David Hackl was the production designer and second unit director for Saw II, Saw III and Saw IV, as well as for Repo! The Genetic Opera. He then went on to direct Saw V to critical and financial success. R

I was fortunate to sit down with David to talk about his career and what’s next:

Matthew Toffolo: You have worked in the Art Department and Directed over 25 films, is there a film or two that you’re most proud of?

David Hackl: I’m very proud of the Saw franchise and feel grateful to have had the opportunity to work on it. It a piece of cinema history now. I also have a real fondness for Outlander as it was one of the most epic projects that I’ve done. I had to research it like crazy and learn everything about viking architecture, culture, weaponry etc. We had to build everything, weaponry and huge sets that included a viking village with 22 buildings and an 80 foot Viking ship that was fully practical. The craftsmanship from the whole crew was outstanding in every department. I’ve always loved viking stories and would love to direct a viking feature now.

PHOTO: Still shot from the film OUTLANDER (2008):

MT: Tell us about your first Production Designer assignment in “Jerry and Tom”. Kind of an underrated film with a lot of camera movements and set/scene transitions. Some very inventive cinematic designs too. How did you get that assignment? Would you agree that this film really jump-started your career?

DH: “Jerry and Tom” was a fantastic first experience as a Production Designer. I had been designing and directing commercials for 10 years by then but I wanted to get into long format. I’m good friends with Saul Rubinek and we were location scouting another film when he told me about Jerry and Tom and I said “that should be your first film”. The story was written by Rick Cleveland (West Wing, Six Feet Under, Mad Men, House of Cards) and it sounded so great. The film we were on fell apart but then Saul called and said the Jerry and Tom was green lit.

We wanted to create a visual signature for the film and Saul brought up the idea of transitioning between scenes seamlessly rather then cutting. I loved what they did in Red Rock West and I took the idea and ran with it. The crazier an idea was the more Saul wanted to do it. So I wasn’t going hold back. I was thrilled to work with suck a stellar cast (Charles Durning, Ted Danson, William H. Macy, Sam Rockwell, Joe Montegna) and I think I wanted to show off a bit. It’s definitely an underrated film, though when I look at it now it seems so dated.

PHOTO: Still shot from JERRY AND TOM  (1998):

MT: What is the biggest difference when Production Designing a TV series in comparison to a feature film?

DH: When you’re production designing a TV series everything tends to move a lot faster and on a shorter timeline then features. I love the pace of TV and the fact that you plough through so much work. I’m very comfortable with working fast and I’ve always been lucky to have great teams to support me. Features, on the other hand, give you the chance to develop ideas more,not because you have so much more time but because you generally start with a more solid script and singular focus. But both features and television are starting to feel similar on all aspects.

I love the more cinematic quality of television we’re seeing where the bar is getting raised constantly.

MT: How would you describe your SAW experience in one sentence?

DH: Wow that’s tough, one sentence? Working on the SAW franchise was fantastic creative challenge.

MT: What was the biggest thing you learned when you directed your first film SAW V?

DH: I learned how frigging hard it is to direct a feature. As a production designer you often have people lined up at your door to ask hundreds of questions a day. But as a director it’s more like a thousand questions. Designing is a good place to prepare yourself for directing and my directing now informs my PD work better as well.

PHOTO: Meagan Good in the film SAW V:

MT: From an outside perspective, the SAW franchise seemed to work like a corporation. Someone creates an idea, then as you grow people at the top move onwards while the key production heads move up the ladder of responsibility. Gaffer to DP. Art Director to Production Designer. Production Designer to Director (YOU). They really helped the growth of a lot of careers. Is this a true assessment?

DH: It’s true SAW gave a lot of people wonderful opportunities but I don’t know if that was a strong intention as much as a next natural progression. I think the producers felt more comfortable about keeping it in the family and it was certainly a nice gesture of gratitude. We all had such a great shorthand that it seemed to make sense to keep it in the family.

