECTIVE
We will capture the intensity of a battlefield in 1814 with gripping performances, practical effects, high-stakes stunts, and authentic visuals for total immersion.
The Irishman
Kelly
Thrown into a desperate battle against the invading Americans, Kelly struggles with both his rising panic and an aching longing for home that threatens to overwhelm him...
"The Coward" will blend the gritty realism of Saving Private Ryan with the epic historical authenticity of The Last of the Mohicans, immersing viewers in the battlefield experience of the War of 1812.
CAMERAWORK
Our cinematography will thrust audiences into the brutal immediacy of 1812 warfare. Battle scenes will be raw and claustrophobic—tight, disorienting shots that plunge viewers into the smoke, blood, and terror alongside Kelly, mirroring his mounting panic.
In stark contrast, his flashback to the Irish countryside will unfold in sweeping, luminous frames—serene waters, rolling green hills, and golden light that evoke an almost dreamlike calm. This sequence (to be filmed authentically in Ireland in late 2026) will heighten the aching divide between past and present.
Then, in a jarring cut, we’re back in the chaos—the clash of steel, musket fire, and Kelly’s fateful decision hanging in the air. The transition will hit like a musket shot, reinforcing the weight of the moment.
RECURRING MOTIF
Kelly’s hands will serve as a powerful visual thread, tracing his transformation. At the outset, they fumble—uncertain, unsteady—as he struggles with his musket, a soldier barely more than a boy.
At the river’s edge, his fingers skim the sunlit water, triggering a memory of Ireland—where, as a child, his small hands rested within his father’s rough, work-worn grasp.
Later, when Matthews, dying, desperately searches for his locket, it is Kelly’s blood-streaked hand that finds it for him—a moment of fragile humanity amid the carnage. And in the final scene, Kelly’s hands, once clumsy, now move with precision. He grips, loads, and fires his musket—not with hesitation, but with certainty.
PACING & BALANCE
This is the story of a young man balancing two halves of his mind on a knife’s edge of mental stability—between the brutal immediacy of war and the distant warmth of home.
The film’s visual rhythm will reflect this tightrope walk, shifting between frenzied, suffocating battlefield sequences and moments of haunting stillness. One moment, we are swallowed by gunpowder and screams; the next, we’re back in the tranquility of a memory—only to be wrenched violently back into the fight.
This balance between chaos and calm will drive the film’s emotional core, mirroring Kelly’s own fractured state of mind as he faces his moment of truth.
Our Team
We have assembled a talented and creative group of industry veterans. Everyone is deeply familiar with the technical processes of film-making, giving us a wide pool of skills, knowledge and abilities to draw on.
Conor M. O'Brien
DIRECTOR & WRITER
Conor has directed several short films and has invaluable experience as a 1st A.D. He has a deep interest in military history, especially from the perspective of the ordinary soldier.
Mack Calistan
CINEMATOGRAPHER
A superb cinematographer with an excellent eye and extensive experience, Mack also loves the time period of "The Coward". He has been to many reenactments in Ontario.
Allan Levine
EXEC. PRODUCER
Allan has decades of experience as a PM and Producer. He brings a sharp eye for budgets and a very strong knowledge of production itself. He has previously produced not just one but two productions set in the War of 1812
Kellyann Murphy
PRODUCER
Kellyann is a freelance commercials Production Manager & Producer. She has decades of experience in both roles and regular works with the director, Conor, in his role as a 1st A.D., on commercials and promo shoots for Films & TV series.
Lize van der Bijl
1st. ASSISTANT DIRECTOR
Lize is a full DGC 1st AD with almost two decades of experience on top tier Film & TV productions. She was 1st A.D. on "Cross" (2025), "Cruel Intentions" (2024), and "Frankie Drake Mysteries"(2019-21). Conor and Lize have known each other since 2013 starting as P.A.s together.
Sean Kaufmann
CASTING
Sean is a casting agent at Premiere Artists in Toronto. An experienced actor himself, Sean has a very strong intuition for the right person for a particular role.
Cam Anderson
EDITOR
Cam is a professional editor at Outsider Editorial in Toronto. He has held a life-long interest in the War of 1812 - he has been a guide and re-enactor at Fort George. This film is a chance for him to help bring the time period to life on film.
Hally Levy
PROSTHETICS KEY
Hally has extensive prosthetics and Make Up experience. She’s exactly who we need for this project and comes highly recommended from her colleagues.
