The Dark Mile screened last week at the 25th Raindance film festival following its first screening at the Edinburgh film festival back in June.
Everything in Gary Love’s The Dark Mile is out of the ordinary, in the most refreshing sense! Breathtaking scenery and stellar performances by female leads Rebecca Calder and Deirdre Mullins is just the beginning.
Here’s Movie Marker’s Marion Donnellier’s interview with director Gary Love and two of the lead actresses Rebecca Calder and Deirdre Mullins.
Gary Love – Director
The Dark Mile is a very unusual film. The first thing that struck me was the mix of genres. It starts of as a romance with breathtaking scenery, than the thriller comes in with bits of horror from now and then. But I don’t think I could come up with the one that prevails.
This is something that slightly concerns me because there are so many labels. The labels are here to sell. But one of the reason I went and started making films in the first place was because I wanted to make beautiful stories, whatever genre they were.
This idea that you need at least three horror moments to be perceived as a horror film is worrying if you are a filmmaker because your are making films to suit a market and if it does not suit, supposedly it is not worth watching or there is no audience for it.
When you look at films like “Deliverance” or “Rosemary’s Baby”, from which there are elements of in my film, it is hard to define in terms of genre. I am not sure what I would call “Rosemary’s Baby”? A thriller? A psychological thriller with horror elements?
The dolls are the fist element of horror that you introduce in the film.
Yeah the dolls are there a bit like the mum standing up in the pub. It is perceived to be a sign of aggression but actually if you look at it with the correct head it’s her own way of saying these women have no place here and should leave.
What was the first thing that made you want to work on that script or with that story?
I was working and living in America for the studios and did not particularly enjoyed working there. The people were lovely and the work was well paid but it was not good fun. I wanted to come back and make films in the UK because there was a market that I understood and I felt I had more support from. So I came back here to make films and set up this company. I was looking for scripts that I felt could get made within a budget with a small group of people but an intense group of people.
What I found exciting working in America was that I would be on a show that costing 7million per episode and the most exciting moment within that episode was when I was in a car with two actors and shooting it. It is not that it tells a particularly good story but it certainly makes you feel that you don’t need the 7 millions, you don’t need the dollies; you don’t need the car chases and the helicopters. I can make it on smaller budget.
I started to concentrate on European films like “Irreversible” or “Il Postino” to understand the size of what I felt was controllable, actor wise. I was looking for smaller scripts in terms of cast, containment and free location.
Just like the landscape in the next film we are doing in East London where there is the new stadium and the new Westfield. It is very diverse but the same people live in the old and live in the new. That is already a backdrop for the film and it is in the script. It makes sense to cultivate the projects around what’s available.
Smaller production, more creative control?
Yes much more. I love the studios, they gave us lots but I am not interested in being another cog in the wheel. I much rather be a cog in my own wheel and do what I want to do. And it either works or it does not.
So why this script?
The locations, which I knew were spectacular.
Was it already Scotland and its Highlands in the script?
Scotland was in the script but what I did not realize was that the writer had never been to Scotland. He said a lot of things about Scotland but when I went there I realized that the location he was talking about in the script was not actually in Scotland but in Suffolk. It turned out my writer had ever been on a boat trip in Suffolk. It was not particularly helpful but when I went to Scotland to look at the locations and see what I could do I realized that it was the perfect location for the film. Amazingly they were doing some work on the bridges in Inverness. Not only was there no one around, there were no one allowed to be around coming from Inverness.
This is something that probably could not have happened with a bigger production.
I went, saw and asked. As everything else, if you don’t have a location manager on 300k a year etc… you can actually have a real conversation with the guy that is running the locks. For most people the closing of the bridge would mean “ Oh my god that is a nightmare” but actually what it meant to me, as a director, was “That could really really work for us”.
Scotland seems to be a character on its own in your film. It creates the most beautiful and emotional scenes. My favorite scene was the scene with the statute of the seven heads. The camera faces the boat with Louise and Claire. The camera follows the boat as it advances and suddenly the statue appears in the foreground. Was that scene already in the script?
No it was not. We saw it when we were there but its story is not the one that was in the film, it is a very old Scottish story. We had to invent the story because we did not know if there was any family member still alive from the original story.
If you are Warner Brothers, you track down all family relatives or you come up with a similar story based around the seven heads.
What was your relationship to Scotland? Have you been there before?
I worked there on this and I have been there before.