MT: Some argue that SAW V is the best of the franchise. Is there a reason why you didn’t direct SAW VI?

DH: I was originally in talks to direct Saw IV but the very day they called to make me and offer I had just found out my wife had cancer. (She’s clear and great now) But the producers suggested that I direct Saw V and VI instead. But after Saw V Kevin Greutert was keen to direct one and rightfully so. He had edited every one of the Saw films from the beginning. Few people knew the franchise better then Kevin. At the same time the producers decided to do a 3D Saw film and asked me to direct it. They asked me to stay on for the whole year and learn everything there was about 3D filmmaking and how we could best use it on a Saw film. Unfortunately 3 days before we shot SAW 3D the producers exercised my pay or play deal bumping me off the picture and exercised their 2nd picture option with Kevin Greutert forcing him off Paranormal Activity 2 when it was announced that it was going to open the same day as Saw 3D.

Welcome to directing!!

MT: What are you currently working on?

DH: I’m busy building a slate of films for my company with a few optioned novels and scripts for both TV and features. I’m writing a lot and working with writers, which I love. I’m also pushing hard to move into television directing.

MT: What film, besides the ones you worked on, have you seen the most times in your life?

DH: That’s easy. Apocalypse Now and Bladerunner. My two favourites films

MT: What is the future of the horror franchise?

DH: If you’re asking about SAW 8: Legacy it’s coming. Writers were just announced. I’m excited see what they’ll do next.

In more general terms horror franchises are all about an idea that has legs and I’m certain there’s going to be a new one any minute. I have a couple myself. (…he says with a smile!)

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

AN ADVERT FOR ONE NIGHT, 15min,. UK
Directed by Graham Birch
Lisa responds to a newspaper advert to meet Sarah in a hotel room for a night. They meet and have a wonderful night that sadly uncovers that one was badly abused and the other is currently suffering serious mental and physical bullying from a partner. Will this allow them to bond? What will they do?

https://www.instagram.com/birch_graham/

What motivated you to make this film?

My friend was going through an abusive relationship at the time and it was terrifying. He was psychologically destroyed. So I flipped it to the more common female perspective as it is simply not acceptable. Domestic abuse isn’t just physical. It’s wider than that and destroys people.

I also wanted to highlight the dangers of getting drunk and thinking you are in control of a situation. I want people to watch the film and maybe question if they should go home with that person. Particularly when you are young and at a night club. I always tried not to let my friends go off alone (male or female) as there are people who are simply not good.

I also wanted to create a film of exquisite beauty and use the lighting to enhance everything. You’ll notice that the colours change in the film, sometimes suddenly, sometimes from scene to scene. Showing differing emotions and settings.

Subscribe to the podcast:

Tweets by wildsoundpod

https://www.instagram.com/wildsoundpod/

https://www.facebook.com/wildsoundpod

FREE festival starts at 8pm EST tonight at http://www.wildsound.ca/browse

Watch the festival here: https://www.wildsound.ca/events/best-of-asian-doc-shorts

Bang Bang, 14min., China
Directed by Guan Yi
Chongqing, a city built on mountains in Southwestern China, remains a stronghold of porters known as “bang bang” who move goods along streets on the rugged terrain. But the porters are slowly fading from view in the face of modernization. From 400,000 people working as bang bang in the city in 2010, they have shrunk to fewer than 2,000, mostly elderly.

CHAPPILANA, 23min., India
Directed by Komalankutty Methil
Pudiyankom-Kattusseri Vela Festival of Palakkad District has many unique features, one of which is a Chappalana, an elephant made of wood, bamboo and dry grass, with an ancient and fascinating story behind it.

