Interview with Philip Barantini

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I'm not see Daniels and I'm here with

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Philip Bertini

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a professional member who screamed with

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us at Manchester lift-off Film Festival

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Philip why don't you introduce yourself

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and tell us a little bit about your

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background

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okay my name is Philip Barrentine I

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started as an actor over 20 years ago

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and I did many many films TV jobs and

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that was quite quite successful in that

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way I worked quite a lot and then I I've

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always had an interest and passion for

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directing and general filmmaking so like

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that was it yeah last year I decided to

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to sort of take the leap and be brave

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and and direct of my first short film

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was called seconds out it's about a

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young boxer who's suffering from mental

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health and he attempts suicide but fails

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and ultimately the film was about

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seeking help and being not being you

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know knowing that young men so you know

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in that that world boxers footballers

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whatever whatever it may be it's okay to

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talk about your problems so that was the

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first film I did and then I still got

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the book then and and I wrote my second

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short film called boiling point which is

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what we in the Manchester and won best

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short film thank you very much and yeah

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I just I just you know it's just that's

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what I want to do now is it so I've

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decided that's that's my my path and is

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direct and I think great Juna I didn't

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think about boiling point because a lot

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of members were there at Manchester so

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they did see your film says anything

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he'd like to share about the background

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of how that film was made or how it was

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shot absolutely yeah and so I I was I've

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been a chef for many years as well

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because you know as an actor when you're

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not working is you've got your what what

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they call it downtime you know a lot of

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a lot of actors work behind bye

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working it you know waiters waitresses

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and I want I was I have passion about

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food so I wanted to explore the kitchen

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side of things so I went to work as a

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chef and I worked my way up and became

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yeah I became head chef in a couple of

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places and during that time I

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experienced you know people struggling

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with with addiction and you know the the

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high pressure of the way that sort of

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industry works and so boiling point is

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loosely based on a character on a guy

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that I worked with who used to come into

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work every day and and he don't next

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door to the to the to the local to the

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supermarket and buy a bottle of vodka

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and then he decant it into into a

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squeezy water bottle and he'd just be

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drinking it throughout the night and

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he'd also you know be taking drugs at

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the same time to keep himself going and

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he did he just got through and you know

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he was just normal it wasn't like he was

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drunk or he would never have expected or

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suspected a and then one day he he just

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he sort of collapsed in work and and

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then it was a stroke he had a mild

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stroke but he was only in his thirties

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and it stuck with me forever that you

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know Anna I always had the idea of of

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trying to trying to show what the real

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world of kitchens is like you know it

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you see on TV a lot and even some movies

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as well now and it Kalama rises at the

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business a little bit and yeah it can be

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like that you know food is food can be

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amazing too if you're working and you

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know it's very creative industry as well

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but this was a really high pressure then

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and you know I wanted to sort of get

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across that the realism of what it is

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like working in a busy a busy kitchen

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that is is is just a piece of meat on

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the girl I feel the way you shot it as

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well with the the one tank was the

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perfect way to show that intensity and

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and the stress that is behind a kitchen

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so I personally I think you did that

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wonderfully you must have you must have

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come across

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some technical issues or some sort of

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problems that you had to overcome is

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there anything that you can share about

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that if I'm honest it was it was

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technically we we were we didn't really

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run into any problems it the only

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anything that happened was it was a

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moment when we work when we had to there

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was a blackout basically on the monitor

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and that was because we had one go to

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too much technical detail but but the

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Teradek system which is like it you know

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like a radio link between the camera and

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the monitors and so you saw its wireless

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basically but there was a moment where

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that wouldn't work because because of

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that the distance was too far so it

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would have it would have would have

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caused an issue so there's a moment we

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had to unplug the Teradek and plug in a

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wire but it was about 10 seconds of

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blackness on the monitor for me so I I'm

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sat in another room watching the

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monitors and and I'm 10 seconds in that

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situation when it's so intense and and

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it's all in one take 10 seconds felt

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like an absolute lifetime you know

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especially when it when I'm watching

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every tiny little detail that's going on

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to make sure that it's all working and

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it's all right and everybody's hitting

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their marks and everybody's saying the

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right thing so to have 10 seconds of

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nothing is was was yeah it was it was

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really scary and but you know we watched

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it back every taken and I trust my DOP

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and an operator to you know even if so

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so that was that was one issue that we

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had to overcome you know the other thing

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was the fact that we had like 20 actors

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all speaking and you know my my plan was

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to you know the the technical problem

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not a problem but something that we had

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to sort of you know work out early early

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on was was was the sound and how we were

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going to make up every acted you know

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this there was I've got 18 radio mics

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and to that one microphone onboard the

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camera we couldn't have a boom operator

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in the in the rooms

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with the camera because you know when it

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when it's when you're shooting 360

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degrees like that all the time they

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could be among when the camera moves

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across and catches something so so we

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made a conscious decision to have to tap

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their microphone on top of the camera

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and 13 radio mics so we have three sound

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recordists all record an individual you

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know they had their own their own actors

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to deal with and so again my my

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headphones I only had one one recordists

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sound in my ears so I could hear Steven

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Grimes dialogue

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Jonas Armstrong and I don't know that

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maybe another four or five but the rest

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of them you know I had to go off Steve

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into microphone and that was so so he

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could I could hear other people because

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and it wasn't clear enough and so again

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it was like you know I had to trust in

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my team that they were getting

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everything that we needed to get and it

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was difficult to I wouldn't be able to

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go back we didn't have the time to go

