The Hide

2008
Dir. Marek Losey

Roy Tunt, an obsessive-compulsive birder (that’s bird watcher to you and I) settles down in a secluded bird-hide on the barren Suffolk mudflats to try to catch a glimpse of the elusive ‘sociable plover’. A brewing storm brings Dave, a bedraggled and bloodied young man, to the hide to seek shelter. Over the course of the day the two men seem to bond until news of a police manhunt comes over Roy’s shortwave radio. This puts both men on their guard, forcing their impromptu and already brittle relationship to a shocking conclusion.

Adapted from his own play, writer Tim Whitnall has carefully crafted a complex and rather compelling two-hander. The story unravels in one location – the bird-hide – and the action rarely leaves the four ramshackle, draught-ridden walls. The bulk of the film consists of the burgeoning relationship between the two men as they size each other up, make small talk and eventually confess deep, dark and sordid secrets.
A stark and moody opening sets up the bleak atmosphere as we follow Roy (Alex Macqueen) through desolate wastelands on his way to the hide. It is of course situated in the middle of nowhere. The sense of isolation only grows as we get to know the characters and realise that both men are ‘outsiders’ and exist on the periphery of society: Roy is a seemingly awkward and socially inept obsessive-compulsive bird watcher whose only source of company before Dave shows up is a photo of his ‘estranged’ wife. Dave (Phil Campbell) is a confused and troubled young man who has got caught up in some dodgy dealings with shady individuals.


The quietly brooding menace of Dave initially juxtaposes with the rather prim and compulsively precise Roy, however as the story progresses we soon learn that first impressions can so often be misleading… There seems to be a quiet commentary on British class and social stereotypes too – Roy is a middle class ‘true Brit’ with a penchant for casual racism; Dave is a gritty, working class ‘Northerner’ who prides himself on being a straight-talker.

Both characters seem slightly unhinged in their own way – though one more obviously so than the other. To begin with anyway. Roy is a creature of habit and doesn’t appreciate his routine being intruded upon by Dave. The script twists and turns, throwing up surprise after nasty surprise – but it does so through words, dialogue and interplay between the two men. The atmosphere is added to with the use of ‘bird-watching’ language – for example Roy explains that a group of crows is referred to as a ‘murder’ of crows; a ‘deceit’ of lapwings etc.


In terms of ‘action’ nothing much happens until the third act – until then the film is all quiet menace and slowly rising tension. A darkly comic scene unfolds, perfectly highlighting the film’s absurd sense of humour, as the two men discuss their mutual admiration of power tools – one can’t help but wonder what, or who, they’ve used power tools on in order to garner such solemn respect for them. The intrigue and suspense continue to mount as the lines between the men become blurred and it becomes less clear who is in danger from who. It is certain though, that one or both men are in danger. Certain little throwaway remarks at various times shed subtle light on each of their characters. When they begin to share information of a more personal nature about themselves to each other, things become very uneasy. Add to this awkward mix the fact that Dave seems to be experiencing distressing flashbacks of body parts being picked apart by crows.

The Hide at times feels very theatrical (and not just because it’s adapted from a play – though that may indeed have something to do with it!) with its single location, dense dialogue and careful character studies. At times it resembles what would happen if Shane Meadows were to direct Waiting for Godot.


The third act is announced with a gruesome discovery in a notebook that turns all expectations on their head – well, it might not, depending on how much one has been second guessing events and looking out for little signs along the way that heavily hint at revelations to come. Credit to Losey and Whitnall though, for at least attempting to play around with genre conventions and types.

A tightly drawn and unyielding thriller with dark humour to spare and a fittingly tragic outcome.

Skare

2007
Dir. Michael J Murphy

The story behind director Michael J Murphy’s recent low budget, darkly comic and rather splattery Skare, is an interesting one. Basing the script on his own short story, Murphy set about filming in 2001. Disaster struck, however, when the unprocessed film got lost in the post on the way to be developed at Kodak. Murphy found himself in dept and without a film.