Deferred, 18min., Sri Lanka
Directed by Lanka Bandaranayake
Ambitious and academically successful young Sri Lankan women, who have long dreamed of studying abroad, now find themselves at crossroads due to new UK immigration policies that prevent them from bringing their spouses along. Deeply personal and emotional journey, also, Sociopolitical explanations of academics unfold how they have to navigate the harsh reality of choosing between their educational goals and their familial bonds.

https://www.instagram.com/lankabandaranayake

Sayad Capello, 24min., Iran
Directed by Rostam Nazari
Teenagers from the outskirts of the city have dreams in their heads. Sayad, despite his physical disability and his love of coaching football, is trying to make the dreams of the children to be fulfilled!

https://www.instagram.com/rostam.nazari52

VOICES FOR MADIDI, 24min., Canada
Directed by Jonathan Derksen
Bolivia’s Madidi National Park is considered to be the most biodiverse place on planet earth. The Uchupiamonas people, who call the park home, are in a constant battle against forces eager to exploit the protected area for its hydroelectric potential, hardwoods and gold. In this documentary, we hear from of the eco-warriors at the front lines.

https://www.instagram.com/jonathanderksen/

Get to know the filmmaker:

The Madidi area of the Bolivian Amazon is perhaps the most biodiverse place on earth. I first visited the area in 1982 as a teenager, when a group of friends and I ventured down the Beni River in a motorized dugout canoe during the rainy season, only to almost meet our fate in deadly rapids, whirl pools and a maze of giant tree snags. Fortunately, we were taken in by some Moseten hunters, who fed us and gave us shelter until the rains abated and we could carry on.

I returned to the area in the nineties as a photojournalist on a national parks beat, then, in 2007 as an expedition leader. In 2008, I filmed with National Geographic on Bolivia’s infamous “Death Road” traversing the Andes to the Amazon. In 2016 and 2017, I worked on a coffee table book “Madidi: an uncertain future” with photographer Sergio Ballivian.

On each expedition, I interacted with the extraordinary Uchupiamonas people, who taught me the ways of the jungle and the profound importance of protecting such unparalleled biodiversity. They also educated me about the various existential threats to the region and its indigenous people. This lit a fire under me.

In 2023, I returned with a film crew in hopes of bringing their story to the rest of the world, culminating in “Voices for Madidi”, a bilingual expression of the eco-warriors serving the front lives of a little-publicized battle.

Subscribe to the podcast:

Tweets by wildsoundpod

https://www.instagram.com/wildsoundpod/

https://www.facebook.com/wildsoundpod

DEADLINE TODAY: Submit to the Festival via FilmFreeway:

It was wonderful working with this film festival. They are responsive and enthusiastic. I was honoured to have Beat Keepers: The Next Chapter recognized for best short film as well. Thank you!

A storyboard artist, or story artist, creates storyboards for film productions that are generally for large scope scenes, actions, and/or camera movements. The artist visualizes the story in collaboration with the director and sketches frames of the story on paper.

It was an honor to sit down with the brilliant storyboard artist Kurt Van der Basch, who  worked on Star Wars: Episode VII. Of course he’s not allowed to talk about it, which is fine because there are so many other questions to ask him.

Please go to his website or follow him on Facebook and view 100s of storyboards from his various credits, including: Assassin’s Creed, Sense8, The Borgias, Chronicles of Narnia, and The Illusionist, to name a few.

www.facebook.com/kurtvanderbaschstoryboards

www.kurtvanderbasch.com

Matthew Toffolo: I understand that you are not allowed to talk about Star Wars! No problem. Are you allowed to say that you had a creatively inspiring experience?

Kurt Van Der Basch: Yes, I can definitely confirm that it was a creatively inspiring experience and I loved the result as much as everyone else seems to have.

Matthew: Looking at your storyboard examples on your website your storyboards are so visual and amazing to look at. I see the story unfold by just looking at the images. They are like a graphic novel that could be published. Do you have any (or many) graphic novel ideas?

Kurt: Thanks a lot. Sequential illustration is sequential illustration whether it’s in the rougher form of storyboards (usually, at least) or in the ready-for-publication form of a graphic novel. We more or less tell stories the same way in both fields. It’s interesting too that with the growing popularity of graphic novels and the rise of DVD extras that storyboards, interest in storyboard art has grown a lot. Now lots of people know what they are and are keen to see them. As for graphic novel ideas – I have lots of but I don’t consider myself much of a writer. I’m still waiting for ‘the perfect fit’ with a writer who wants to collaborate.