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back and then listen to each each

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microphones what it's recorded so again

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I said trust you know implicitly my team

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and and and and yeah they did a

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fantastic job you know I was very proud

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of everyone that worked in that film

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great now that's a really nice

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introduction to boiling point I highly

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recommend anyone to see it where is it

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screening anywhere next what is it

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available well we we've submitted it to

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a lot of festivals

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none of them of which have been noted

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with the notifications haven't come out

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yet so we don't know where we're at with

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that and liftoff was the first one and

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you know fantastic festival it was

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really great to to sort of showcase it

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for the first time it's of an audience

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that that didn't work on it like we did

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a couple of you know casting crew

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screenings in it and a just a couple of

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screenings for friends and family yeah

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and they're gonna say they loved it you

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know it's obviously that's a yes little

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bait they have to say

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so it was it was interested to come see

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liftoff at Manchester away and and then

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I didn't realize that people would be

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scoring he's gone so that was a surprise

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and but you know I obviously got the

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scorecards back and enough and I've

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looked through the morning

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yeah the comments are fantastic and and

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you know the scores were amazing so also

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gives a nice insight to what other

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filmmakers like you said that aren't

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your friends and family and the people

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who worked in it actually think of your

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film so it's just nice to get that other

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eye yeah yeah yeah I'm really you know

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I'm over the moon I'm really grateful

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because we had this idea and and we

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didn't have long to be able to until we

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had to shoot it because Steven Graham's

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availability was slim you know he was

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taking some time off in December and he

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loved the project so much lady said you

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know I'll give you three days and then

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I'm gonna take time off for Christmas

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and spend it with the family so it was

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we were we had I think it was maybe two

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months or something to get everything

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together you know the the location or

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the crew or the cast so it was shot in a

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restaurant um well it's set in a

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restaurant yeah but it was actually shot

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in well it is a restaurant it's a it's a

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fully functioning work working

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restaurant but it's in a today a

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catering College great so you were able

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to shoot on there kind of time on yeah

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yeah so we we went along to a bunch of

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these catering colleges just to see

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whether they logistically worked and

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that one in a Lingam Trafford College in

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altering who we were like absolutely

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it's so accommodating it was it was

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unbelievable

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they just said yeah just you can you

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know have the space with for the three

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days do what you like change what you

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like you know but they're really back

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the project and I think because of the

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subject matter and also what you know

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they're teaching young young people you

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know the world of chef in and cooking

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and and and and also they they wanted to

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to be involved in that side of it

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because it's

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it's an educational thing as well and we

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got a lot of their their students to

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help out

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they had a film departments in the same

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building so I said look you know I want

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to help out these students you know

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we're shooting a film why not they come

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down and just just you know observe for

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bran and do some running or you know

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just just to watch and learn really and

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and you know we we had some great great

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people down there

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I actually had a call from the person

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who runs this college after we had given

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you a selection to LA left off and they

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wanted to interview us so they could

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write a press release and spread the

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word about your film and about their

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college they were also using it to

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promote themselves which i think is

272
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absolutely perfect and every filmmaker

273
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should be doing this so to hear that

274
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different organizations doing it it was

275
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just I was really pleased that they were

276
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oh that's fantastic

277
00:12:00,660 --> 00:12:08,760
oh yeah I mean it was honestly there was

278
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just a lovely lovely bunch and Matt who

279
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runs the Cajun side of things you know

280
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he was so just so on board from the word

281
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go you know we we just rocked up and

282
00:12:15,870 --> 00:12:20,570
said look we're shooting this movie so I

283
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chef who is addicted to cocaine and

284
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alcohol and he's gonna run around the

285
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kitchen and we're gonna shoot it all in

286
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one take and he must have just been like

287
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what what yeah we went with it and you

288
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know he was yeah the whole team they

289
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were fantastic great um so now we've

290
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talked about boiling point when I focus

291
00:12:39,060 --> 00:12:44,670
more about you as a filmmaker um what is

292
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your ultimate goal within the industry

293
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what is it that you wish to accomplish

294
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within your career I think I'm still you

295
00:12:50,670 --> 00:12:55,560
know I'm still learning every day and

296
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I'm on this this journey now I made a

297
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conscious decision last year to direct

298
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and and that's what I want to do now for

299
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the rest of my life I think so in terms

300
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of goals I I don't know whether have an

301
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end goal because I don't feel like there

302
00:13:11,010 --> 00:13:15,330
is an end goal in this industry you know

303
00:13:12,690 --> 00:13:19,800
I just want to continue to make really

304
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good content you know my sort of thing

305
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that I like to

306
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and I like to watch and ultimately like

307
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to make I think is you know very real

308
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raw unapologetic sort of story that that

309
00:13:31,939 --> 00:13:37,470
that you get a reaction from whether

310
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that be happy sad you know I want it I

311
00:13:37,470 --> 00:13:42,809
want to I want to make people feel

312
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something you know they're any films of