Randy Butcher
STUNT COORDINATOR
Randy (and his son Andrew) are a father-son duo of Stunts men. A deeply experienced industry veteran, Randy is a huge military history fan. He and Andrew also host their brilliant industry podcast, "Going Again"!
Phillipe Maurais
SPECIAL EFFECTS
Phil has over three decades of experience as a very effective Special Effects key. He worked on too many films and series to mention here. Phil will build our breakaway rigs for the cannonball effects.
Peter Twist
HISTORICAL CONSULTANT
Peter is a professional historical consultant for Film & TV. He is deeply involved in the re-enactment scene and has consulted on productions as diverse as "Pirates of the Caribbean" and "Jonathan Strange & Mr Norrell".
Erik Arnesen
SOUND DESIGNER
Erik has been active in the Toronto music community for 20+ years as a Sound Designer and Composer. He is also a predominant member in the folk/rock group Great Lake Swimmers. Erik has composed and created post-production sound for many award-winning documentaries, short films, and sound installations.
Audun Moseng
COMPOSER
Audun is a new and upcoming Norwegian film score composer. He brings over 15 years of music industry experience, spanning from session musician, to sound design, to front of house mixing engineer. Using audio to bring the emotional heartbeat to the scenes, he deepens the audience's connection to the story.
Invasion!
Summer 1814. American forces have crossed the Niagara River again.
"The Coward" opens in the Battle of Lundy's Lane as the British launch a fierce counterattack.
Dónal Kelly came to Canada looking for a better life. He found a redcoat uniform instead. Now it's the summer of 1814, the Americans are crossing the Niagara, and Kelly is in a battle line at Lundy's Lane - pressed shoulder to shoulder with men he barely knows, under fire he wasn't prepared for. Homesickness and death are pulling him apart. Something is about to break.
Authenticity
We’re working with reenactor groups such as the 2nd York Militia and consulting original source material to ensure accuracy in every scene. The unit portrayed in the film will be the Canadian Regiment of Fencibles.
Our goal: to bring the War of 1812 to the screen with the same closeness and intensity usually reserved for modern conflicts — something rarely attempted, especially in a short film!
CANNONBALL STRIKES
A critical narrative element is the terrible effects of heavy iron cannonballs hitting packed groups of men at high speed.
Few sights on the battlefield were as horrifying as a cannonball tearing through tightly packed ranks—a devastating spectacle of iron, blood and gore. In "The Coward", these moments will be brought to life using a seamless blend of in-camera practical effects, prosthetics, and controlled stunts.
Locked-camera techniques will simplify post-production compositing, while CGI will enhance the chaos—adding the gory, bone-shattering impact of cannon fire. The result? Sequences that are brutal, visceral, and terrifyingly real. When the smoke clears, you will feel the true cost of war.
Re-Enactors
The 1812 reenactment group, "Thompson's Company" (2nd York Militia), will be our Background Performers.
Bringing further depth and precision to our battle sequences, these experienced reenactors will serve as our background performers. As dedicated living historians they don’t just wear the uniforms—they embody the soldiers of 1812, down to the way they march, handle their weapons, and respond to battlefield commands.
Extensively trained in both musket handling and battle drill, they will ensure that volleys are both period-accurate and safely executed. Their passion for authenticity will add an irreplaceable layer of historical truth to the film, grounding The Coward in the lived reality of 19th-century warfare.
UNIFORMS & COSTUMES
The Coward drops us into the heart of battle, where soldiers are grimy, bloodstained, and exhausted from hours of brutal combat. Their uniforms—historically precise yet battered by war—will reflect the sheer grit of the battlefield. Torn fabric, mud-caked boots, and sweat-soaked shakos will strip away any romanticized notions of military grandeur.
Authenticity extends beyond appearance. Our actors will undergo hands-on training in the proper handling of their (non-firing) muskets and gear, ensuring that every movement—every clumsy reload, every frantic grasp for a cartridge—rings true to the period. This commitment to realism won’t just enhance the film’s immersion; it will also maintain safety on set.
Budget
This is a complex shoot with significant safety concerns. To get every shot in a smooth and safe manner we need people, gear, time - and money.
Day 2 final budget
$40,000
A big number for a small film!
budget Breakdown
50%
Production & Labour
25%
Casting
15%
Post Production
10%
Legal, Marketing & Miscellaneous
A more detailed budget breakdown is available on request.
Our Strategy
We have three options to fund The Coward:
1. Film Grants
2. Crowdfunding
3. Private Donations
STAGED FUNDING
Our 2026 funding plan is designed for production efficiency, credibility, and funding momentum.