You were very lucky with your location and the light. Most scenes depicting Scotland in your film are breathtaking and are filled with light.
I just looked for the sun wherever we were. If the boat was going down that way in the film but the sun was going the other way, I just turned the boat around. Then I would go close on the girls because we would have already established where we are going on a previous wider shot. What we really want is a beautiful shot. As a filmmaker, you are looking for beauty.
Also for me the hope was that it would depict the calm before the storm. When they have the orgasm scene, everything is pretty and beautiful but then there is someone watching through the trees.
In this film on the one side you have beautiful landscapes and a sensual relationship but it is still a thriller with bits of horror. Did you want that contrast? Did you work with the DOP before shooting to work on those scenes?
Yes I spent a lot with the DOP. But lots of time, with our budget, we would get what we were given. We were blessed with the weather. But boats, water and no budget is an incredibly difficult situation. You have to be very well prepared and organized. We always planned as much as we could but lots of things went wrong. The engine broke down, the gearbox broke down…There is nothing you can do, you just need to work around it.
With such beautiful surrounding, did you also get a few nice surprises? Did you ever saw something that made you want to shoot it right there, right now even though it was not in the script?
One evening, we finished shooting and we were going back to base and as we were coming through, the sky happened. The sky was literally pink cerise. We did not have any scenes to shoot and I just said let’s just do this. This was the scene where Louise looks at the stag miniature in her hand and throws it back in the water. We will have the water sound when she throws it, sucking it back into its world but she will look absolutely serene as if she got over the problem. She threw it out and that is how we could get on to ACT II of the film.
Filmmaking, especially at this lever, is all about preparation. Preparation is everything and after that it is luck.
Another thing I wanted to discuss was the ending. You shot three possible endings and switch ending following the screening at the Edinburgh festival. Why did you decide to shoot three endings and why the switch?
Budget. We had a very big lack of funding for the special effects. Some of the special effects did not work for me and we needed to find an alternative ending that would work. Unfortunately with this ending, the audience missed out on too many plot points and it left them feeling ambiguous.
The film not only has female leads but they have no male counterparts. Did you want to make a film with so many female leads?
It came in the script and the first time I read it I thought it was a fantastic idea. I used to be an actor. I started when I was 12 and I stopped when I was 30 and all I ever heard from actresses was there is just not enough work. And it is true! Every girl, Sienna Miller included, all played the “girlfriend of the guy”.
(Notes: Deirdre Mullins comes over to hug Gary Love.)
When you read this kind of story, two things come to your mind. The first thing is that it is going to be great because it is two girls and how often do we see that? That is a selling point for the movie. Secondly, it could potentially capture some imagination. Rebecca and Deirdre had no idea who each other were before we got them together. But these girls got along so well immediately. The chemistry was amazing.
Hopefully you will make more female centered movies in the future?
Wouldn’t that be good? I have an undercover cop story written as a guy at the minute but it would definitely work as a girl and it would make it much more interesting. It would make something that I have not seen before!
Rebecca Calder – Lead Actress/Louise
The Dark Mile is such an interesting but unusual film. It goes from romance, to thriller with horror bits. How did you come about to be part of this project and what interested you most when you first read the script?
The mix of different genres was definitely a factor, it made the project very unusual. I have done romance and thrillers but I have never done all these genres together. Another thing that attracted me was that there were so many female leads in the story.
Louise is a complex character. From the start she is not very approachable to her lover, Claire, but also to the audience. She first comes across as passive. She does not say much and yet she smiles at everyone around her. What attracted you to this character?
It is true that Louise is a complex character. Most of the women I have portrayed before were mostly victims and I can understand how Louise could come across as one as well. She has suffered trauma and she is traumatized but throughout the film she develops into a much stronger women. The scene where Louise learns that she is pregnant is a turning point I think. It is from this moment that, although she has lost a baby before, she realized that this time it could work out and she enters into pure survival mode for herself and for the baby.
What about the ending? What is Louise state of mind during that shocking final scene?
I think this ending is a very emotional scene for Louise. There is a lot going on in her head. Setting fire to the boat is a bold move but she is not a murderer and even at that moment she does not believe herself to be one. Of course then she has no way of knowing that Claire was in the boat. She is in survival mode. I think what she is feeling is mostly rage that the trauma she suffered from when she first lost a child could actually be happening again. She wants to save the baby.
You have played leads before but you always had a male counterpart. What was it like to be surrounded by two other female leads?
