Guest blog

Editor Chris Wyatt on ’71

09 Mar, 2015 Productions Posted in: DVDs, Guest blog

Editor Chris Wyatt has worked on modern classics of film and TV including  Dead Man’s Shoes, Dreams Of A Life and Dead Set. Here, he talks about his work with Yann Demange on ’71, out now on DVD and Blu-Ray.

71 jack o connell

Yann Demange and I have had a close working relationship over the last nine years or so. We first met when I’d just finished on This Is England and a mutual friend suggested that we should get together. It was one of those extraordinary things: there I was, overweight in my ill-fitting blazer, with the script in a Sainsbury’s bag, and then into the room swans this uber-trendy 25 year-old, and naturally it was love at first sight. We hit up an extraordinarily close working relationship very early on.

Charlie Brooker’s E4 series Dead Set was the project that really crystallised the way in which we work, and I always think of Dead Set as Yann’s first film. When we did come to do ’71, there was never any of that first film pressure, because to me I felt that we had done it all already.

Even when I saw his film school shorts before we met, it was clear to me that he is a cinematic talent. There was never any question in my mind whether he would be making films for the big screen – that’s where he belongs. He is a cinematic director, that has always been clear, and it has been evident in everything that he’s done, but particularly on Dead Set, and I think moments of Top Boy as well.

“It’s always about what you leave out, it’s about paring it right back.”

He is very visceral, very muscular, adrenaline-fuelled, but when one steps back and you look at the work that he’s done, it’s actually the quiet moments, those moments of pausing and reflection which make him such a great cinematic talent. It’s almost unheard of to get these passages of time in television where nobody says anything; everybody’s so desperate to fill the air time with people saying the bleeding obvious.

Yann’s always been very good at being very bullish about keeping those quiet moments. A picture really is worth 1000 words, and that has always been his great strength I think. When the ’71 script came in and we were looking at it, I was amazed how little dialogue there was. It seemed to make absolute sense to me that this would be the sort of thing that would attract Yann. It’s always about what you leave out, it’s about paring it right back.

To me the audience is the final collaborator, so if you give them 95% of the whole picture, they will happily give you the extra 5%. If you engage with them they will absolutely run with you and go on that journey. And I think that’s one of the successes of ’71 – we left out everything that might have been tedious and boring and would give too much away.

For me the riot scene in ’71 is the culmination of everything we’ve done. That, for me, represents absolutely the essence of the work that we’ve done. I can die happily thinking that that’s been left and really does for me signify everything that we’ve stood for these last nine years.

The apartment in Berlin where Chris and Yann edited the director’s cut of ’71.

The Berlin apartment in which Chris and Yann edited the director’s cut of ’71.

Buy ’71 on DVD and Blu-Ray now.





Postcard from Sundance

Dark Horse director Louise Osmond on visiting Sundance for the first time, where her film premiered to critical acclaim and won the Audience Award for World Cinema Documentary.

Dark Horse: winner of the Audience Awards for World Documentary at Sundance

Dark Horse: winner of the Audience Awards for World Documentary at Sundance

Sundance has such a romance attached to it – the original indie festival – and I’m glad to say it genuinely lives up to its reputation. There is some madness out there – a swanky crowd who gather on the main street of Park City and swarm over celebrities like Chris Pine (we saw the swarm snaking down the road but not the man inside.)

But most of it is people who love film watching everything they can and a very warm atmosphere that gets film teams together in brunches and lunches and events that remind you why you love the job you do.

The producer, Judith Dawson and editor, Joby Gee were out there too and, nervous as cats, we waited for the premiere. Joby had one of his trademark fantastic/horrible shirts on – brown and blue dancing horses in 100% vintage rayon. Laughing at him proved oddly calming.  Coming out here, I’d thought – worried – a lot about whether American audiences would take to the story. In Park City, listening in the dark to every sigh or cough it seemed like they did but at a screening in Salt Lake City the next day it was louder and easier to read. They did seem to take to it and better still what they loved most about our fantastic characters – Jan and Brian, Howard and the others – was their spirit of defiance.

People will sometimes tell you America is a classless society but that news hasn’t reached Utah. Taking on the elite sport of kings with a horse bred on a slagheap allotment seemed to resonate very strongly with them. One man said: ‘Good to see people who aren’t respected getting the respect they deserve.’  Can’t argue with that.