313
00:13:42,809 --> 00:13:46,259
filmmakers who have inspired you to go

314
00:13:45,480 --> 00:13:49,619
down that route

315
00:13:46,259 --> 00:13:52,709
yeah well the recently Barry Jenkins you

316
00:13:49,619 --> 00:13:55,499
know his his new reason I love his style

317
00:13:52,709 --> 00:13:57,239
and everything he's about really in

318
00:13:55,499 --> 00:13:58,980
terms of the way you know his characters

319
00:13:57,239 --> 00:14:03,869
in the films everything's very subtle

320
00:13:58,980 --> 00:14:05,369
and and very real and you know his his

321
00:14:03,869 --> 00:14:07,230
his characters they don't really

322
00:14:05,369 --> 00:14:08,819
necessarily have to do anything really

323
00:14:07,230 --> 00:14:11,670
but you still really engage with them

324
00:14:08,819 --> 00:14:13,439
and the stories and the and the look and

325
00:14:11,670 --> 00:14:15,980
the and aesthetics and everything is

326
00:14:13,439 --> 00:14:20,759
just it's just beautiful I just think I

327
00:14:15,980 --> 00:14:23,279
think he's incredible yeah and Shane

328
00:14:20,759 --> 00:14:26,369
Meadows you know another inspiration I

329
00:14:23,279 --> 00:14:36,089
think yeah I love the way he works and

330
00:14:26,369 --> 00:14:38,429
any particular film okay i well

331
00:14:36,089 --> 00:14:42,049
obviously this is England this is you

332
00:14:38,429 --> 00:14:44,850
know yeah that's it yeah

333
00:14:42,049 --> 00:14:47,459
deadpan shoes is I think was incredibly

334
00:14:44,850 --> 00:14:50,699
clever and smart for this time you know

335
00:14:47,459 --> 00:14:52,949
it's it definitely got me at the end I I

336
00:14:50,699 --> 00:14:54,389
didn't I wasn't expecting that be and

337
00:14:52,949 --> 00:14:57,389
that's because I think what he does is

338
00:14:54,389 --> 00:14:58,980
he pulls the audience in and and you wit

339
00:14:57,389 --> 00:15:00,600
these characters and and you love them

340
00:14:58,980 --> 00:15:02,249
or hate them but you're with him on his

341
00:15:00,600 --> 00:15:03,959
whole journey and then you know

342
00:15:02,249 --> 00:15:05,929
ultimately at the end when and it's

343
00:15:03,959 --> 00:15:08,879
flicked on it's on his back it's like

344
00:15:05,929 --> 00:15:10,829
wow it's that that that's the type of

345
00:15:08,879 --> 00:15:12,689
feeling that I like to get when I'm

346
00:15:10,829 --> 00:15:14,970
watching movie I feel fulfilled and I

347
00:15:12,689 --> 00:15:16,470
feel like I've been on this journey for

348
00:15:14,970 --> 00:15:18,540
an hour and a half two hours however it

349
00:15:16,470 --> 00:15:19,919
is and you know I've forgotten about

350
00:15:18,540 --> 00:15:22,110
everything else that's going on in the

351
00:15:19,919 --> 00:15:24,269
world and and I mean and I'm in here you

352
00:15:22,110 --> 00:15:26,459
know and I think he does that incredibly

353
00:15:24,269 --> 00:15:28,019
well and that's again I guess that is

354
00:15:26,459 --> 00:15:31,529
the type that's the goal about that I

355
00:15:28,019 --> 00:15:34,080
that I aspire to have is is is like a

356
00:15:31,529 --> 00:15:37,200
you know films that

357
00:15:34,080 --> 00:15:39,630
that resonate with people and and feel

358
00:15:37,200 --> 00:15:43,800
real yeah I think is very much

359
00:15:39,630 --> 00:15:46,529
performance like you know in believable

360
00:15:43,800 --> 00:15:50,149
and at the moment yeah exactly yeah I

361
00:15:46,529 --> 00:15:54,420
mean I I studied Meisner as a you know

362
00:15:50,149 --> 00:15:56,670
yeah yeah yeah so you know it's it it is

363
00:15:54,420 --> 00:15:58,500
it is about that being truthful and and

364
00:15:56,670 --> 00:15:59,579
you know and putting your attention on

365
00:15:58,500 --> 00:16:02,370
the other person so that you have

366
00:15:59,579 --> 00:16:05,250
natural reaction to that just as in as

367
00:16:02,370 --> 00:16:06,480
in life you know you just you and I are

368
00:16:05,250 --> 00:16:07,829
talking now I don't know what you're

369
00:16:06,480 --> 00:16:10,350
gonna say to me next I don't know what

370
00:16:07,829 --> 00:16:14,010
you know what what how work in you know

371
00:16:10,350 --> 00:16:16,320
gonna interact so it's it's very much

372
00:16:14,010 --> 00:16:18,060
much that really and Philip Seymour

373
00:16:16,320 --> 00:16:22,200
Hoffman was it was a it was a great

374
00:16:18,060 --> 00:16:25,620
example of am I as an actor he did so

375
00:16:22,200 --> 00:16:28,829
well and you know that that's that's my

376
00:16:25,620 --> 00:16:31,350
my sort of thing is to is to really get

377
00:16:28,829 --> 00:16:33,660
into these characters and and delft

378
00:16:31,350 --> 00:16:36,209
really deep and got quite you know the

379
00:16:33,660 --> 00:16:39,000
personal level in terms of storytelling

380
00:16:36,209 --> 00:16:44,550
and and that's everything yeah did I

381
00:16:39,000 --> 00:16:46,829