Skip ahead a few years and as Murphy began working on a new project, he found himself drawn back to the original script of Skare. Gathering together a new cast and crew, the tenacious filmmaker set about filming Skare once again.

The story focuses on the unlikely, and increasingly disturbing, partnership between Martha - the reclusive owner of a country club and Dan - a young escapee from a nearby psychiatric hospital. Dan soon discovers that Martha has sinister ulterior motives for her kindness and following the discovery of a decapitated head in a refrigerator, it soon becomes very clear the lengths she goes to in order to cook up the meaty meals she serves to Dan and her customers...

Head over to Eye for Film to read my full review.

Skare was released in September 2009 by Sarcophilous Films, a fledgling independent DVD label. Check out their site here.

RIP Edward Woodward 1930 - 2009

Cult actor Edward Woodward, best known for his roles as a virginal policeman in The Wicker Man and a former secret agent turned vigilante in the 80s TV show The Equalizer, sadly died on Monday 16th November at the age of 79, after suffering from a number of illnesses including pneumonia.

The actor died in a hospital near his home in Cornwall and was said to have been surrounded by family and friends.

Woodward made his mark in cinema with his portrayal of celibate and devoutly Christian, Police Sergeant Neil Howie in British Horror film The Wicker Man. The film has quite often been referred to as "the Citizen Kane of horror movies", and both Woodward and Sir Christopher Lee have said they were "enormously proud" of their roles.

According to The Guardian the director of the The Wicker Man, Robin Hardy, paid tribute to Woodward, saying he was 'one of the greatest actors of his generation, without any question', who was 'an absolute star of The Wicker Man' but also 'an extremely nice human being'. Sir Christopher described Woodward as 'a very good friend and a splendid actor'.

Simon Pegg, who was not only a big fan of Woodward, but went on to cast him in his 2007 film Hot Fuzz, said on Twitter: 'So sorry to hear we have lost the great Edward Woodward. Feel lucky to have worked with him.'

We love you Ewar Woowar.

Paranormal Activity

2007
Dir. Oren Peli

After moving into their new suburban home, a young couple become increasingly disturbed by strange nightly disturbances that are revealed to be a demonic presence.

Every once in a while a film comes along with a reputation that precedes it. Having already caused something of a stir in the horror community and now breaking out into mainstream box office success, Paranormal Activity is a slow-burning and highly atmospheric horror tale that effortlessly preys on our fear of the unknown and fear of the dark.

Hand held camerawork lends the film a sense of intimate urgency, whilst long static shots prompt us to gaze into the dark abyss of the screen for the smallest flickers of movement in the corners of the frame, the vaguest hint of threat. Before we know it, the abyss is starring back. Rammed full of creepy images, sinister sound effects and queasy tension, Paranormal Activity could very well do for your own home what The Blair Witch Project did for camping.

Head over to Eye for Film to read my full review.

Part II of Interview with George Clarke

This is part II of an interview with George Clarke - director of Battle of the Bone and The Knackery. I caught up with Mr Clarke recently to chat about his independent film production company Yellow Fever and the 2nd Yellow Fever Independent Film Festival - as well as his current project, old school slasher flick Splash Area. If you've just joined us, you can click here to read part one of the interview. If you've already read it, I shall take up no more of your time - read on for part II...

Behind the Couch: Tell me about your own festival – YFIFF. How did you come up with the idea to host an Independent film festival in NI? How did you go about setting it up?

George Clarke: Going back to the beginning when I started filming BOTB, I had always wanted to help independent film makers from the word 'go'. One way of doing that was to hold a real indie film festival. At that time, I had never heard of any in Belfast, or NI, and wanted to be responsible for creating such an event. So it was always in the back of my mind with some notes on the project scattered over my desk.