I had a wonderful and unique experience. Working with Deirdre was very easy. Gary had us both leaving together so we could get to know each other and make our on-screen relationship as realistic as possible. Most of the crew was made of women which made the whole experience, and in particular the intimate scenes, much more reassuring.
What is next for you?
I cannot say much but what I can say is that it is a TV Series!
Deirdre Mullins – Actress / Claire
How did you come about to be part of this project? What was the first thing about the story/script that got you interested?
We got the script when it was ready to go. Like Rebecca the fact that it was two female leads was tremendous. Also the fact that it was not a gay film or a film about being gay but that the two main characters just happened to be gay was very interesting to me. It was not about being a woman either. It could easily have been two guys or a guy and a girl. It was refreshing.
What about the mix of genres? How did you react to it when you first read the script?
It is a lovely mix and very unusual. It was particularly interesting in terms of acting. You had those beautiful relationships scenes and then at other times there was full-scale shock and frightening things happening.
Was it very challenging role for you?
Yes and very physical too, especially the scenes in the water. One of the endings we shot was Claire swimming to shores and coming out of the water. Another one was in the waterfall when she comes to rescue Louise. We were supposed to be jumping around in the water but the water was freezing and there was little acting needed!
Did they bring you the role of Claire directly?
Interestingly no. They brought us the script and asked me which role I would like to audition for. I have never been asked that before. Most people would think Claire is a horrible character but I felt more drowned to her. I thought she was a lot of fun, quite provocative and confrontational. In most situations she wraps up the tension.
How did you prepare for the character of Claire?
You always start from the script. You don’t want to impose something you would like to play and you need to start from a non-judgmental place. My research brought me to a lot of random places. I asked a lot of my gay friends to make sure I got it right.
Was it the first time you played a gay character? Did you find it challenging?
Yes it was the first time but I did not find it particularly challenging. In fact one of the great thing about playing a gay part with such an amazing person as Rebecca, or maybe it was that we became such great friends, was that it made it so easy to do intimate scenes. There were never any issues with those scenes. It was actually easier in lots of ways.
The film has three female leads. Was it a first for you?
Yes of course! That is such an amazing thing to make. I am so impressed with Gary for almost not noticing that this was the case. I remember asking him if he had to fight for this idea and he would answer that it was simply a great script. I am a core member of Equal Representation for Actresses (ERA), a Campaign group looking to change the male to women ratio. At the moment on kids TV in the UK there are three male characters for every female character. It needs to change!
Did you also find it reassuring to have many women on the crew?
We were shooting on such close quarters, on this tiny little boat, that it was really nice to have many women on the crew. When crews are very male heavy, it creates a particular kind of atmosphere and when you are doing intimate scenes, it is much better to have sensitivity to that and they were all tremendous.
What about the ending?
I have actually never seen the rushes on this ending so I am very intrigued to see it tonight. From all the endings we shot, this would have been my favorite so I am very glad. I think it makes sense and fulfills the arc of the story.
What is your connection to Scotland? Have you been there before?
I went to university in Scotland and in fact since making the film I have been back. I was on a motorbike tour of the UK for a month and I passed through the Highlands. The DOP, John Pardue, made such a great job at capturing the mystique and the mystery of the place.
An Interview With… Kyle Cooper #Locarno71
In his speech on the Piazza Grande at Locarno Film Festival, Kyle Cooper said that he ‘had been giving credit to everyone else for 30 years and now it was time for him to enjoy it’.
Kyle Cooper was the recipient of the Vision Award Ticinimoda awarded to those whose creative work behind the scenes, as well as in their own right, has contributed to opening up new perspectives in film.
As one of the most respected title credit designers and directors, Kyle Cooper has worked on over 300 movies, including the likes of Goodfellas, Se7en, Spider-Man and TV Series such as The Walking Dead and American Horror Story.
It started again with Se7en and it’s like people had forgotten main titles could be something, and then you came up and broke that wall open. So are you in any way regretting what you did because suddenly you kind of opened the door and everybody came barging in.