answer your question no I know it's

382
00:16:44,550 --> 00:16:48,930
great Meisner isn't amazing like

383
00:16:46,829 --> 00:16:51,870
technique to use with actors as a

384
00:16:48,930 --> 00:16:53,250
director but for some of our members on

385
00:16:51,870 --> 00:16:54,570
the network who maybe are looking to

386
00:16:53,250 --> 00:16:57,149
direct their first film is there any

387
00:16:54,570 --> 00:16:58,350
advice that you can give them regarding

388
00:16:57,149 --> 00:17:00,000
this technique in getting that

389
00:16:58,350 --> 00:17:02,760
performance out of the actors that you

390
00:17:00,000 --> 00:17:05,150
desire well I mean what I would say is

391
00:17:02,760 --> 00:17:07,679
if you wanted to go down that route of

392
00:17:05,150 --> 00:17:10,140
demise and technique I would I would I

393
00:17:07,679 --> 00:17:13,439
would read the book you know I think

394
00:17:10,140 --> 00:17:16,050
it's acted Meisner on acting yeah that's

395
00:17:13,439 --> 00:17:17,579
the book that I read initially to which

396
00:17:16,050 --> 00:17:19,800
would spurred me on to go and do the

397
00:17:17,579 --> 00:17:26,130
course in in if the actors temple in

398
00:17:19,800 --> 00:17:27,630
London and I literally it blew me away

399
00:17:26,130 --> 00:17:29,490
you know it's not for everyone

400
00:17:27,630 --> 00:17:31,200
don't get me wrong the technique is not

401
00:17:29,490 --> 00:17:34,679
fair when I remember people being in the

402
00:17:31,200 --> 00:17:36,900
class that you know they completely

403
00:17:34,679 --> 00:17:39,630
broken down and and they didn't come

404
00:17:36,900 --> 00:17:41,730
back the next the next time so it's not

405
00:17:39,630 --> 00:17:43,169
for everyone but I would definitely wait

406
00:17:41,730 --> 00:17:46,650
as a director I would definitely read

407
00:17:43,169 --> 00:17:47,400
the book and I and just get yourself it

408
00:17:46,650 --> 00:17:50,309
really

409
00:17:47,400 --> 00:17:53,640
teaches you and shows you about you know

410
00:17:50,309 --> 00:17:56,700
not just how actors behave but also you

411
00:17:53,640 --> 00:17:58,770
know how human being should behave you

412
00:17:56,700 --> 00:18:03,390
know and and communicate with each other

413
00:17:58,770 --> 00:18:05,280
I think if you you know I'm lucky

414
00:18:03,390 --> 00:18:07,140
because I've been doing it for over 20

415
00:18:05,280 --> 00:18:09,780
years and I know how actors are I know

416
00:18:07,140 --> 00:18:12,300
how I have been in the past you know

417
00:18:09,780 --> 00:18:14,790
we're very sensitive people and so you

418
00:18:12,300 --> 00:18:17,070
have to approach act this in a in the

419
00:18:14,790 --> 00:18:20,460
right way when it comes to giving them a

420
00:18:17,070 --> 00:18:22,370
note or you know tell them to maybe

421
00:18:20,460 --> 00:18:24,900
telling something down you know it's

422
00:18:22,370 --> 00:18:26,340
it's also finding that common ground

423
00:18:24,900 --> 00:18:28,679
with the actors but the language they

424
00:18:26,340 --> 00:18:30,330
understand exactly if you can find a

425
00:18:28,679 --> 00:18:31,920
common ground their performance will be

426
00:18:30,330 --> 00:18:34,760
better and the workload for you it'd be

427
00:18:31,920 --> 00:18:38,490
easier absolutely hundred percent yeah

428
00:18:34,760 --> 00:18:40,140
and you know every again and it doesn't

429
00:18:38,490 --> 00:18:42,000
necessarily work for every actor because

430
00:18:40,140 --> 00:18:44,580
everywhere every act is different you

431
00:18:42,000 --> 00:18:48,080
know I'm learning a lot myself you know

432
00:18:44,580 --> 00:18:50,610
the first film I did was it was with

433
00:18:48,080 --> 00:18:54,450
Robbie O'Neil who who also wrote the

434
00:18:50,610 --> 00:18:56,460
film fantastic actor but he because he

435
00:18:54,450 --> 00:18:59,040
written the script he he had he knew

436
00:18:56,460 --> 00:19:01,110
exactly what the character was you was

437
00:18:59,040 --> 00:19:03,059
supposed to be doing and and we were on

438
00:19:01,110 --> 00:19:04,530
the same page from day one and I knew

439
00:19:03,059 --> 00:19:05,910
exactly what we've been so that that was

440
00:19:04,530 --> 00:19:07,890
in a way it was quite easy because

441
00:19:05,910 --> 00:19:09,330
Robbie's a friend of mine anyway it was

442
00:19:07,890 --> 00:19:11,370
easy to work together I thought like I

443
00:19:09,330 --> 00:19:14,340
could tell him what what not what to do

444
00:19:11,370 --> 00:19:16,470
but you know maybe tutor self nurtured

445
00:19:14,340 --> 00:19:17,970
him a little bit and you know guide him

446
00:19:16,470 --> 00:19:20,970
in in different ways and try different

447
00:19:17,970 --> 00:19:24,320
techniques but you know with boiling

448
00:19:20,970 --> 00:19:27,840
point mad 20-odd active speaking roles

449
00:19:24,320 --> 00:19:29,760