After our visit and win at the Freak Show Film Festival in Orlando, I got such a buzz about it all that I wanted to bring that feel to the film fans and makers of NI. I was so excited about it all, I didn't really give myself much time when I announced it. I think it was just over 4 months before the proposed date that we made plans. Submissions came in slowly, but there was enough to turn some down in the final decision. One of the things I found hardest was getting some financial support and backing for the event. Obviously, people are going to be wary of a first time project, but even the film and arts councils refused to help in any way leaving us high and dry.

Regardless, I motored on - while shooting The Knackery at the same time - and put myself out of pocket just to give the people what I promised I would. All in all, the whole event was a pretty positive experience, and it was totally worth it to be able to meet and make a great new friendship with Mike Leeder, our special guest.

BTC: What can we expect from the 2nd Annual YFIFF? Have you begun work on it yet?

George Clarke: Work has begun on the second annual YFIFF, with a call for submissions, and a brand new attempt at finding sponsorship. Even our special guest, Mike Leeder, from last year – is working on getting us help all the way in Hong Kong. My plan is to get a couple of big names in this year, but those that work behind the scenes. Its more important to me to bring people in that create the film, rather than the actors who usually get all the credit. We have more time this year to work on it and make things better, so here's hoping that the right numbers make it along and the local media give us a bit of support this time.

BTC: In your opinion – what is the strength and depth of independent filmmaking in NI today?

George Clarke: I think that independent film making in NI is still quite minimal at the minute. I'd like to think we have inspired a few more projects since BOTB, but when I think about how many bigger productions, and usually from outside production houses, there is on the go compared to the indie's – I still don't think there is enough people out there supporting the independent scene.

BTC: Do you feel there is enough support for independent filmmakers in NI at the moment?

George Clarke: Not really, no. And I'm not even relating to myself... I've met quite a few other local indie film makers that say the same – or should I say, wanna-be's, because they just aren't getting the help they need to continue with their projects. Its pretty crap, but once again, this is something I am trying to offer with Yellow Fever in many ways. Okay, at the minute we can't help funding-wise, but there is options there to get around it and we have proven that already.


BTC: You’ve taken part in a few outreach projects such as BBC Blast – why do you think its important - if at all - to involve young people in filmmaking?

George Clarke: Well we aren't going to be around forever... But really, it took me 15 years to get to do what I've always dreamed of. Now, when I know there is a kid interested in getting into film – or in any way, wanting to follow their dream – I'm more than happy to lend a hand.

We live in a digital age where the entertainment industry rules. As the film industry kicks off here, I've noticed that not every school teaches the art of film making and have thought about the future. In ten years time, when the NI film industry is in full swing and this generation want to get involved, there won't be much opportunity for them because they will have minimal education on the subject. By the time they go to university or college to do an extra few years to get a piece of paper that may get them in as a runner, those important jobs will be gone to other people – and possibly those more experienced from abroad.

BTC: What kind of feedback do you get from these projects?

George Clarke: We work with another company called Any Bright Idea's which takes us around schools doing the same thing as BBC Blast, only on a smaller scale obviously. I've always worked with kids and am very young at heart, so there's always a laugh and lots of fun going on at each project. By the end of it all, regardless of how the film turned out, everyone leaves with a smile and nothing but great things to say... Its a nice feeling!

BTC: Can you tell me about Splash Area, the film you are working on at the moment?

George Clarke: No. Okay then. Splash Area was a film triggered by 3 little events.
I came up with the idea when I was in Universal Studios in Orlando. I was watching one of their live stunt shows, and noticed near the front of the seating area, the seats had written on them 'splash area'. I thought it was a great name for a film, and around the same time, a lot of friends had been telling me about their fear of clowns. So I put both ideas together and came up with possibly the sickest thing I've ever written, so far.

With Splash Area, I wanted to try and get back into the 80's style of slasher flicks. Is it just me, or does almost every horror film that comes out now look the same? I don't believe in polishing up some girl with big boobs just to have her killed off in some erotic sense so that I can attract a bigger teen audience, and I don't think heavy CGI makes for a better scare! I want good old fashioned suspense and scares, with the obvious mad twist from myself.

