5 Loathed Questions

Rob Green

Loathed Film was glad to have the chance to ask Rob Green some questions on his career and what his work usually involves. Rob directed ‘The Bunker’ which was released in 2001 and he is also the director and writer of ‘Gladiators vs Werewolves: Edge of Empire’ which is in pre production and set to be released in 2012. He has worked on various other projects and here he talks about his steps into film directing.

Q1. What made you get into directing?

I’ve always had an absolute love for cinema and for the art of telling a story and exploring intriguing concepts and ideas through the medium of film. I came into the film business with a background in graphic and fine art and I was initially employed in the art department on feature films. I was determined to learn more about the craft of film-making and so I moved into film editing and this naturally led me toward directing. I began directing with short films, managed to win commissions through C4 for more short films which in turn led me to directing commercials. In 2001 I directed my first feature film, a psychological horror/thriller called The Bunker.

Q2. What does your work usually entail?

Directing is a very demanding job and so I believe a director must be completely prepared. From the very first stages of any production a director is asked penetrating questions about how they plan to make the project and what their vision is for it, from the script, to casting, to locations, photography, to all aspects of design and style, special effects, visual effects, music, the list goes on and on covering every detail of the filmmaking process from start to absolute finish – the completed film. A director needs to be on top of every aspect of a production and must lead from the front, so a director needs to be sure about what they want to do and how they want to do it.

I make sure I carefully research the subject matter at the centre of whatever I’m directing, be it a short film, a commercial or a feature film. One of my top directors is Alfred Hitchcock who meticulously planned every stage of his films and storyboarded his scenes so he always knew exactly what he was doing when he was on-set, and I very much follow this approach. The more prepared a director is, the more he or she can build on their ideas and make things play even better when they are actually filming. A director can never be too prepared.

Q3. What was your favourite film to work on and why?

The Bunker is my only feature film to date, although I’ve been involved in many (too many) films which, for one reason or another, have not gone into final production. The Bunker was an absolute joy to make, and I especially loved working with a talented cast. I believe in spending time with the actors before shooting so we can discuss the characters, the style, the tone, the themes etc. Rehearsal time can be incredibly important and creative because a director can work with the actors to explore the characters and the scenes without the time pressure of being on-set. The rehearsal time on The Bunker was very rewarding and so when we came to the actual shoot, myself and the cast were very sure about what we were doing, and because of that confidence it allowed us to build on what we had explored in rehearsal and make it even stronger. Again, good preparation can really make a shoot much easier and much more creative and enjoyable for all concerned.

Q4. Do you have any other new projects lined up? What are they?

I’ve many projects lined up as both writer and director. I’m the writer of the adventure franchise Gladiators V Werewolves for A V Pictures and I’m currently in pre-production on the first film; Warriors V Werewolves: Blood Moon Rising. I’m also the writer and director of a sci-fi thriller called Futures and the director on a vampire/gangster thriller called Bite Club for Park Entertainment. As writer and director I’m also currently developing another sci-fi thriller, PHOBOS, for an Australian-based production company.

As a screenwriter I have several projects which are moving forward at some pace now. The Beauty of Sharks, a 1950′s set suspense drama for an LA based company. A terrorist thriller, BALEFIRE, for A V Pictures which will be shot in Australia next year. I’m also the writer of Obsession, a 1960′s set thriller for Corona Pictures.

Q5. What do you see yourself doing in 5 years time?

I am hoping that after we complete Warriors V Werewolves for A V Pictures, I will be able to form my own production company to develop projects, not just for myself, but for other writers and directors too.

Bianca Barnett

Bianca Barnett has starred in films ‘Albino Farm’ and ‘My Sucky Teen Romance’ . Bianca also continues her acting career while studying science and performing art, she was recently awarded the 2011 Golden Cob Award for ‘Best Rising B Movie Actress’. Loathed Film asks her some questions.

Q1. Hi Bianca, What made you get into acting?

As a child, I loved the fantasy and magic of movies. Not only was it an amazing source of escapism, but I was fascinated to learn the process of how movies were made. It took me a while to get involved in films. For a long time, I worked as a model and did several music videos, student films, commercials, and small projects. It was not until Albino Farm that I actually got my first break into the business.

Q2. Is acting something you’ve always wanted to do?

I always knew I wanted to perform but I thought I wanted to be a rock star.  I realized that was not the right choice for me. I think that type of hard partying lifestyle, which I lived for a long time, would have sent me to an early grave. Instead, I turned to acting which has been an amazing experience. I always look forward to my next project and invest a lot of planning as far as my character is concerned.

Q3. Are you working on any projects just now or do you have any lined up for the future?