Matthew: What’s the general working relationship and process between a storyboard artist and the director? How early do you meet before production begins?

Kurt: The storyboard artist can often be among the first crew mambers to start. I did a long job this past year where I was one of the first 3 people hired then slowly more and more crew joined the production. Early on, there’s generally a list of the most complicated scenes which the production need storyboarded for budgeting and planning purposes listed from highest priority to least. In these discussions the 1st Assistant Director is a key player and as the production goes on, it’s the 1st A.D. who always knows best what’s most urgent and what the latest developments are.

Usually the storyboard artist has daily storyboard meetings with the director (Often arranged by the 1st AD. As the production grows and the director begins to be yanked in a million directions these meetings may not be so frequent) and they sit down and discuss the scene. Often the director will start by showing some references, video clips or still images that they think could be a good style or tone guide. If there’s already a production designer then he or she may provide location photos or a model (either a white card one or, more commonly these days, a digital sketch-up model) so we have a geography to work with. Then the director will begin to describe shots of the sequence. While the director is describing the shots I draw quick little thumbnail sketches so the director can intercept and say, for instance, ’no, a little bit wider’ or ‘could it be a slightly higher angle?’ etc. until I am drawing what he or she is envisaging. It’s common dirng these meetings to draw a little plan view and indicate on it camera and characters too. Some directors will dictate every shot of each sequence that gets storyboarded, but, especially on huge action movies where it’s nearly impossible for the director to arrive with all the shots of each scene planned out in their head in advance, some directors encourage the storyboard artist to make suggestions or even ask them to have a crack at the whole scene as they see it. Then the director can react to those ideas and say ‘yes that’s interesting, keep that, but here I thought we could….’ etc. This can be a fun and creative way to work. Later in the production these meetings often include the DoP as well. As time permits the little thumbnails drawn during the meeting are taken away and the storyboard artist makes more clear and solid versions of them with directional arrows and shot descriptions added next to the panels, plus proper scene and shot numbering. Sometimes time doesn’t permit and it’s necessary to settle for the rough thumbnail scribbled out in the meeting. Sometimes the director insists on the storyboards being left at the rough stage so the crew won’t take particularities of the drawings too literally.

Matthew: When talking about the cinematic design with the director, is the overall theme and tone of the film always present in each storyboard you create?

Kurt: It can be but isn’t always. Sometime it’s very technical and the most important thing is just to clearly show a certain camera move + character action. If your drawing can convey a bit of the atmosphere in these instances that’s great but not if it takes away the clarity.

Matthew: How is the process different when doing a TV episode assignment in comparison to working on a feature film?

Kurt: TV production usually doesnt have the luxury of pre-production time that film has. From what I’ve seen TV directors tend to behave and are treated much more as regular crew members and in my experience TV directors tend to be extremely focussed and organised knowing how little time they will have to complete their block of episodes (on a series the directors usually trade off in ‘blocks’ of episodes so while one is shooting their 2-3 episodes the other is prepping theirs.) The TV storyboard process can be more intense – longer hours and more frames per day, and often less ‘finished’ in order to get all the necessary sequences boarded before shooting. Also there’s less scope for spontaneous ideas – a sudden brilliant suggestion of a shot from inside the microwave can’t just be thrown in in TV world without serious consideration of the extra time and cost etc. I really enjoy storyboarding for TV.

Storyboard from DEAD SNOW 2 (2014), Director Tommy Wirkola

Matthew: What are you looking for in a director?