The film takes place on Halloween night. A few friends have dressed up as horror movie icons to go to a party. On the way, they bump into a gang of clowns – nutters from the local asylum who have escaped and went on a killing spree. After escaping, the friends find the others at the party have been killed by the clowns so set out for revenge. They follow the clowns into the old asylum where things start to get a little out of hand... I'll not give too much away, but one of my guys read the first 30 pages and called me a sick and twisted bastard. A compliment I assure you!

BTC: What filmmakers, if any, have inspired you most and why?

George Clarke: My obvious answer there is, and always will be, Jackie Chan. Before his move to good old Hollywood *cough*, Jackie Chan took on as many roles as me in his movies both in front of, and more importantly, behind the camera. He was, and still is, an amazing film maker and an incredible person. The only thing that he does and I don't, is sing the theme song in most of his Hong Kong productions. He has been an inspiration to me for over 25 years, and I will work with the man one day!

Ironically, it is Chan's own hero and inspiration that is my second choice. That man is another genius of the film world, Charlie Chaplin. As with Jackie and myself, Chaplin did everything on his productions – including the singing – and more respect to the man for doing so almost a century ago. We have it so much easier nowadays, and when I watch behind the scenes footage of Charles in action, I am constantly amazed at the man's talent.

I also enjoy Lucio Fulci's films and have kept his style in mind for the right moments... It’s a strange mix, I know.

BTC: In terms of aims and objectives, what future projects have you in mind for Yellow Fever?

George Clarke: Since we spent the first 2 years building our CV, our plan for 2010 is to get the DVD label up and running, with our own productions and a range of independent titles from around the world. We aim to have these in every DVD retail shop across the UK and Ireland. Our distribution plan also includes cinema releases of each film.

We also have 4 feature films planned for production over the year if we get the funding through, which will go on to make us one of the leading independent production houses in Northern Ireland when completed. Once done, our aim is to sell the rights to other distribution companies to help fund our next ventures, but keep the rights to the UK and Ireland so we can begin to make Yellow Fever Productions a house hold name. On top of that, we have the second annual Yellow Fever Independent Film Festival coming up in August and hope to bring in some very special guests to help, advise and inspire other local film makers who attend.

With our previous 2 features, we have gained a lot of attention, so with the next lot, we hope to travel to more festivals and film markets around the world for the chance to win awards and sales on the movies. Our most major aim for 2010 is to open the first independent film studio which will be for our own benefit, but also give smaller and less financed companies like ourselves, the chance to shoot in and experience a studio production without having to spend a fortune.


BTC: What, for you, have been the highlights in your film career thus far? Is there anything you would do differently?

George Clarke: If I say I would do things differently, that would make me think I've done something wrong. As you know, in the beginning, I didn't know anything about film or how to make one, so BOTB obviously wasn't going to be perfect. Now though, I know what I'm doing, so my plan is to create a new version – a directors cut if you may – of the film, for a new audience.

There has been many highlights in the past 2 years – too many to recall, but I will say this; I set out to prove that you don't need a degree or any bit of paper to do what you want to in life. All you need is a dream, and some self belief to make it happen, and I'm glad I made that move. Live the dream, spread the fever!

Part 1 of Interview with George Clarke - director of Battle of the Bone and The Knackery.

As the head of Yellow Fever Productions, Northern Ireland's first independent film production company, George Clarke has his work cut out for him. Currently in the midst of filming his latest project, a crazed Halloween Night-set slasher film about killer clowns and escaped lunatics, and having already thrown himself into preparations for the second Yellow Fever Independent Film Festival next August, I thought it was about time I caught up with Mr Clarke to have a chat about low budget filmmaking, genetically modified zombies, the film industry in Northern Ireland, the importance of self belief and, er, killer clowns!