No, I think that it’s interesting, you see Saul Bass talk about these “studio trends” where people get tired of main titles and they say let’s just do Woody Allen main titles, we don’t need to spend the money and they can’t do anything for the film and then they forget that it’s the beginning of the movie. I mean sure we could put them all at the end- which is another trend- but it can become the perfect beginning to the film. It can dovetail whatever the live action is, whatever the director’s already intended to do, and the title designer, if they do a good job, for example, I was working on Goodfellas when I was a kid and I wasn’t solving Martin Scorsese’s problem and he said ‘I want something like Saul Bass, remember Saul Bass?’ and I said well, Saul Bass he’s still around, they’ve got an office around the corner! And then Saul Bass did Goodfellas and then the lesson I learned was, Martin Scorsese knew he wanted Ray Liotta to open the trunk and say “I always wanted a gangster” and he wanted the music to kick in, and that was all still there because Saul Bass saw what Scorsese had and looked at the beginning and thought well they’re in a car, so I’ll have this type come by like passing cars and I was thinking as a young person, I need to think of a metaphor for the gangsters of Italy, I don’t know, the Italian flag? And no, he looked at the beginning and figured out how to integrate these nasty credits into the beginning that Martin Scorsese had, and the beginning wouldn’t be the same without the typography integrated and I would maintain that the movie ‘Se7en’ wouldn’t be the same if it didn’t begin the way that it began and so, again about Saul Bass- when he did ‘The Man with the Golden Arm’ people had gotten kind of complacent about main titles and everybody sat up and said gosh, here’s an opportunity, here’s a bit of real estate, where we can do something creatively interesting, so you know, a lot of good work came out of that- it sounds a bit arrogant if I say that Se7en did that but since you said it… it kind of woke people up to the potentialities of what a main title sequence could to for a movie and the best thing that it can do is set the tone and become the first scene of the movie and the last people that were here just asked me what I thought about the Netflix ‘skip title’ button, and I think you have to make the distinction of a film title sequence and a broadcast title sequence and the reason I say that is, if it’s a full feature, many times the main title is setting up something expositional that’s crucial to that particular film. Whereas the Netflix button- the title sequence isn’t intrinsically linked to the first scene of the episode.
What would be the different functions and different uses of those titles – opening the movie, setting the tone are there other purposes in some way?
Yeah- for a film title, a lot of times the studio will stream the movie and realise people don’t understand a certain thing, or they’re missing a point and they say how do we fix this? What shall we do? Oh, let’s talk about the serial killer in the main titles. I shot this thing for a movie called Identity and people didn’t understand the pathology of the plot and so we tried to make sense of that in the main title. So the other things that it can do- it can set the tone – I mean the titles that influenced me and the titles sequences that made me want to be a main title designer when I got out of graduate school were Altered States, Alien and The Dead Zone, and I think that those perfectly set the tone for those movies. They are minimalist and simple, but the music is impeccable and wonderful and it just makes you feel the way you’re supposed to feel at the beginning of that movie. You want to set the emotional tone for that film, you want to elicit an emotional response from the audience.
How did you get into title design in the first place?
I was a graphic designer and where I was working at the time, this man brought in a reel of movie titles and I saw some of Richard Greenberg’s work – Altered States and The Dead Zone – and that’s when I realised main titles combined both my interest in film and in graphic design and that was in 1985.
Increasingly we are seeing almost little films at the beginning of the movie where the title sequence is- even animated when the film is live action or whatever – I wonder if the internet has been an influence on that where you can see on YouTube, particular segments of a film- whether that’s changed the status of the title sequence? Like trailers for example, they’ve become an art form and people review trailers and I’m wondering if title sequences, in a similar way, have they become a discreet theme?
I agree with you yes, and people talk about them and review them independently and I think it’s good but it shouldn’t be separate from the movie somehow I think they work better if they are the actual beginning rather than this disembodies music video – I could be wrong. Elvis Mitchell said in the New York Times, that the Dawn of the Dead title sequence was better than the movie and I felt bad, I felt because I’d never got to work with Zack Snyder, one of his associates said that was insensitive to him , but I would never set out to do that. The trailer is different because the trailer is made up of parts of the movie.
What is your take on the current main-on-end, because I know you’ve done a lot of them yourself, but the whole thing of the main title is to set the movie up, even if they come a little later than the beginning but the tendency now is to have a small sequence at the beginning and let everything role at the end of the movie to an emptying room, Is that demeaning to your work, is it another challenge you have to overcome? What is your take on that?