Kurt: Well the question is really what are they looking for in me because it’s me who is hoping to get hired. But if they do pick me then I look for patterns in how they describe things so I can get to sense what they probably will want as quickly as possible. For some directors articulating the shots they need isn’t as easy as it is for others and it’s the storyboard artist’s job to help with this. This is where the thumbnailing process can be great. Sometimes seeing my totally wrong scribble can be the very thing that helps a director get across the shot in his or her head. On the other hand I’ve worked with directors who draw beautifully and make perfect thumbnails that are a very clear guide that I then just have to draw up in a more finished way.

Matthew: Do you have a Storyboard mentor?

Kurt: The Engish storyboard and strip cartoon artist Martin Asbury essentially created a whole style and standard in the industry that influenced a whole generation of storyboard artists, at least here in UK/Europe. I’ve been lucky enough to work with him twice and both were great experiences. On top of being a huge talent he’s also a really funny and generous man.

Matthew: You have worked on a lot of Action, Fantasy, and Horror films. How important is the creation of the storyboard to the production team for these genres?

Kurt: In an action movie there’ll be two or three big sequences that the storyboard artist works on and sometimes just these scenes may be revised over and over the entire time on the job.

Storyboarding is more important for these genres than others because of all the VFX and stunts involved. Storyboards are neessary initially for making a budget because it answers questions like: In how many shots do we see the flying ship? How often does the camera tilt up enough to require digital set extension? Do we see the stuntman land or does he just fly off the roof? etc. Often it goes that once boards are made of scenes and compared with the budget then the producers then get out their sharpies and start crossing out shots that the production can’t afford. Then it becomes a discussion of where to use the VFX bdget to best advantage. Of course storyboards are also needed in these genres beyond just technicalities but to give an idea of a scene overall and know if it works in terms of drama and suspense. For this, sometimes the individual storyboard frames are plugged into editing software to make a ‘board-o-matic’ that plays the frames in order with timing and added music and sound effects. This can really give a feeling of the final sequence before it’s actually shot. There are some great examples of this on You Tube from Captain America.

Matthew: The film “Serena”, starring Bradley Cooper and Jennifer Lawrence is almost a lost film. Many film fans don’t even know it exists despite the all-star cast. The film is also a bit of a departure for you as it’s a straight up drama. Can you tell us your experiences working on that film and how working on a drama is different from the action/movement movies you generally work on?

Kurt: It’s the strangest thing isn’t it? I think it’s a good movie yet it took ages to be released and even then it was very limited. I was hired in this case by the production designer Richard Bridgland who I had worked for on Alien vs Predator. I did ink and marker illustrations of all his sets for presentation to the director Susanne Bier and then when my job was done the production asked if I could stay on as a storyboard artist as there were a few scenes where it moved out of the relam of straight-up drama and needed storyboarding. An accident on the cutting slope of a logging camp involving trains and falling trees and later a sort of chase scene and fight.

Storyboard from SERENA (2014), Director Susanne Bier

Matthew: Besides the films you’ve worked on, what movie have you seen the most in your life?

Kurt: Definitely ‘The Exorcist’. But a close second is the annual holiday showing of ‘The Sound of Music’ which is a Canadian tradition since before I can remember. I also know most of ‘Mommy Dearest’ by heart.

Matthew: You have worked on over 40 productions in the last 15 years. Do you have a favorite experience?

Kurt: Working on ‘Cloud Atlas’ was probably the most memorable. It was just such a great group of people over in Berlin and the script is magic to me. So ambitious and crazy but they pulled it off. I also did a sci-fi short called ‘A Living Soul’ with the Swedish director Henry Moore Selder that was really cool. On a short there’s limited money and the storyboards make a huge difference to the production. We did about 400 frames in 2.5 days on that project and the result, I think, is fantastic.

Storyboard from CLOUD ATLAS (2012), Directors Tom Tykwer, Andy & Lany Wachowski

Matthew: What director would you love to work with that you haven’t worked with yet?

Kurt: There’s a few. Maybe when Xavier Dolan makes an action or Sci-fi movie I’ll get to work on it. He’s a genius. And there’s also Ridley Scott!