Behind the Couch: When and how did you go about setting up Yellow Fever?

George Clarke: I officially launched Yellow Fever Productions when I kicked off production on Battle of the Bone. I had always wanted to name my company Yellow Fever because of my love for Asian cinema. It has been the biggest inspiration to me in regards to film making so I wanted to pay some sort of homage to it with my name.

I also wanted to let people know where myself and my projects where from. I needed something that represented home more than anything, and that came in the shape of the infamous Harland and Wolfe cranes. They also just happened to be yellow! The symbol of the double cranes in YFP also represents a few other things, like strength, longevity and creation.


BTC: You are a huge fan of Martial Arts movies – what is it about this particular genre that appeals to you most?

George Clarke: To me, there is nothing more amazing or entertaining than seeing Jackie Chan in his prime, kicking ass while pulling some incredible acrobatics – and the same goes for all the Hong Kong super stars. This is genuine talent – blood, sweat and tears – to entertain the fans; not some glorified actor made to look good because of camera angles and special effects. Over the years, my love for Asian cinema has spread from kung fu to drama, horror, comedy and more. I don't laugh harder at any other film, than I do at Chow Sing Chi comedies or Hong Kong humour. Another reason I love it so much is the amount of work and creativity put into each film. As a film maker you learn to respect that; even if the film is bad. Whereas in Hollywood, they have fallen into this thing where they think CGI is going to save them. I honestly couldn't name ten great films to come out of Hollywood in the past 5 – 10 years that gives me as much enjoyment and repeated viewings as HK cinema does.

BTC: What ideas/themes/stories capture your imagination most as a filmmaker?

George Clarke: Hmmm... I reckon anything apart from real life situations. I believe film was created to take people away from their problems and entertain them in a fantasy world, but you don't see enough of this in the film world right now. When you watch a film on the big screen, you should be getting lost in your own imagination by getting connected with what's up there... There's nothing better.

This is another reason for my love of kung fu cinema. Flying swordsmen, gravity defying martial artists, and Buddha's Palm Blast... You don't see much of that in real life do you? I guess it’s who and what I dream of being – perhaps everyone loves their own genre of film because it’s who they really want to be. I think I'm bald enough to become a Shaolin monk...

BTC: How did Battle of the Bone come about? What inspired it?

George Clarke: Battle Of The Bone started off as a bit of a joke. It was my reaction to a solution for peace in Northern Ireland, and the more I talked about it, I didn't realise I was actually developing the film in my head. I could see it scene for scene. After dinner one night, I completed the script in just 5 or 6 hours, and the rest as they say, is history. For the record, the BOTB I filmed wasn't the original script I had written. We just didn't have the budget, locations or time to do what I really wanted, but it will come about! I was approached by a first time producer, who wanted to make his first movie with me and my ideas. At the time, I was hearing stories that you could only get a movie funded in Northern Ireland by the film commissioner NI Screen, if it contained something about the ‘troubles’ or the religious divide - something that has thankfully started to fade - but I really wanted to make a crazy kung fu movie. I joked around with the idea of making the ultimate, mother-of-all ‘troubles’ movies.

Obviously, as an inexperienced first time film maker, I was aiming pretty damn high with this, but I was determined to show that I could do it. The original producer pulled out – without giving a reason - the day before we were set to film a £10,000 promotional trailer, so I went ahead and filmed what I could, funding it out of my own pocket, with the grand old total of £37.


Soon afterwards a friend, Andrew Mawhinney, stepped in and offered to fund the full feature. Which was amazing! I quit my job on the same day and set out to find a cast and crew and begin causing trouble on the streets of Belfast.

BTC: What are the challenges of working with little to no budget? Are there any benefits to speak of?

George Clarke: Making a movie! It’s always a challenge to do something so big and creative without any money, yet when you manage to complete such a challenge, there's no better feeling. What I love is the pressure of making something that still looks professional, has quality, and can entertain. Having no money forces you to think harder and be more creative, which can bring the best out in some people. My way of getting around having no budget, is to think about which resources are available to me – locations, props, cast and crew, and create the film around that. Works a treat!