I don’t think it’s demeaning, to work on a main-on-end, I think a lot of times I have worked on them, they want the audience to leave with a spring in their step, they want the audience to dance out of the theatre –like in Iron Man or in both Sherlock Holmes movies – let’s remind them what they’ve seen, and have them leave with a good feeling, so in that sense there is a necessity to them. The first Sherlock Holmes movie felt like that, it was kind of a celebration of what you had just seen and it worked visually and it was okay. Marvel does it all the time, I don’t feel like it’s a lesser job but you’re not really setting a tone, if the movie ends on a dark tone, they usually decide to have white-type over black. You could have a dark movie and you could set a dark tone at the beginning, but you can’t do that as much with a main-on-end. Maybe your options of what you could do in a main-on-end would be limited.
So in regards to your creative influence at the start, does a director give you a strict brief, as you said, Martin Scorsese guided you to the idea of what he wanted for Goodfellas, so how much freedom do you have in creating these titles?
I’m so interested in getting information, and finding out about what the movie is and what everybody’s intention is, and if the director gives me something to go on, I don’t mind having the box I have to work within be smaller because specific perimeters have been provided because I feel like an idea is only as good as its execution, for example, I shot money burning for the Hughes’ brothers for ‘Dead Presidents’ a long time ago and they had that idea. I don’t mind if the idea comes from the director and I’m just executing it, but I still try to execute it in a way that I think is visually sophisticated myself. I’ve been in situations where it’s completely my idea, and I’ve presented boards and they’ve been approved and I get the director telling me, or giving in notes on what I created. The director always has to approve what I do, I am a graphic designer so I have a client but they have to like what I’m doing.
Is there a director you look forward to working with again? I know you’ve done a lot of work with Terence Malick, there have been directors who have come to you more than once- but is there anyone that you really feel- wow, I’m really looking forward to working with them again!
People ask me if I have to make choices on what to work on, and if I’d choose to work on a movie that wasn’t a good movie or work on higher profile things- the truth is my choices right now are more about the people that come back and I like to work. Is there someone I’m hoping comes back again? I had a nice experience working with Scott Cooper on Black Mass and on Hostiles. Ben Stiller is my friend, he wanted me to some work for him, the last thing I worked on with him was Zoolander 2 and that had a bit of trouble so I don’t know if I’ll work with him again- I’d like to. I liked working a bit with Ridley Scott on Exodus and Prometheus and I think not really. I like Gareth Edwards, the first Godzilla director and I usually have a pretty good relationship with who the director is and if the come back, I try to help them. There isn’t anybody that I’m desperate to have give me a job that I can think of. But rather than pitch on new business and compete against other companies to get new business, I’d prefer to work with someone who knows who I am and knows what I bring to the table.
What is your favourite Saul Bass title sequence?
My favourite Saul Bass titles are- The Man with the Golden Arm, Take a Walk on the Wild Side when the two cats fight and I kind of like Casino – like the idea behind it.
Some people have started to remake old movie posters- is there a title you would like to remake a title sequence to? A classic movie maybe?
The Thing by John Carpenter I would like to remake. That does have a nice title sequence but that is just the first thing that came into mind.
An Interview With… Ethan Hawke #Locarno71
Ethan Hawke, despite being only 47, has been acting for well over 30 years. After his breakout role in 1989’s Dead Poet’s Society he has had iconic roles in Reality Bites, Gattaca, Training Day and Boyhood.
His work with Director Richard Linklater has resulted in one of the most beloved film series of recent times in the ‘Before’ trilogy and this year looks set to be one of his best yet.
We spoke him at the 2018 Locarno Film Festival where he is receiving this years Excellence Award, given to those who through their work and talent, have enriched the cinema with their unique contribution. It’s past winners include Isabella Huppert, Christopher Lee and Susan Sarandon.
How does it feel at this stage of your career to be given a lifetime achievement award?
On one level, I feel completely undeserving but on another level I feel well… Richard Linklater told me ‘don’t get too high on yourself, these are what you call “mid-career check ins” and it means you’ve made it to this one stage and in the next round everybody will hate you again and then you have to survive long enough to get to the next round and then you can be the head of the Jury’- so I’m in the front tier of the second row.
At the beginning of ‘Seymour’ (showing at Locarno), you said you were struggling for a long time with why you do what you do, has that changed since you made the documentary and since you had the encounter with Seymour Bernstein?
I think so. Part of why I think I made that movie was to spend more time with him. Some people have a mid-life crisis and buy a Porsche – I had a mid-life crisis and made a documentary about an Oxygenarian piano player. One of the messages he has to offer people is ‘you are enough’. I think my take-away from this was just to accept myself, and it’s not something that’s just done. It’s something you have to keep doing.