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto Thursday’s of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Feeling confined by their small empty town and unambitious locals, Jasmine and Sarah entertain the idea of moving away to New York.

Review by Julie C. Sheppard:

The short Small Town Girls is a classic tale about big dreams of leaving a humble home town for the excitement and freedom of the big city. The thoughtful set decoration captures the essence of a small town 50’s diner. Colourful floral wallpaper and a gum ball machine, long drinking straws and cups, a sparkly neon sign, and a comfy booth all combine to set the tone of the period.

The matching cheerleading outfits of the two young female leads indicate their time in life — displaying the quintessential high school activity. It would be remiss not to mention the atmospheric soundtrack — Heartbreak Hotel by Elvis Presley was a wildly popular tune of the day. The two leads are perfect foils — one confident with the goal of leaving after high school for big city life in NYC, the other initially shy and hesitant when introduced to the idea.

The subtle sound design works well for the narrative, notably the off camera giggles of the local waitresses, perfect examples of folks living an uneventful life after high school in a place where nothing exciting happens. In contrast, the well written screenplay captures the feeling that in NYC you can take exciting risks — you can be or do whatever you want. Dreaming of this thrilling move is a classic story that never gets old, and the film does a stellar job telling it.

The Interrogation, 5min., USA

Directed by Kyle Riggs, Dylan Lighthall

A Russian mob interrogation goes awry when an over-eager enforcer tries to pitch in, but can’t get his mind out of the gutter.

www.instagram.com/riggseyyy

www.instagram.com/dylanlighthall

Subscribe to the podcast:

Tweets by wildsoundpod

https://www.instagram.com/wildsoundpod/

https://www.facebook.com/wildsoundpod

Maria Djurkovic is one of the most talented Production Designers in the industry today. She has created a multitude of worlds in many critically acclaimed movies and TV shows, including: Sliding Doors (1998), Billy Elliot (2000), The Hours (2002), Mamma Mia! (2008), Tinker Tailor Soldier Spy (2011), and Gold (2017).

Matthew Toffolo: Is there a film or two that you’re most proud of?

Maria Djurkovic: Yes – Tinker Tailor Soldier Spy.

I also was very pleased with The Invisible Woman. I dont think you can tell we had a very small budget.

PHOTO: Still from the film”The Invisible Woman” (Director Ralph Fiennes)

MT: What is a director looking for in a Production Designer?

MD: I am certain each director is looking for something different. Wes Anderson will be looking for very different qualities in a designer than Ken Loach.

Advertisement

MT: What is a Production Designer looking for in a director?

MD: I am certain that everyone is different. I like to work with directors for whom visuals are very important. This may seem obvious in such a visual medium as filmmaking, but believe me it isn’t.

I will meet a director for a job with a very clear idea of how I see their film. I actually like to stick my neck out, because I really don’t want to spend the next 6 to 9 months arguing. If a director likes my ideas I will get the job. If they don’t, or if they are not looking for an opinionated designer, I won’t.

The best working relationships for me are the very collaborative ones. Tomas Alfredson is my dream director. We practically finish off each other’s sentences. I enjoy working with directors who are unafraid of bold visuals and who dont get caught up in stuff that actually doesn’t matter. Those who are comfortable cheating locations and are not too literal.

Obviously the material they are wanting to direct has to be good and I have to like their work.

A sense of humor is hugely important to me. We will spend hours and hours in cars, looking at locations. We need to get on.

MT: You were nominated for an Oscar for The Imitation Game (2014). How was the Oscar experience? You didn’t win, but is it just as good being nominated? Or, did you really want to win!?

MD: It was crazy from beginning to end. I knew I would not win because I was up against “The Grand Budapest Hotel” that year. Knowing that I wouldnt win actually made the eremony much more relaxing. The year I was nominated for a BAFTA for “Tinker” I was a nervous wreck during the ceremony and had an anaphylactic shock during the dinner.

