What were your expectations on Transference and reaction after it went ‘viral’?
My only expectation at that time was to complete the film. I knew once I started it and the plot started to develop in an interesting way that my duty then was to commit to finishing it coherently. The subject of hidden mental health issues effecting relationships was one that everyone I spoke to understood at some level. From a film making point of view, I had heard too many tales of films that were never made and scripts left in a drawer because people were waiting for funding, or they just didn’t have the courage to do it. If I could just start shooting, I had already learned that it would gain momentum and I’d raise the money one way or another to complete it on route. Then getting it to film festivals would be an achievement in itself, providing it had substance, it would be worth the sacrifices.
How did you do that?
I felt I was a painter that needed to finish my canvas regardless of how I felt half way through it, I was aware that I might not be able to see the end result while in it so just KEEP GOING. When I had thoughts of doubt and my inner voice would say “why are you doing this!?’ there was a bigger inner voice, the dreamer that said, you need to finish this for reasons you can’t quite see yet.
Some might say that’s madness?
You need a dose of madness to even start, see the movie for answers!
Where does one get madness from?
In this case desire, desperation and my family.
So how does the 12 million views and counting make you feel?
It’s a strange one, I guess to tune into to the deeper inner voice in you, call it ‘instinct’ or “purpose”, in this case anyway it had a point to make and I went with it.
Has it changed anything for you?
I think it’s given me more credibility as a film maker with a valid vision and a voice. It has given my company Contro Vento Films a bit of a spotlight. It might be easier to make the next one, which I’ve started developing, bigger named actors are now hovering around the material.
On an artistic level, I feel a sense of satisfaction that money can’t buy and that’s the biggest lesson in this that money can’t buy you a creative expression, only you can do that. Be your own warrior.
I imagine that experience is vital especially in the context of your films which blur the line between narrative story and improvisation.
It’s everything and possibly why they work. Write what you know and make it feel real with a cinematic style of your own. If I feel that the actors are ‘acting’, I’ll just ask them to do it again but make me believe I’m watching a ‘fly on the wall’ documentary that’s capturing real life moments of these characters and their story. Don’t wait for cues, wait for impulses.
Pacino said it best years ago “if you get the urge to act, lie down and wait for it to pass” that’s always my starting point.
What’s next?
In the way I work, I have a rough concept and structure but develop it on route, that’s once I’ve decided who’s in it, who can cope with the way I work. I get a sense of how their character will fit in and support the films purpose as a whole. For the next one I will say, it has a particular type of dancing from the 80s in it that will of course run concurrently with a human struggle that the viewer will hopefully connect with, and some comedy this time!
What was is like acting in Ted Lasso, The Hustle and Father Brown after making your own films?
It’s a relief in many way to go on set and only concern myself with the role I was playing. I always have a much greater respect for the director, writer and production because I know how difficult it is to get things off the ground. You understand you are part of a bigger thing than just your own part in any project. It should always feel like a collaboration and never one man’s parade, that’s hopefully the ethos on my set …I love watching other directors work and learn from observing them, how the best ones get the best results…
Who’s the best director you’ve ever worked with?
They all have their own styles and ways of working, I love working with my close friend Steve R Monroe, thats just easy, but I have to say the experience of working with Ron Howard on Rush was incredible! For a man of his status, he never carried it and he made me feel like a friend. He knocked on the door of my little trailer after rehearsals and before filming began, I opened the door and he said something like “I really love what your doing man, just go all the way with it, it’s working”, that gave me the inner confidence and the permission I needed to work through any doubt and explore the character to the fullest, when I watch the film I can now see how those little moments end up on the screen. This was one of my favourite jobs of all time.
How was it working on stage in Force Majeure at The Donmar Warehouse?
A totally different experience all together and one I absolutely loved. I made friends for life and just loved the concept of being part of a theatre company, learning the discipline of doing the same scenes night after night but still trying to find something fresh in it, which we did because the cast was amazing! I actuallyreally miss it.
What are your inspirations?
My daughter, Dogma film rules, Paul Thomas Anderson, Kevin Smiths ‘Clerks’ and as always my motorbike!
You can watch ‘Transference A Love Story’ on Apple TV, Amazon and Youtube and visit Contro Vento Films at https://www.controventofilms.com/.