so the way I approach that was I took

450
00:19:27,840 --> 00:19:32,429
them aside individually and we talked

451
00:19:29,760 --> 00:19:34,740
about you know the characters and we

452
00:19:32,429 --> 00:19:38,640
spoke on the phone a lot prior to to the

453
00:19:34,740 --> 00:19:41,070
shoot and them and you know they totally

454
00:19:38,640 --> 00:19:43,500
understood they did allow their own

455
00:19:41,070 --> 00:19:45,929
backstories as well and and you know the

456
00:19:43,500 --> 00:19:48,510
way the way that I got the the actors

457
00:19:45,929 --> 00:19:50,550
who sort of feel believable was I

458
00:19:48,510 --> 00:19:52,860
actually gave them real jobs to do in

459
00:19:50,550 --> 00:19:55,260
the kitchen you know I gave him a job

460
00:19:52,860 --> 00:19:58,530
that would last at least 25 minutes half

461
00:19:55,260 --> 00:20:00,210
an hour and I said don't you know this

462
00:19:58,530 --> 00:20:01,049
is your job that you've got to say you

463
00:20:00,210 --> 00:20:03,480
know fill it all

464
00:20:01,049 --> 00:20:06,059
fish you've got to chop those vegetables

465
00:20:03,480 --> 00:20:07,830
and put them in that pot turn on the

466
00:20:06,059 --> 00:20:09,840
water and wait for it to boil stare that

467
00:20:07,830 --> 00:20:12,149
every so often you know things like that

468
00:20:09,840 --> 00:20:16,110
jobs like that so they're not thinking

469
00:20:12,149 --> 00:20:18,090
about what they're actually what they're

470
00:20:16,110 --> 00:20:20,730
totally in the moment and you know any

471
00:20:18,090 --> 00:20:23,309
sort of reaction they know what they

472
00:20:20,730 --> 00:20:24,419
have to say and when so and when Stephen

473
00:20:23,309 --> 00:20:27,629
comes over to them and they have to do

474
00:20:24,419 --> 00:20:29,789
their bit it's it just happens it's not

475
00:20:27,629 --> 00:20:31,619
it's not preempted or you know and

476
00:20:29,789 --> 00:20:34,470
Stephen was fantastic as he was the

477
00:20:31,619 --> 00:20:36,210
driving force you know with everybody

478
00:20:34,470 --> 00:20:43,049
because he has to interact with everyone

479
00:20:36,210 --> 00:20:44,730
so you know he's very good at and he he

480
00:20:43,049 --> 00:20:46,320
wouldn't he's not specifically maizena

481
00:20:44,730 --> 00:20:49,019
but it the way he works is very much

482
00:20:46,320 --> 00:20:52,070
Meisner yeah but he wouldn't say oh yeah

483
00:20:49,019 --> 00:20:56,369
that's that's the technique that I use

484
00:20:52,070 --> 00:20:57,659
but yeah you know actors are a very

485
00:20:56,369 --> 00:21:00,119
interesting you have to sort of sauce

486
00:20:57,659 --> 00:21:01,580
them out before before you start working

487
00:21:00,119 --> 00:21:04,879
with them because everybody's different

488
00:21:01,580 --> 00:21:08,549
I'm about I'm about to do a feature

489
00:21:04,879 --> 00:21:10,139
start start on Monday actually start

490
00:21:08,549 --> 00:21:13,710
prepping and were just casting at the

491
00:21:10,139 --> 00:21:16,259
moment but you know it's we've got some

492
00:21:13,710 --> 00:21:17,609
a couple of big actors on on board and I

493
00:21:16,259 --> 00:21:20,759
had a meeting with one of them last week

494
00:21:17,609 --> 00:21:22,350
and he's a lovely lovely guy and I

495
00:21:20,759 --> 00:21:23,820
really respect him as an actor and and

496
00:21:22,350 --> 00:21:26,419
you know I was quite nervous because I

497
00:21:23,820 --> 00:21:28,889
thought one day if he's he if he's like

498
00:21:26,419 --> 00:21:30,720
not a nice person or how are we gonna

499
00:21:28,889 --> 00:21:32,369
get through this because you know

500
00:21:30,720 --> 00:21:36,389
there's only so much that you can sort

501
00:21:32,369 --> 00:21:37,379
of do to be nice to someone and then you

502
00:21:36,389 --> 00:21:39,779
know you've got to find that common

503
00:21:37,379 --> 00:21:41,879
ground and be you have that connection

504
00:21:39,779 --> 00:21:45,239
so that so that were we're all singing

505
00:21:41,879 --> 00:21:47,249
off the same hymn sheet and you know

506
00:21:45,239 --> 00:21:51,570
we've got a worth to go for six weeks so

507
00:21:47,249 --> 00:21:54,119
it's we need to get on but luckily he

508
00:21:51,570 --> 00:21:55,649
was absolutely beautiful person and and

509
00:21:54,119 --> 00:21:59,009
you know and I can't wait to start

510
00:21:55,649 --> 00:22:02,190
working with him now that sounds good um

511
00:21:59,009 --> 00:22:04,950
it's gonna ask you is there any or what

512
00:22:02,190 --> 00:22:06,600
has been the biggest obstacle or problem

513
00:22:04,950 --> 00:22:12,830
or war that you've had to overcome as a

514
00:22:06,600 --> 00:22:18,019
filmmaker biggest

515
00:22:12,830 --> 00:22:20,330
obstacle I think well again it's also

516
00:22:18,019 --> 00:22:22,909
very new to me this though you know I'm

517