Read more about Dark Horse: The Incredible True Story of Dream Alliance



Otto Bathurst Q&A

15 Dec, 2014 Posted in: Behind The Scenes, Directors, Guest blog, Talent

Black Mirror and Peaky Blinders director Otto Bathurst on his big break, best career advice and the modern plague of cyber abuse

On the set of Peaky Blinders

On the set of Peaky Blinders

Q. What’s been your career highlight so far?

A. I went to a film premiere about two years ago, and I arrived early and the red carpet was empty. In those days I had a pretty shaggy beard and was wearing a knackered leather jacket. As I walked the carpet, one of the paparazzi shouted “Oy, Wolverine!”

Q.  What was your biggest break?

A. A long while back there was a horror anthology series on Channel 5 called Urban Gothic.  We were given ten days to make three half hour films. Two of my scripts were very thin, so I spent two days on each of those, but one was great so I saved six days for that one and made a pretty tidy film that then went on to entice all kinds of people. Broadcast opportunities like that are now very hard to come by for young film-makers who are just starting out. It’s becoming harder and harder to break through.

Q. What one piece of career advice has stuck with you the most?

A. Well, film-making is all about the people you work with. Look after them, respect them and walk alongside them. As much as possible, within all the pressures of film-making, I have tried to do that. I am always listening to other people, and I’ll take suggestions from anyone… Why not? Only a fool would let their pride not hear it. On Peaky Blinders, I remember a set piece where I’d made some bad decisions and had dug myself into such a hole that I couldn’t see how to switch in the stunt man. I was kippered. The fabulous 3rd AD who was a film-maker in his own right was watching. He spotted a solution and eureka – we were saved. The bonus of all of this is that if everyone sees that their voice is being heard then everyone gets inspired and begins to own the project. That’s the holy grail for me – when everyone cares and connects. I love that.

Sam Neill and Otto Bathurst

Sam Neill and Otto Bathurst

Q.  Your current project is about cyber abuse – can you tell us more about that?

A. I am making a short film / commercial that will smash once and for all the notion that cyber abuse is any less damaging than physical abuse. It is a big budget, high impact film that will hold a very bright mirror in the face of society and expose the absolute responsibility that each of us has to do everything we can to ensure that this deeply damaging behavior is halted. A huge amount of people are getting very seriously hurt by this modern plague and all of us have the power to do something about it. We are becoming accustomed to a level of abuse online that we would never tolerate in person. A level of abuse that no-one should ever be subjected to. A level of abuse that is causing huge damage to thousands and thousands of people. And it is already being normalised in a way that people feel this is something they just have to put up with. And it is getting worse.

Q.  What drew you to the topic of cyber abuse?

A. I became increasingly aware of the horrendous damage that it was doing, how prevalent it was in so many peoples lives – and it is not just kids and teenagers, but thousands and thousands of adults are victims of this abuse. And I also became increasingly aware of how ignorant almost all of us were about what was going on.

Whenever you hear from victims of cyber abuse, they repeatedly talk about how the real damage, the real shame, the real hurt comes not just from the words that are being said to them, but the fact that there are X number of people also on the thread; listening in and supporting the thread. They speak of the total and utter loneliness and abject sense of helplessness this causes. It’s like being bullied with 1500 (or often many, many more) watching, baying for your blood, joining in, confirming what has been said. This is what magnifies the hurt. The Bystanders are what make cyber abuse so uniquely damaging. But. If you ask around, no-one, absolutely no-one is aware of this. The consensus, even amongst the most ‘digitally aware’ people is that they are doing nothing wrong because they are not joining in.

But as Einstein said many moons ago “The world is a dangerous place to live; not because of the people who are evil, but because of those that don’t do anything about it.” Which perfectly and exactly describes the role of the passive Bystander. 

Whilst the police and lawyers struggle through mountains of bureaucracy and politics to enforce action, we wanted to do something NOW - because we all, every single one of us have the power to instigate change. And we all, in the pursuit of a harmonious and equal society that supports the individual and the freedom of speech, have a deep responsibility to each other as fellow Bystanders.

A message that, in truth, is relevant for everything. Digital, analogue, on-line, physical.

The film is being put together by a collective of us operating under the banner of All Rise ­– a not for profit company we have set up to tackle this insidious and ever-growing plague. One aspect of the whole campaign is an international survey that we are running. The first and most wide reaching of its kind. A survey that will highlight the extent of the problem and will arm us with the information needed to enact change. I implore any readers of this blog to fill in the survey and also to spread to all colleagues and friends. If we ALL RISE, we can stop this rot. Thank you.

Click here to fill in All Rise’s survey about cyber abuse (this survey is not affiliated with Film4 or Channel 4)




Fred Dekker on Night Of The Creeps

21 Aug, 2014 Posted in: Behind The Scenes, Directors, Guest blog, Writers

As Film4 screens 80s comedy-horror Night Of The Creeps for the first time, writer/director Fred Dekker looks back on his filmmaking debut…


Night Of The Creeps was written in three weeks.