You were saying about “mid-career check-ins”, but looking back on your career, you seem to have had a charmed career and you’ve never really had the troubles everyone else has had. You’re always visible, people always know what you are doing – and it’s always something only you would be doing and nobody else.
Well thank you for saying that! I hope that that’s true. There was a magazine article back home that was talking about the success of ‘First Reformed’ and the reception of ‘Blaze’ that I was poised to have the best year of my life and I may be having my “Matthew McConaughey Moment”. My friend Richard Linklater phoned me up and said – ‘for you to have a “Matthew McConaughey Moment” you would have had to of been washed up! What they can’t write is you’ve done the same thing consistently through your entire life’- and I’ve been lucky that way and the reasons why luck has given me that charm is because really early on, I’ve tried to solve all of my problems with working and that’s when my first marriage fell apart but I just worked harder than ever, and that’s why I went back to the theatre-which is a great healer for actors because it’s incredibly hard and I think that when you really apply yourself, humility naturally rises, you meet your own walls. It’s also strange to be 47 and have been making movies for almost 30 years; it’s a little rare actually.
You recently published a wonderful little book called ‘Rules for a Knight’, which is all about decency. What is the biggest misconception of you, now you have the chance to correct it?
Being proud of being good, doesn’t really make any sense, because if you’re good, pride would be an obstacle. There’s so many ways I’m not good and the truth is, you don’t want to be perceived as good because you feel that you won’t have an edge or be cool, the way young actors want to be. I was very lucky as a young person to have parents with very strong spiritual beliefs and the only thing that was really important to them was their spiritual life. As soon as you depart from spiritual success, that determines your worth- they really wouldn’t love me any better or less if I won Best Actor at Venice or didn’t. That’s not how they grade. They love me for how I’m doing in my own inner-journey- and as a young person you think that’s corny, but as you get older you think that’s actually not corny at all, that’s actually reality. As you start to live long enough to see people’s ego’s really hurt themselves, we end up hurting ourselves with our own self-importance. Finding a balance between believing in yourself and trying to have an inner life that matches something you can be proud of, or that you would want the people that love you to be proud of. I’m aware of what a wonderful seat this is to be in, and an instant gratitude takes place. It’s your work inside that makes you prepared to handle all the different vicissitudes that are going to come.
You were saying before about the spiritual background that you have and that sense of what it means to be good, how much did those thoughts feed into ‘First Reformed’?
When I started the script for First Reformed, on one of the first pages, it talks about all of the books that are on Reverend Toller’s desk and they were almost all books my mother had given me. There was a list of them, Thomas Merton being one of them. I felt like at been prepared for this role. One of the things Merton himself writes about, he was already starting to see an obsession with “celebrity” happen and having a “public self”. I think it helped me deal with celebrities- what I mean is, one of the last times I spoke to River Phoenix, he was talking a lot about how people perceived him and how hard it was to constantly trying to figure out who you are and tell people what you’re not, like when people label you. I wasn’t having that problem because I knew that all of that was fake. And River had just been to the Oscars and he couldn’t believe how fake the Oscar’s were. He said ‘ the statues aren’t gold, they’re like paper! It’s so fake you wouldn’t believe it!’ and I remember thinking, ‘if you’re trying to make me feel bad for you going to the Oscar’s then fuck you!’. I realise now, understanding and accepting the phoniness of the world, you’ve just got to take it as a truth and not be hurt by it every time, it happens.
Were you disappointed when Boyhood didn’t win anything?
That’s my point- not at all, because I never saw that as -you want the work to be worthy, but if you get caught up in seeing other people’s definitions of what is the authentic way for you to live your life- it wouldn’t make the movie better or worse and it wouldn’t affect the final cut of that film one bit. I always tell people it’s a little better if you don’t. I hate it when life always moves the goal line, we made a movie with our closest friends for nothing, over 12 years- about the subtle movements of growing up- and it found it’s way in the commercial markets. That’s a miracle. You don’t give up with your heart so easily. I wasn’t disappointed, I was so proud. I’ve spent my life making little indie movies that no-one even hears of and so to turn that victory into a defeat, would be a waste of time.
What’s the challenge in doing movies like ‘The Purge’ and ‘Predestination’?