I was working in Boston in the coldest recorded east coast winter when I heard about my nomination. I had one Saturday to find a dress. Flew to LA one weekend for the nominees luncheon, the following weekend to London for the BAFTAS and the one after for the actual Oscars.

I was tired and jet lagged but the whole experience was quite extraordinary, and i am thrilled to have had it. Hair/ Make-up / the biggest celeb count on the planet, all huge fun.

PHOTO: Still from the movie “The Imitation Game” Directed by Morten Tyldum:

MT: How early do you come into pre-production before shooting starts? When do your hire and bring on the rest of your key team members?

MD: I come on board very early, normally after the producer and director. The amount of prep I get varies from project to project. Anything from 10 to an incredibly generous 24 weeks I have had on the movie I am working on right now. The Art Dept. has a massive pyramidal structure and I try to secure my supervising art director and set decorator as soon as i am allowed, everyone else follows.

MT: What film, besides the ones you’ve worked on, have you watched the most times in your life?

MD: Probably Kusturica’s films.

MT: Do you have a Production Designer mentor?

MD: No

MT: Do you have any advice to kids currently in high school or in university who want to be a Production Designer?

MD: Be prepared to work insanely hard, be a monomaniac and really want to do it. Take every opportunity and be persistent. Be prepared to take knocks. Keep immersing yourself in visual culture, refresh your resources. I am always shocked how ignorant many students are about period. Period knowledge should run in your veins

MT: Where did you grow up? How did you get into the film industry? Was this something you always wanted to do?

MD: I grew up in Harrow, wanted to be a Production Designer from about the age of 8 – this is the Monomania I was talking about. Made period clothes for my Barbie dolls and loved going to the v& more than anywhere else.

My dad was an art director and hated the idea of me following in his footsteps. Said that the film industry was full of shits. He was right, but I persisted.

Studied fine art at Oxford. Did a post grad course in theatre design. Started at the BBC the day after I graduated. Stayed there for 3 years before I went freelance, built up my career step by step alternating between set decorating bigger films and designing small TV things and working my way up. I designed my first film in 1995…..

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Immersed – A Cinematic Immersive Album by Justin Gray, 60min,. Canada

Directed by Justin Gray, Michael Fisher

Justin Gray’s Immersed is a groundbreaking cinematic album that transforms how audiences experience music. Composed, recorded, and produced as an immersive audio experience, the album features 38 artists from Toronto and around the globe, placing listeners at the center of a three-dimensional global orchestra.

https://www.instagram.com/justingraysound/

Review by  Julie C. Sheppard:

A bright, articulate opening monologue by Justin Gray, the mastermind behind this film Immersed, reveals how satisfying it can be to be completely engulfed in and surrounded by the arts. Given this heartfelt preamble, viewers are tipped off that they are in for a real treat.

The film’s structure is well framed with a series of section titles that help shed light about the tone of each of the upcoming musical interludes. The title Flow, for example, is apt in that we are presented a smooth, well-edited section — we are gracefully introduced to the work of several talented musicians who will be guiding us through the piece, such as the guitar of Justin to others on percussion, brass, vocals, keyboard and strings. Repose is a gorgeous meditative section with singing bowls, and the motif of Indian classical music and movement. The use of household items for foley sound effects in the section Tapestry is highly entertaining, as is the fine dance choreography enhanced with various fabrics and lighting, and upbeat, jazzy phrasing. The section called The River’s Edge utilizes striking indigenous movement with gorgeous winter vistas. Joyful, lively refrains come from the section called Orion’s Belt. Pendulum is a section full of rhythm and sensuality and, finally, the section entitled Illuminate blends images of waterfalls and butterflies with soaring violin and other orchestral groups.

The camera comes in close throughout and shows the skill of these artists and captures their heightened emotions when performing this dynamic piece. It is truly inspiring to hear from many of these people who have shared their talents. The extensive credit list alone displays the fierce commitment to this massive undertaking – artists, technicians and producers, all seeking to connect with a cinematic audience, while allowing viewers to immerse themselves in a feast of sight and sound.