This year I worked on Emily Hagins’ ‘My Sucky Teen Romance’ which premiered at the 2011 SXSW Film Festival and is playing in the Film4 FrightFest 2011 in London in late August. I just wrapped a brief cameo in Pearry Teo’s upcoming thriller, ‘Dead Inside’ and will be filming ‘Archaic Redemption’ with Anthony Brownrigg in the fall. This summer I will be doing some theater in DC and going to school full-time, so I am keeping busy. That being said, I am always looking for new projects in many genres.

Q4. Whats your favourite cult film?

Not sure if it is a cult movie, but I love ‘Return of the Living Dead’. It was one of the many horror films I watched as a little kid and it really creeped me out. I think the zombies are some of my favorites still today.

Q5. Which one of your acting roles has been the most fun and why?

They have all been fun and challenging for different reasons. Albino Farm and The Toy Box were cool because there were stunts and fight scenes involved. I also love wearing costumes; in Pearry Teo’s Dead Inside I had the opportunity to dress up as a nurse, which was cool.

Lucinda Van Rie

Lucinda is a film producer who has worked on films including Neds, The 51st State, The Visitor and Changeling so Loathed Film was pleased when she obliged to answering Loathed Films 5 Loathed Questions. Below she talks about her career path and how she got into film production.

Q1. What does your work usually entail?

I manage a films production from start to finish for the lead producer, (at present this is for Alain de la Mata, co-founder of international sales agent Wild Bunch) this would normally include the development stage, funding applications, budgets / schedules, provisional DCMS, co-ordinating with the other relevant countries’ producers, preliminary recces, casting and pre prep of the physical production. Then once official prep starts one of my main responsibilities during production is to oversee and maintain the overall budget and scheduled timeline of the film and make sure the treaty parameters are adhered to; I liaise continuously with the Director and HoDs throughout the film to trouble shoot, prevent, manage and resolve any issues that may or have arisen and make any decision that is based on as much information as possible, and that has, in my opinion, the best outcome for the overall production.  There is no right or wrong in making a decision, just decisions that are as accurate as possible with a little bit of instinct thrown in!.  My role is to give the director as much physical and creative freedom as possible whilst staying within the financial parameters of the film. Throughout the post I am present again to maintain this fine line and this then culminates with me doing and delivering the paper legal ‘delivery’ of the finished film, including the DCMS official application for final nationality status. None of this could be achieved without an incredibly strong team around me; post production supervisor, production account and line producer, my key crew who are vital to me.

Q2. What was your first steps to get into film producing?

I started out as a film location caterer, not as the chef but as the washer upper and potato peeler (I could not and still cannot cook! )  As a caterer I observed film crews for several years, it gave me an excellent overview of the whole experience and excitement associated when a crew works together in so many differing and difficult circumstances.  A truly memorable time for me. In May 1994, I was making afternoon tea on the catering truck when I was asked if I wanted to work on a film, the following week I was on a plane heading to Spain. On arrival I was told I was Production Assistant, it was baptism by fire and I loved it. After Spain the production headed to Pinewood where we built the sets on what is now their back car park, I then stayed on and went through the post period as assistant sound editor at the cutting room in pinewood, the pinewood experience has endeared me to it for the rest of my days. On my first day as a film location caterer I was offered £30K to be the new Oil of Ulay girl, I declined and my path was set on the production route.

Q3. What was the most enjoyable film you worked on and why?

This is a tough one, you take something special from each film and all films have their nightmare times and their idealised times, from The Visitor, which was a particularly excruciating shoot where one incident was that the Director and I were nearly killed in a car accident, I took life long friendships, but if I had to pick one it would be Marcus Thompsons ‘ Changeling’ staring the late Ian Dury and Amanda ray King and Billy Connolly, it was my first film, a life changing experience, it got me into production and Marcus and Amanda are still my closest friends. It was a deferred film, but no money could ever match my learning curve or where it took me.  It was a crazy film in the true sense of the word, everyone on that shoot went through their own type of hell, there were no rules, the ‘producer’ was flown back to London after suffering a breakdown and the production manager walked off set.  It was extremely difficult, but so rewarding in so many ways.

Q4. Where do you see your career progressing to?

I want to continue to make high profile award winning films within the UK and Europe, eventually scaling up to big budget films within the American studio system.

Q5. Whats your favourite B or Cult film?

My parents took me to see Gandhi in the cinema when I was 11, I have only ever seen it that once but I have never forgotten certain scenes and I learnt of the power and impact that cinema can have. I was a teenager in the eighties so was shaped by St. Elmo’s Fire and The Breakfast Club, but also Legend ( the version with music by Tangerine Dream) which, to me, has such strong, visually stunning imagery meshed so beautifully with exquisite music, it moves me in a way I can’t describe.