Well, by the time I was 20 years old, I’d had two great mentors – Joe Dante and Peter Weir. Dante and I sat down and watched ‘The Howling’ and he said – drive-in movies, if done with art and love can be amazing. It’s like the Trojan horse of Troy- if I said let’s watch werewolf movie and instead secretly, it’s a PTSD movie about the Vietnam War. Get Out is a great example. Another example of these “Trojan horse” movies. If I told you I was making an important film about race relations in America, you wouldn’t want to come, you’d feel like you’re being preached to. If I tell you it’s a scary movie, he comes into the house…. etc… and ‘The Purge’ is the same way- set in ‘the future’ when rich people don’t care about poor people- and I love that because there’s something punk rock about it, it’s not what it seems. Movies are different ways of people trying to express themselves.
Austin, Texas is a huge part of your career, ‘Blaze’ is also a tale about Austin, do you think that there are other stories to tell about Austin- a town that is probably so unique- that the world should know more about it?
The short answer is yes, but the long answer is- the whole world is like that and all these stories need to be told and one of the great things is that we are at this weird in-between place in time right now where it’s very possible for anybody in the world to make a good movie, you can shoot it on your phone and edit it. If you have something to say, it’s like a novel. If you’ve been taught to read and write and you have some paper and a pen, you can write a great novel. You can do it from jail, you can do it on a boat, and now the same is true with a movie. And it’s changed the game. That’s why film-festivals have become so important because you guys are curators. You address what the world should be paying attention to, what should be seen and if we didn’t have these festivals, big business would crush all of the smaller ones.
You’ve just made two movies about obscure musicians, how does that all tie in with those themes and what drew you to those characters?
I think just a natural love of music. A celebration of the people I’ve spent my life with. You’re teachers will all tell you, write what you know and I know people like Blaze- I didn’t know him, but I knew people like him and I felt qualified to write that story, because I’ve had to swim in that water. I’m just trying to follow my gut and I feel that you need to find what you enjoy, and let the love grow.
Sam Claflin and Baltasar Kormákur on the challenges of making ‘Adrift’
Real-life stories sell. We’re intrigued by the impossible, the gritty survival story. Unconsciously drawn to the fear of nature taking over (and winning.)
Adrift is the adaptation of one such real-life tale of horror. Based on the book written by survivor Tami Oldham (played by Shailene Woodley who also as a producer credit on the film), it follows her sailing trip with partner Richard Sharp (Sam Claflin) as they veer directly into one of the most catastrophic hurricanes in recorded history. In the aftermath of the storm, Tami awakens to find Richard badly injured and their boat in ruins, drifting across the vast expanse of the Pacific ocean.
With no hope of rescue, 24 year-old Tami has to look deep inside herself to conjure the strength and determination needed to save herself and the only man she has ever loved.
The film was screened on Monday to an audience who held their breath at every twist and turn of the film. The cinematography is gorgeous, the ocean at once breathtaking and horrifying.The joy that came with the freedom of sailing out into the open was swiftly replaced with the terror of being stranded out of sight.
In places, a weak script was held up by two powerful central performances. Woodley is mesmerising as a woman who is forced to grow significantly over a short period of time as the will for survival kicks in. Claflin is enigmatic and devastating, bringing gravitas to his scenes. Once the pace of the film takes hold, Woodley runs with it and carves out a naturalistic approach to what is a very physically demanding and emotionally charged role.
Attending the screening for a conversation on the film was Claflin along with the director, Baltasar Kormákur (Everest). Although having hired several VFX outlets to help work on some key sequences including the storm, Kormákur assembled a skeleton crew and shot most of the film on the open water. ‘I’d never sailed before’ admits Claflin, who talked about the intense sea-sickness that plagued him for the first few weeks of the shoot. ‘I definitely didn’t have my sea legs.’
The crew had to pitch in to get the shots they needed in a short timeframe, ‘we had to consider where the sun was, where the wind was blowing, how blue the water was in the shot. It was a real learning curve to work with nature. Mother nature was the third main character in the film, definitely’ explained Kormákur. ‘It was a group effort to get the shots,’ added Claflin, ‘everyone would help the others out, whether the DOP, catering or wardrobe. There was no trailer to escape to, you’d be passing equipment over your head to get it to where it needed to be.’
The real Tami was on set for two weeks of the shoot, having consulted on the script during preproduction. ‘I was very nervous’ admitted Kormákur, ‘you’re always a bit worried that they’ll come to set and want to meddle. But Tami understood what we were trying to do with the story and she appreciated the film we were making.’
Adrift is in cinemas now.
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