Tagged: Director

David Blyth

Interview with Filmmaker & Director: David Blyth

1. Tell me about your latest project?

I have been working on a feature film project with writer Thomas Sainsbury

over the last couple of years. It’s not horror, more a continuing

interest/exploration of characters on the fringes of society.

 

2. Who is your greatest inspiration in film and why?

Luis Bunuel, a Surrealist film maker. Because his films reveal that the

unconscious plays a huge role in our conscious lives and his stories move

seamlessly between dream, fantasy and reality. Bunuel’s first film with

Salvador Dali, Un Chien Andalou, was an inspiration for my own first short

film Circadian Rhythms and the follow up feature film Angel Mine.

 

3. Is horror your preferred genre, as a filmmaker?

Horror is a genre that encompasses a wide range of approaches to telling

stories. I am interested in the psychological and supernatural/magical

elements of our consciousness and the horror genre best describes the

exploration of these areas.

 

4. What do you love about directing?

I love the process of working creatively with others to organically

manifest emotional atmospheres which audiences can engage and resonate

with. Creativity requires participation without fear, and directors role is

to enrol cast and crew into a shared vision that ultimately takes on its

own reality.

 

5. What lessons have you learnt as a prolific filmmaker?

Communication skills are very important at all stages of the film making

process. You have to give yourself permission to make films, if you wait

for “others” to bestow permission, you may be waiting a long time. Most

importantly don’t project your vision on the universe, rather see your

vision in what the universe is showing you.

 

6. Tell me about your most successful film?

Death Warmed Up, 1984, is likely the film that has travelled the world most

successfully and continues to be requested Internationally for relicensing.

Unfortunately this film has a backstory that is tragic. The original film

negative was burnt mistakenly by the Lab in Wellington. The 35mm Inter-

negative is lost in America. No complete 35mm prints exist, and over 32

cuts were made to one of the few one inch tape copies of Death Warmed Up to

survive. So Death Warmed Up has a very bitter sweet place in my life.

 

7. What is the most memorable film you have seen and why?

Ridley Scott’s Blade Runner would have to be the ground breaking film along

with Sam Raimi’s Evil Dead that fuelled certain elements of the vision

presented in Death Warmed Up.

 

8. Do you think the dvd is now redundant?

DVD’S will have an on-going role in private collections and specialised

lending institutions. Mass consumption is moving with the digital times

towards watching online and downloading. I am sorry to see the DVD lose its

position and predict there will be no DVD stores left within two years.

 

9. What makes a good story?

Anything that engages one emotionally that allows universal

truth/understanding to emerge, exploration of the microcosm allows

reflection on the macrocosm.

 

10. Lastly, any advice for emerging filmmakers?

Stick with your vision of the project. It’s a marathon not a sprint. You

need to pace yourself through the inevitable highs and lows. Time is the

micro budget film makers biggest supporter. Flexibility around cast and

crews life commitments, allow a window of opportunity, that ensure you get

the best from everybody whether they are being paid or not.

Filming ‘Rent boy’: Behind The Scenes

Director: Melissa Fergusson

DOP: Tim Butler-Jones

1st AD/Sound Tech: Rob Ipsen

Art Department: Lina Cruz

Makeup & Hair Stylist: Angela Crumpe

Rent boy: Lee ah yen Faatoia

Stripper: Christine Becker

Probation officer: Baz Te Hira

Homeless man: Gabriel Henry

John: Michael Hallows

Special thanks: Paper Bag Princess, Christine Becker, Four Eyes Media, Rebecca Parr, Cafe Al-Madina, Topic Rentals, Splice & LYC.

   
    
    
    
    
   
     

 

Production Meeting (2): ‘Refugee’

Director: Melissa Fergusson 1st AD: Rob Ipsen DOP: Tim Butler-Jones MUA: Angela Crumpe Hair Designer: Jordan Camilleri Refugee (Lead): Rebecca Parr Counsellor: Rob Ipsen Psych patient: Gaby Turner Dealer: Baz Te Hira Foreigner: John Blackman John: Rhys Collier

http://charlatancliniclimited.com/2015/08/18/production-meeting-2-refugee/

Get your ‘salt’ on

Get your ‘salt’ on

charlatan clinic

charlatan clinic’s dramatic new work, ‘salt’ begins Wednesday, 13 November at The Williamson, upstairs in The Private Meeting Room in Ponsonby. The season runs until Saturday 16 November.

‘Henry lives at home with his Mother and is besotted with Lilly. He has been secretly stalking Lilly for 2 years, when they finally met face-to-face and spend 7 hours together, one Friday afternoon. Love meets obsession.’

‘charlatan clinic’ have introduced tweet seats and tweet reviews for their event #projectsalt.

Fergusson has recently been interviewed by Justin Gregory for ‘Arts on Sunday’ broadcasting on 3 November, focussing on the social media engagement for the project and the interactive love questionnaire.

The cast of ‘salt’ playing Henry (Coen Falke) and Lilly (Jess Holly Bates) have both blogged about their characters and #projectsalt journey on the charlatan clinic blog.

The Williamson Private Meeting Room is an alternative space that has being transformed into an…

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Motherlock

The ‘Motherlock’ Controversy

Three actors, three cities, four seasons, and one VIP over two years (September 2010- September 2012). ‘Motherlock’ is a journey of (four) pregnancies over a fourteen year period, exploring the challenges women face, when becoming a ‘mother’. I have thoroughly enjoyed working (as both playwright/director) with Virginia Frankovich, Narelle Ahrens and Tara O’Brien, who have all added a different dimension to ‘Motherlock’. The set is minimal, based in a bedroom, with some favourite books by George Orwell and Stephen Fry, along with photos and letters. The key props are the chair and mirror, which is where the storytelling happens. Monologue is brilliant when it works, through pace, colour and content. Hopefully I achieved this, some reviewers think so. No matter, I believe in my work. ‘Motherlock’ will soon be adapted to a short film, eventuating in 2013. Keep you posted.

Casting (performing arts)

Just about to commence the audition process (as director) for a play by Alex Broun, who introduced Short + Sweet into Auckland, New Zealand in 2009/10. I was fortunate enough to be a finalist/winner in the ‘Wildcards 2’ category in this festival in 2010, with a play called ‘Tipping Point’ by Mark Andrew. Alex is one of the world’s leading ten-minute playwrights, so I am honoured to be opening the ‘world’ premiere of his new play. Rehearsing and performing in another city, namely Melbourne, is exhilarating. PlaySix has a high profile in the Melbourne theatre community, so looking forward to being cohesive in this process. There are six plays, that are performing in the festival, and there appears to be a few female directors, fantastic! Theatre makes me smile, effortlessly.