We will approach financing in stages—producing key portions of the film sequentially. This strategy allows us to generate proof of concept, build team experience, and create high-quality promotional material to support funding for subsequent stages.
The film will be shot in three distinct phases, each separated by several months to allow for post-production, fundraising, and preparation:
Stage 1: River Scenes (Canada) [DONE!] Stage 2: Battle Sequences (Canada, 2026) Stage 3: Ireland Scenes (Ireland, late 2026)
1. FILM GRANTS
Grant funding is an important component of our financing plan, but it has challenges - the potential for a big pay-off but with a high threshold for success.
Canada Council for the Arts (CCA): Our 2026 application, submitted May 29th, request $75,000 specifically for the battle sequences—the most logistically demanding and expensive portion of the production.
Ontario Arts Council (OAC): We have submitted an application for a smaller amount (~$40,000) to supplement our budget.
We hope our staged approach will demonstrate clear progress, realistic budgeting, and a functional production strategy.
2. Crowdfunding
Our 2023 Kickstarter campaign raised $43,000 raised of our $50k goal. We've learned the primary hard lesson from that campaign - prepping a community takes time!
We've created a focused, high-conversion Facebook Ads campaign. This is constantly being refined as we approach our 2026 Kickstarter campaign, in August.
3. PRIVATE DONATIONS
As a proof of belief in his own project, Director Conor O'Brien paid for the Day 1 shoot, at the River, out of pocket (est. $4,000).
We're using the Day 1 footage to increase the credibility of the project and our abilities as a team - that we can actually get it done!
From here Private donors can contribute to an achievable goal with reduced financial risk. Passionate supporters of the War of 1812, Napoleonic history, and historical filmmaking will have the opportunity to be part of a unique project from the outset.
Respect
This project does not describe, involve or allude to Indigenous culture. This is due the specific type of combat depicted.
RIGID vs. free
The British Army in 1812 needed to fit as many muskets as possible into their battle lines.
They solved this by packing the men shoulder-to-shoulder into rigid lines (even while lethal projectiles were flung at them).
In fact, the script and our camera work are fundamentally motivated by this physical restriction of the men - the narrative engine of The Coward is that the British soldiers cannot leave their intensely dangerous situation - unless they break and flee (which Kelly does).
By contrast, Indigenous warriors moved about the battlefield at will and were much freer to avoid danger as they saw fit. This difference in warfighting styles would require a fundamentally different script.
Director's note
Warfare is expressive of the societies waging it. I personally have very little knowledge of North American First Nations societies and history.
If I do not understand the source cultures then how can I truthfully describe their way of war? I would be repeating old ideas, unfounded myths and out-right lies. Certainly not intentionally - but unintentional harm is still harmful.
As an Irishman I'm intolerant of cheap and lazy depictions of my own culture. If I cannot write truthfully about someone else's then I should stay silent. Indigenous culture can speak for itself.
Conor O'Brien Writer & Director
Got Questions?
...We've got answers! Just fill out the contact form.
Recently arrived in Canada, Dónal Kelly quickly became bored with domestic servant work in Toronto.
When war broke out between the U.S. and Great Britain, Kelly naively signed up for the extra pay and excitement of a soldier's life in the "2nd York Militia".
1/4
2/4
Missing the landscape of his childhood
(even the rain)
A recent immigrant from Ireland, Dónal Kelly quickly became bored with domestic servant work in Toronto.
When war broke out between the U.S. and Great Britain, Kelly naively signed up for the extra pay and excitement of a soldier's life in the 2nd York Militia. There he became best friends with Matthews. He also met Sgt. Pike, who had no patience for Kelly's relaxed attitude to work and discipline.
3/4
Barely ready & very unsure
now comes the hard part
Kelly is a lack-lustre soldier, at best. His training has barely taken and he is the least respected soldier in his company. Soldiering is not something that comes naturally to Dónal.
Fortunately for Kelly, a new friendship with the conscientious Matthews helped him focus on his new duties. But underneath Kelly's lack of seriousness was a growing mental problem - he was becoming homesick.
4/4
Brett Houghton
ACTOR PROFILE
An experienced film & theater actor, Brett's credits include Jane (Pantheon Projects), Reasons to be Pretty (RTBP Collective), and Million Dollar Quartet (The Lower Ossington Theatre). On screen, Brett has appeared in Locke & Key (2020) The Handmaid’s Tale (2023) and the upcoming films Ataraxia and Masterpiece (2025).