00:22:20,330 --> 00:22:25,700
learning as I'm going along I learned a

518
00:22:22,909 --> 00:22:28,220
lot during my time as an actor you know

519
00:22:25,700 --> 00:22:30,140
being on set I was always interested in

520
00:22:28,220 --> 00:22:31,789
what was going on behind the scenes I'd

521
00:22:30,140 --> 00:22:34,190
always try and stay after after I was

522
00:22:31,789 --> 00:22:35,600
wrapped it to talk to the crew and yeah

523
00:22:34,190 --> 00:22:36,980
I'd always be little cheeky one in the

524
00:22:35,600 --> 00:22:38,750
core and asking questions what what's

525
00:22:36,980 --> 00:22:39,919
that for what you doing with that why

526
00:22:38,750 --> 00:22:41,990
you moving that light over there that

527
00:22:39,919 --> 00:22:43,940
kind of thing yeah I wasn't doing it

528
00:22:41,990 --> 00:22:45,860
purposely to because I wanted to direct

529
00:22:43,940 --> 00:22:48,049
and that was a burning desire that I had

530
00:22:45,860 --> 00:22:50,510
but I was just genuinely interested in

531
00:22:48,049 --> 00:22:53,210
it and I think subconsciously that's

532
00:22:50,510 --> 00:22:56,870
that was what I was leading up to is to

533
00:22:53,210 --> 00:22:59,510
be a filmmaker and I think the only the

534
00:22:56,870 --> 00:23:03,889
only obstacle or war that I've had to

535
00:22:59,510 --> 00:23:07,159
overcome is myself because as an actor

536
00:23:03,889 --> 00:23:09,350
looking up with directors going wow I

537
00:23:07,159 --> 00:23:11,809
couldn't do that I mean he's that's the

538
00:23:09,350 --> 00:23:14,000
director he you know he's that he stays

539
00:23:11,809 --> 00:23:16,309
on his own pair of stories he's the main

540
00:23:14,000 --> 00:23:18,559
guy I couldn't do that job I mean why

541
00:23:16,309 --> 00:23:22,669
would anyone employ I just be I'm just a

542
00:23:18,559 --> 00:23:25,690
little actor and then suddenly I I you

543
00:23:22,669 --> 00:23:29,269
know my mom passed away three years ago

544
00:23:25,690 --> 00:23:32,990
quite quite suddenly and it was it was a

545
00:23:29,269 --> 00:23:35,210
huge eye-opener for me in terms of how

546
00:23:32,990 --> 00:23:37,730
short life is and what what life is

547
00:23:35,210 --> 00:23:39,440
really about him you know getting my

548
00:23:37,730 --> 00:23:42,019
mind set completely changed in that way

549
00:23:39,440 --> 00:23:44,450
and and I just you know I just decided

550
00:23:42,019 --> 00:23:47,419
I'm going to I'm gonna go for it and why

551
00:23:44,450 --> 00:23:50,690
not you know you've got to just you just

552
00:23:47,419 --> 00:23:53,360
got it you know stop having the fear and

553
00:23:50,690 --> 00:23:56,360
and and just if you don't try you'll

554
00:23:53,360 --> 00:23:58,850
never know and so so that's that's what

555
00:23:56,360 --> 00:24:01,669
that's my attitude and you know and

556
00:23:58,850 --> 00:24:04,399
anything that does get in my way there's

557
00:24:01,669 --> 00:24:08,120
always a way over it round it under it

558
00:24:04,399 --> 00:24:11,000
you know so yeah it's it's it's and

559
00:24:08,120 --> 00:24:12,409
sometimes when there are obstacles when

560
00:24:11,000 --> 00:24:14,179
there are obstacles in the way it

561
00:24:12,409 --> 00:24:15,830
doesn't necessarily need to be negative

562
00:24:14,179 --> 00:24:17,330
you could have found a way around that

563
00:24:15,830 --> 00:24:20,419
one which was so much better and

564
00:24:17,330 --> 00:24:22,730
actually made the production quality or

565
00:24:20,419 --> 00:24:24,980
X Y Zed whatever it is so coming so see

566
00:24:22,730 --> 00:24:26,390
obstacles makes you a more fulfilled

567
00:24:24,980 --> 00:24:29,810
don't make up is

568
00:24:26,390 --> 00:24:34,460
and you know that that goes like we

569
00:24:29,810 --> 00:24:35,630
recently we just we my do people I used

570
00:24:34,460 --> 00:24:37,760
them the last two and he's also doing

571
00:24:35,630 --> 00:24:39,830
the feature and we were talking about

572
00:24:37,760 --> 00:24:43,040
shot lists and you know how we're going

573
00:24:39,830 --> 00:24:44,570
to map out this this film and I was like

574
00:24:43,040 --> 00:24:46,160
right so we need to do a shot list so we

575
00:24:44,570 --> 00:24:48,980
need to do this and it has to be you

576
00:24:46,160 --> 00:24:53,030
know this way and yeah then he we just

577
00:24:48,980 --> 00:24:55,010
sort of sat down and was like we should

578
00:24:53,030 --> 00:24:57,290
just take more of a relaxed approach to

579
00:24:55,010 --> 00:24:59,720
this you know be like look when we get

580
00:24:57,290 --> 00:25:02,780
on set we'll have a shot list that we

581
00:24:59,720 --> 00:25:04,160
want but if something happens that we

582
00:25:02,780 --> 00:25:05,660
can't get that shot or you know

583
00:25:04,160 --> 00:25:07,640
something may happen where we go oh my

584
00:25:05,660 --> 00:25:10,340