At least, that’s what I read on the Internet. To be honest, I don’t remember how long it took. What I do remember is that my fledgling career circa 1985 was shifting into a higher gear with each passing day — I’d gone from being an English major at UCLA to a working member of the Writer’s Guild of America in less than a year.

My first writing job was an American Godzilla movie to be produced and directed by Steve Miner who, after helming the second and third Friday The 13th installments, decided it was time to fry bigger fish… or bigger prehistoric reptiles.
The movie was never made (its $30 million budget was considered too exorbitant!) but working with Steve opened the next door on my journey…

I’d wanted to be a director since the day I saw Jaws, so for me screenwriting was really a preamble to the director’s chair. I had an idea for my first film. It would be a low budget shocker, albeit with some redeeming social value, about a Vietnam veteran who decides to face his demons by writing a no-holds-barred memoir about his war experiences. I decided he’d hole up in a house alone, and slowly but surely the proverbial scary shit would start to happen. The audience, in turn, would wonder if he was suffering from PTSD, or if the house was actually haunted (spoiler alert: the latter).

I wanted to call it House (clever, eh?) and shoot it down-and-dirty in the very house I grew up in — my parents’ Victorian in Marin County, California. I mentioned the project to my college roommate, Ethan Wiley, but for various reasons – the Godzilla script, girl watching, making short films with my friends or having dinner with James Cameron about working on his script for Aliens (yes, that happened)… whatever the reason, I just never got around to writing it.

So Ethan asked if he could take a crack at it. The script he wrote was more comic in tone than the movie I’d imagined, but liked it enough to show to Steve Miner, who loved it and showed it to Sean Cunningham — producer/director of the original Friday The 13th. The next thing I knew, my first screen credit –“Story by”– was in front of the cameras (three sequels followed, although I never saw a dime).

Somewhere in the midst of all this was the apocryphal “three weeks” during which Night Of The Creeps was born. Again, I don’t remember exactly. What I do remember is this: a sleepless night, and a vision of a hard drinking, hard-boiled gumshoe picking up a phone and saying, “Thrill me.” (After I saw The Terminator, I named the character “Cameron” after my one-time dinner companion. Because why not?).

So…  I had a character, and one line of dialogue. That was pretty much it. But I knew he was a detective, so the question for me as a writer became: what was he investigating?

The floodgates, as they say, opened.

Because long before I was writing seriously, long before I’d come to Los Angeles to break into “the business,” long before any of that: I was a movie nerd. Correction: genre movie nerd.

So I allowed the library of genre movies in my head to spill out. I loved Animal House and the films of John Hughes, so what if there were a college romance plot? And what if that was the reason the detective’s investigating something? What if a sorority were besieged by an axe-killer? Or better yet – a zombie axe-killer? Or better yet – a zombie axe-killer infested with alien parasites?

Calling Night Of The Creeps original would be an error. But calling it an affectionate nod to all the B-movie tropes I’d absorbed in my misspent youth? Bingo. I was doing the mash-up to end all mash-ups long before anyone knew what the hell a mash-up was.

My agent found a producer who liked the script (his name was Chuck Gordon, and he would go on to make movies like Die Hard and Field Of Dreams and Waterworld. Nothing big). The first studio Chuck showed it to said yes.

It was official. I was going to be a director! I was also officially having an anxiety attack. But I soldiered through, and with the help of an amazing cast and crew, managed to cobble a movie together.

I had never had any formal training, and everything I knew about making movies was learned on the fly when I was young, shooting and cutting 8mm films or video. That, and watching anything I could, from any era, in any genre.

My “self-taught” approach made for some awkward moments on the set and in the cutting room, but my naïveté was also responsible for the film’s occasionally bravura style (my favorite scenes are Detective Cameron’s dream/nightmare, and the scene where he tells young Chris Romero the deep, dark secret that’s been haunting him for 27 years).

What did I learn from making my first feature? Three things, mostly. 1) Cast properly. I think it was Martin Scorsese who said that’s 90% of the job right there, and he’s right. 2) Keep an eye on pace, and get enough coverage so you can speed a scene up or slow it down in editing. And 3) Be veeery nice to the executives who are giving you the money to make your movie.

(Quick side-note on casting: I didn’t have an actor in mind when I wrote the detective, but Tom Atkins read for us and the second he left I turned to our casting director and said, “That’s the guy.” To this day, I think Tom is the glue that holds the movie together.)