BTC: How did the idea for your latest film The Knackery come about?

George Clarke: The Knackery replaced our other production, Splash Area, which was put on hold when I knew it wouldn't be finished on time for the YFIFF. I needed to create a new movie quickly, and design a project I knew could be shot and made in record time with no money. After watching a movie about underground, illegal fighting, I thought that genre was a bit out-dated, and wanted to try a new twist on it. I started writing and as I did, started to create a new reason behind it all regarding the extremities of reality television. The Knackery script was finished in 3 hours, and filming began the very next day. As for the title, I wanted something that was new, catchy and would get people asking questions. I looked in a little book I have based on old forgotten English, and came across 'Manqueller'. I liked it, but it didn't sound right for the game show, so as I read through its description I came across 'The Knackery' and straight away it clicked!

BTC: Was it a difficult shoot, considering the low budget, isolated location and the number of stunts involved?

George Clarke: For me and most of my team, The Knackery shoot was a breeze. For a few others and those not used to making a Yellow Fever production, things seemed difficult. Our schedule was like 5 days a week, for about 5 hours a day over the 4 week period and with the distance to travel and physical contributions; everyone was pretty much 'knackered' by the end of it all. On top of that, when I got home I basically spent most of the night editing into the early hours of the morning.

I love the pace and pushing myself, and others, to create something that most would say is unachievable. After we completed The Knackery and had some amazing feedback on it, I asked the guys if they would be happy making 8 or 9 features a year... I can't repeat what most of them said.


BTC: It is currently screening in festivals – what is the response from audiences?

George Clarke: The initial (world) premiere at my own festival went down a treat! I was pleasantly surprised at everyone's reactions both during the film and afterwards and it was the perfect finish to a great weekend.
We had the pleasure of playing in Battle Of The Bone's old slot back at the Freak Show Film Festival in Orlando, and for such a no-cost, incredibly independent film to play alongside 20 others with budgets as high as half a million dollars, was great! As our film played on the Sunday afternoon, I was able to see most of the other films over the weekend. What excited me was that almost every other film there was the usual horror styled flick that everyone had seen before, but The Knackery stood out – and in a good way – because it was something a little different.
Like BOTB did the year before, The Knackery brought in a huge crowd for its North American premiere and there was a lot of excitement. As the film rolled on, I got goose-bumps watching everyone's reactions. The place was electric! Our fan-base in the States is steadily growing, and the Freak Show is something I've vowed to return to every year.


BTC: Is there any difference in the response your films receive from NI audiences compared to audiences from elsewhere in the world?

George Clarke: I don't think it's a difference in audiences – but more or less, certain groups of people. I have just as much fans and support at home than I do elsewhere, but there are quite a few people in the same line of work here (NI) that will go to great lengths to make sure my work gets bad publicity – even if its just a comment on a forum or under someone’s review. One of my favourite comments about me said 'Clarke is to film, what paedophiles are to kids!' Hilarious!
I could line up 10 people that were friendly with me before I began my career and single out what each of them have written, said or done to try and shoot me down. All they need to do is get off their backsides and make a move on their own dreams... It's not so hard when you believe in yourself.

What I have found strange though is that, in Northern Ireland – if you aren't part of a certain circle of film makers and friends, then life in the industry can get very tricky. There is a lot of negativity and jealously geared towards those who do well, yet, when you go across the pond to the States or elsewhere, other film makers and industry workers will do nothing but praise and appreciate you and your work – no matter how well or bad they are doing. The film industry in Northern Ireland has still to begin, and those involved need to support each other to make it work.


Part II of this interview will follow after a brief commercial break.



Or, you can click here to read it.

Happy Friday the 13th!

Have a most pleasant and relaxing weekend...