god let's not let's scrap that let's do

585
00:25:07,640 --> 00:25:13,010
this now yeah I think as a filmmaker you

586
00:25:10,340 --> 00:25:15,920
really have to be open to to anything

587
00:25:13,010 --> 00:25:17,150
that is thrown your way like you said

588
00:25:15,920 --> 00:25:21,500
positive or negative

589
00:25:17,150 --> 00:25:23,120
yeah so yeah it's it's a there's nothing

590
00:25:21,500 --> 00:25:25,160
set in you I don't think you should be

591
00:25:23,120 --> 00:25:27,280
set in your ways as a filmmaker I think

592
00:25:25,160 --> 00:25:30,620
you should be very open to change into

593
00:25:27,280 --> 00:25:34,820
other people's input as well you know

594
00:25:30,620 --> 00:25:37,730
don't don't be don't be the micro

595
00:25:34,820 --> 00:25:39,740
manager who who you know tells everybody

596
00:25:37,730 --> 00:25:43,310
how to do their job and because you know

597
00:25:39,740 --> 00:25:45,380
but I certainly have an idea about about

598
00:25:43,310 --> 00:25:47,720
everybody with this job and you know why

599
00:25:45,380 --> 00:25:50,450
they you know what what their job is

600
00:25:47,720 --> 00:25:52,910
but don't be telling them how to do the

601
00:25:50,450 --> 00:25:55,460
job yeah a lot of the time they can

602
00:25:52,910 --> 00:25:56,780
bring everything to the table so you can

603
00:25:55,460 --> 00:25:58,550
just pick and choose what you want and

604
00:25:56,780 --> 00:26:02,090
it just helps the production so much if

605
00:25:58,550 --> 00:26:05,120
you are open as you said yeah absolutely

606
00:26:02,090 --> 00:26:07,640
yeah and what's been the proudest moment

607
00:26:05,120 --> 00:26:10,820
or biggest achievement that you've made

608
00:26:07,640 --> 00:26:13,910
so far in your career as a director or

609
00:26:10,820 --> 00:26:16,640
even as a director as an actor whichever

610
00:26:13,910 --> 00:26:20,960
you think is like that has fulfilled you

611
00:26:16,640 --> 00:26:23,420
the most Wow I mean I've been so lucky

612
00:26:20,960 --> 00:26:29,060
as an actor to to worth it something

613
00:26:23,420 --> 00:26:31,760
credible you know talent people I was I

614
00:26:29,060 --> 00:26:36,740
suppose one of the highlights for me was

615
00:26:31,760 --> 00:26:39,549
working with Heath Ledger on Ned Kelly

616
00:26:36,740 --> 00:26:42,070
in Australia

617
00:26:39,549 --> 00:26:44,409
chale for five months and we were just

618
00:26:42,070 --> 00:26:47,529
we were just there as mates we were you

619
00:26:44,409 --> 00:26:49,210
know it was we played this gang there

620
00:26:47,529 --> 00:26:51,580
was those none of you ever saw the film

621
00:26:49,210 --> 00:26:53,139
but those and there was four of us in

622
00:26:51,580 --> 00:26:58,299
the gang basically this we you in the

623
00:26:53,139 --> 00:27:01,450
Ned Kelly yeah Heath Ledger Orlando

624
00:26:58,299 --> 00:27:07,119
Bloom me and an Irish actor Colin's

625
00:27:01,450 --> 00:27:10,570
Kinlan is fantastic and we just hung out

626
00:27:07,119 --> 00:27:12,580
for four five months in Australia just

627
00:27:10,570 --> 00:27:14,529
being mates because that's what the

628
00:27:12,580 --> 00:27:17,320
characters were so that is a huge

629
00:27:14,529 --> 00:27:20,440
highlight for me in terms of my acting

630
00:27:17,320 --> 00:27:23,470
career as a director you know the

631
00:27:20,440 --> 00:27:26,080
highlight is was was working with

632
00:27:23,470 --> 00:27:27,970
Stephen Graham for you know that's

633
00:27:26,080 --> 00:27:32,139
that's gonna be the highlight so far and

634
00:27:27,970 --> 00:27:35,350
and you know to work with not only Steve

635
00:27:32,139 --> 00:27:38,859
and Graeme but such a incredible caliber

636
00:27:35,350 --> 00:27:42,879
of talent that worked on it on the film

637
00:27:38,859 --> 00:27:45,519
and you know I think it's all a

638
00:27:42,879 --> 00:27:47,080
highlight at the moment because I'm

639
00:27:45,519 --> 00:27:48,549
doing something that I feel really

640
00:27:47,080 --> 00:27:51,340
strongly about really passionate about

641
00:27:48,549 --> 00:27:53,830
and I'm I'm just getting out there and

642
00:27:51,340 --> 00:27:56,049
doing it you know and I feel really

643
00:27:53,830 --> 00:28:00,700
really grateful

644
00:27:56,049 --> 00:28:02,590
it's a minute yeah I think do you have

645
00:28:00,700 --> 00:28:03,820
anything you wish to plant you've

646
00:28:02,590 --> 00:28:05,049
already talked about some of the stuff

647
00:28:03,820 --> 00:28:06,489
that's coming up for you is there

648
00:28:05,049 --> 00:28:08,470
anything else is coming up so you're

649
00:28:06,489 --> 00:28:11,220
welcome on the future yes sir the

650
00:28:08,470 --> 00:28:15,100
feature is called it's called villain

651
00:28:11,220 --> 00:28:19,210
and it's set in London it's like a crime

652
00:28:15,100 --> 00:28:22,899
drama about a guy who's who's been in

653