As for the in-joke character names? An extension of the homage tone I was going for. After all, if you’re going to rip off a bunch of other movies, why not at least acknowledge the guys who made them? (Romero, Landis, Corman, etc.) More importantly, since this was my first feature – and it was ostensibly horror – I chose to specifically reference directors who had started out, or specialized, in the genre. That’s why there are no characters named Kurosawa… although Spielberg, Kubrick and Peter Hyams were probably my biggest influences at the time.

As we were shooting, I concocted another “mash-up” that was near and dear to my heart; a comic-horror adventure that would pay tribute to the “Our Gang” comedies and the Universal monster films. I asked my talented college chum Shane Black to write it and we were making a production deal for The Monster Squad even before Creeps was finished. Suffice to say, there wasn’t much time for me to reflect on the cultural impact of the work I was doing, and frankly, I was having too much fun to worry about it. It was only after both these films were released… and bombed horribly… that I realized they were barely blips on the Hollywood radar. I had committed the cardinal sin of any fledgling filmmaker: I had made two unsuccessful films in a row — a critical blow to my directing career.

It was years later that both films began to find their audience via cable TV and video rentals and word of mouth. Although considered “cult classics” now, at the time they came out they were redheaded stepchildren, beloved by only a few discerning genre buffs. Frankly, the disappointment was crushing.

So what’s the moral of the story? Well, for one thing, if I had it to do all over again, I might not have made two “comic horror” films — an oddball hybrid in any era, and rarely successful on a blockbuster scale (Zombieland notwithstanding). My true loves are adventure films and thrillers, and had I gone in that direction (i.e. more mainstream), my career might well have gone a different route, too.

But hey, hindsight is 20/20. And I’m truly gratified that at least Night Of The Creeps did find its audience… eventually. And maybe as part of Film4’s FrightFest, it’ll attract a few new fans, as well. You know what that would do?

Thrill me.

Fred Dekker
Los Angeles — August 2014

Alan Jones’ FrightFest 2014 highlights

Film4 FrightFest’s Alan Jones on the horror festival’s move to the Vue Cinema and his own personal highlights of this year’s festival, running from 21st – 25th August 2014 in Leicester Square.

The Guest starring Dan Stevens

The Guest starring Dan Stevens

I’m not afraid to admit that Film4 FrightFest’s move to the Vue cinema Leicester Square has given me sleepless nights. I mean, we had everything at the Empire running smoothly… but their redevelopment plans meant we had to uproot ourselves and literally start from scratch. Because that’s what making our new home at the Vue has entailed – from management understanding what the FrightFest community is all about, to ensuring their staff were on board in terms of mind-set and approach. It took the Empire 12 months to fully appreciate our ethos and here we were again facing the same early questions like “What do you mean people queue up for 48 hours before the tickets go on sale?” and “But where do we put all these goodie bags?”

For die-hard FrightFesters though it’s par for the course on the 15-year long haul from the Prince Charles to the two Odeon West Ends and then the Empire. But this 2014 change is markedly different because for the first time the main films will be split over three auditoria, rather than just a massive one, with our much-loved Discovery and retrospective strands expanding into larger spaces. So we knew going into this August Bank Holiday’s event that we would have to ensure the programme choices were about as tip-top as we could get to help soothe any misgivings about losing the FrightFest essence. I think we’ve done that. Our line-up is always highly anticipated and the feedback so far suggests we’ve hit all the want-to-see bases. Hopefully job done and everyone can now relax in their new comfortable surroundings to watch the best examples of what the genre can offer.

The Samurai

The Samurai

Speaking personally, my list of absolute must-sees is topped by Till Kleinert’s superb The Samurai, which I keep describing to people as Dressed To Kill through a Jorg Buttgereit filter because I so want people to respond to its extreme slasher gore and playful homo-erotic subtext. Kleinert is such a horror fan, and it shows, and he’s already said he wants to attend the entire festival. Another stunner is William Eubank’s quite astonishing The Signal, which I found enigmatically mesmerizing and unusually resonant in thematic terms. Closing with an all-stops-out science fiction fantasy is unusual for FrightFest but when people witness the final five minutes, they’ll understand why we chose it.

I must also mention our terrific opener The Guest, which is one of the best horror thrillers of the year and features a break-out performance by Dan Stevens that I can only liken to the one Julia Roberts had in Pretty Woman. No, honestly! And for those who loved Inside, but thought Livid was a disappointment, Julien Maury and Alexandre Bustillo’s Among The Living will restore your faith in French shockers with its daring concept and wonderful studio backlot setting. Must mention Home, Housebound, X Moor and Doc Of The Dead… too many, in fact, to do justice to. Best people just come along and find out for themselves.

Find out more about FrightFest 2014 and buy tickets