00:28:19,210 --> 00:28:26,109
prison for for 15 years he comes out of

654
00:28:22,899 --> 00:28:28,690
prison and once the settle down in his

655
00:28:26,109 --> 00:28:31,539
in his pub that he's owned for four

656
00:28:28,690 --> 00:28:33,220
years his brothers been looking after

657
00:28:31,539 --> 00:28:35,409
the pub for him while he's been away but

658
00:28:33,220 --> 00:28:37,779
his brother's gotten himself into a lot

659
00:28:35,409 --> 00:28:40,210
of debt and he's got the pub into a lot

660
00:28:37,779 --> 00:28:43,720
of debt and he's also been mixing with

661
00:28:40,210 --> 00:28:44,350
the wrong crowd in the in the drug world

662
00:28:43,720 --> 00:28:47,529
basically

663
00:28:44,350 --> 00:28:49,480
so his older brother ultimately has to

664
00:28:47,529 --> 00:28:52,480
help him out his family yeah reluctantly

665
00:28:49,480 --> 00:28:53,210
he helps him out but it it all goes

666
00:28:52,480 --> 00:28:55,039
completely wrong

667
00:28:53,210 --> 00:28:58,340
and pear-shaped and a lot of bad things

668
00:28:55,039 --> 00:29:04,279
happening ultimately it spirals into

669
00:28:58,340 --> 00:29:11,270
this into this crazy you know explosion

670
00:29:04,279 --> 00:29:16,840
of badness yeah but so does that yeah

671
00:29:11,270 --> 00:29:20,450
and signed with an agent recently cited

672
00:29:16,840 --> 00:29:24,289
Jago Erwin independent oh nice

673
00:29:20,450 --> 00:29:26,120
yeah that's very exciting so I had a

674
00:29:24,289 --> 00:29:28,690
bunch of meetings with with some some

675
00:29:26,120 --> 00:29:31,549
incredible people the last few days and

676
00:29:28,690 --> 00:29:34,240
I'm just you know I'm so grateful and

677
00:29:31,549 --> 00:29:38,179
it's just riding this wave and and and

678
00:29:34,240 --> 00:29:39,980
hopefully oh it won't water and have

679
00:29:38,179 --> 00:29:41,510
many filmmakers out there who are maybe

680
00:29:39,980 --> 00:29:43,250
thinking they should get an agent or

681
00:29:41,510 --> 00:29:47,600
shouldn't get an agent what advice do

682
00:29:43,250 --> 00:29:49,940
you have for them and I think it all

683
00:29:47,600 --> 00:29:53,000
depends on what they want to do in their

684
00:29:49,940 --> 00:29:55,340
career I think you know it's you know

685
00:29:53,000 --> 00:29:56,630
that this is I think there's a lot of

686
00:29:55,340 --> 00:29:59,090
different filmmakers that want to do

687
00:29:56,630 --> 00:30:01,279
different things if you want to just you

688
00:29:59,090 --> 00:30:03,950
know make indie films and do it your way

689
00:30:01,279 --> 00:30:06,830
I know I know that director who who does

690
00:30:03,950 --> 00:30:10,039
that he's happy make it you know four or

691
00:30:06,830 --> 00:30:14,029
five films a year you know on a real

692
00:30:10,039 --> 00:30:15,620
shoestring budget um but it all depends

693
00:30:14,029 --> 00:30:21,409
on what what you want to do I think I

694
00:30:15,620 --> 00:30:23,539
think it's it's a you see the way the

695
00:30:21,409 --> 00:30:25,760
way it happened for me was was I was

696
00:30:23,539 --> 00:30:28,309
very lucky you know off the back of

697
00:30:25,760 --> 00:30:31,669
boiling point it happened that way but I

698
00:30:28,309 --> 00:30:34,010
think there is ways of doing it yourself

699
00:30:31,669 --> 00:30:36,200
I'm sure but but it certainly does help

700
00:30:34,010 --> 00:30:38,809
to have someone who's you know back in

701
00:30:36,200 --> 00:30:40,940
you and and helping you to get to get in

702
00:30:38,809 --> 00:30:42,559
those rooms and and get yourself out

703
00:30:40,940 --> 00:30:48,020
there really but but you certainly can

704
00:30:42,559 --> 00:30:50,059
do that yourself yeah do you have

705
00:30:48,020 --> 00:30:52,450
anything else you'd like to add to this

706
00:30:50,059 --> 00:30:52,450
interview

707
00:30:53,049 --> 00:30:58,580
nothing really apart from the fact that

708
00:30:55,190 --> 00:31:02,240
you know I think lifts office is such a

709
00:30:58,580 --> 00:31:03,860
great networking you know I didn't

710
00:31:02,240 --> 00:31:07,160
really know too much about it before but

711
00:31:03,860 --> 00:31:09,410
since you know joining in and also we

712
00:31:07,160 --> 00:31:10,850
part of the festival and I just think it

713
00:31:09,410 --> 00:31:13,340
I think it's a great opportunity for

714
00:31:10,850 --> 00:31:16,160
filmmakers to you know express

715
00:31:13,340 --> 00:31:18,800
themselves and be and give himself a

716
00:31:16,160 --> 00:31:20,510
platform and and so get out there you

717
00:31:18,800 --> 00:31:23,750
know I think it's a I think it's really

718
00:31:20,510 --> 00:31:25,010
great yeah thank you so much and thank

719
00:31:23,750 --> 00:31:27,230
you for giving us your time to talk to

720
00:31:25,010 --> 00:31:30,850
us today my pleasure

721
00:31:27,230 --> 00:31:30,850
thank you thank you