Your upcoming movie Hall - in a few words, what's it going to
be about?
Hall tells the story of scattered victims who are thrust into the fight of
their lives, when a hotel hallway is ravaged by a mysterious virus.
One
of the sub-themes explored in the film is domestic abuse. And with this
story, I would like the audience to take in a few important elements such
as to becoming aware and attentive of their actions in a relationship,
especially when kids are part of your life. Everything you do has an
impact on their upbringing. If you are in a toxic relationship, find the
mental strength to get out. No one deserves to be subjected to domestic
violence be it verbal or physical, male or female. No one needs to stay in
such an undesirable situation no matter what the circumstances are. People
suffer and get hurt as we see in the outcome of our characters in Hall.
In the light of current events, Hall,
which was of course shot before the arrival of the Corona virus, seems
pretty prophetic - would you like to elaborate on that, and to what extent
does real life mirror your movie?
The
story of Hall is very relevant to today’s times and with what is
happening with the COVID-19 pandemic. However,
with this story, I would like the audience to be open to the idea that
pandemics and situations like a virus spread are not just caused by nature
or a lack of care from humanity. Be receptive to the idea that it could
happen for other purposes.
Fear in
the population allows more government control especially with the support
of the media. Do not believe everything you hear on TV. Viruses’
contagions could be controlled and intentionally fabricated if the reasons
are valid for the people provoking its spread. Not that I agree with such
actions if they were to be true, however, I do not trust and take
seriously everything I hear on television.
To turn the last
question around, is any of Hall
inspired by true events, and did
you do any research on deadly virusses and the like?
It’s
actually a complete coincidence that our film is coming out at the same
time as this unfortunate crisis. We have had similar epidemics in the last
few decades such as H1N1, SARS and others that can resemble COVID-19, with
different circumstances and outcomes. Subconsciously the themes and ideas
I express within Hall have been questioned and thought about over
the years.
However,
I never thought that the fictional story we created would become a
reflection of reality in such a close timeframe between the release of
the film and the pandemic occurring right now. However, the ideas and
themes explored in Hall have been in the thought process for a while
due to the previous viruses outbreaks.
Such
ideas today don’t seem to be that far in the future when you look in
retrospect. 9-11 in 2001, with two airplanes hitting the Twin Towers, for
example. We only witnessed these kinds of visuals in films like Independence Day, which was made a couple of years before 9-11. If
as creators and filmmakers, we are thinking about a certain idea, it’s
because subconsciously it has been planted in our minds through history
and historical events. Society is reflected through cinema and cinema is a
reflection of society.
(Other)
sources of inspiration when writing Hall?
Inspirations
for Hall comes from a variety of films over the years: Watching
Hall you will feel the styles and tones from horror films such as
The Shining, Hitchcock’s films,
Citizen Kane, Vacancy, Phone-Booth, just to name a few. What
can you tell us about your co-writers Derrick Adams and Adam Kolodny, and
what was your collaboration like?
The
original script came to me about three years ago from Adam Kolodny. I
immediately fell in love with the premise of shooting an entire film in
one location, a hallway, however, the story and characters’ development
was still lacking and needed work at that stage. I then combined forces
with both Adam and Derrick Adams. We ended up developing over 15 drafts in
the span of a year. It went from a ghost story to a serial killer
thriller, to a zombie flick, and any other crazy genre you can think of in
between.
During
the writing process, something wasn’t working for me in all the drafts
we developed, as I knew I wanted the hallway to be the main filming
location, so the story had to be developed around that. The topics of
vaccines, flu shots and government conspiracies have always fascinated me.
I wanted to explore the question; what would happen if vaccines were
created intentionally for purposes of government control and for the
profit of the pharmaceutical industry, not necessarily to cure viruses? It
was an interesting angle I hadn’t seen delved in cinema lately. So we
decided to develop around that idea, and envisioned characters that could
carry the story forward with their own personal back-stories, but also
that would complement the other themes of the film.
As
writers Adam and Derrick have their own strengths and I managed to bring
out their best qualities in order to design the best possible script,
which resulted in Hall (Chapter 1).
To what extent can you
personally identify with your lead characters Naomi and Val and the ordeal
go through? I
have never experienced a physical abusive relationship in my life;
however, verbal abuse has been present in a few of my dating relationships
over the last 20 years. I’ve also witnessed my parents facing difficult
times, which led to verbal arguments that were not pleasant to hear. Every
child is influenced by their parents, during their upbringing, but it
comes in different forms. I have certainly been affected by my parents’
problems, which I’ve witnessed growing up. It has certainly affected my
own personal life, but who hasn’t been exposed to their parents’
issues growing up?
Do talk about Hall's approach to
horror? Hall
for me is a mystery, suspense-horror with a touch of sci-fi. It has a mix
of aesthetic/visual/story elements combined with a creative fusion of
horror genres. I wanted to bridge the gap between gore, psychological
family drama and jump scares, in an unique blend of arthouse approach.
I’ve been told it presents a fresh tone to what we have been exposed to
in the last little while.
From what I know, the action in your movie takes
place mostly inside a hotel - so what can you tell us about your location,
what was it like filming there, and being that restricted, location-wise,
what are some of your techniques to keep things visually interesting
throughout? The most challenging part about filming Hall
was to shoot a feature film in 12 days in a single hotel location that was
fully operating during our production hours. We had to make sure that we
wouldn’t conflict with paying clients or frustrate the administration
and owners of the establishment. We managed to limit the rooms’
reservations on that specific floor since we shot during the slow season,
but it was still very restrictive in terms of having the freedom to move
around fluidly. We had to be extremely organized to be able to pull off
our daily shooting schedule. I must say, it was great for the actors who
needed no transportation, nor travelling. They would wake up, walk out of
their rooms and already be on set! A blessing for the production team and
for the actors’ schedules, making our lives easier. What can you tell us
about your overall
directorial approach to your story at hand?
Shooting
in one location can be very challenging and tricky if the creative process
is not well thought out. In order to keep the story interesting and obtain
a high production value, I focused on these four major areas, which helped
me execute my creative vision flawlessly, especially when working with a
very low budget.
Number
1: The cast must be solid.
During
the casting process, I made sure to select actors that not only fitted the
roles, but who were also great performers. The better the performances,
the easier my job would be and more chances we would complete our daily
shooting schedule.
Number
2: The Cinematography.
I
strive to collaborate with a solid and talented director of photography
that I can connect with both technically and creatively. The DOP and I
must flow as one. The pre-production stage with the DOP is crucial for the
vision of the film and for creating a feasible shot list. We cannot afford
to waste any time on set and have to move effectively from one scene to
the other with no delays. In addition, it’s important for me to surround
myself with a DOP who is familiar with a wide variety of techniques,
lenses and camera tricks that will render a high production value. For
example; in Hall, we utilized diopter shots inspired by legendary
filmmakers, Vertigo effects, unique camera movements and precise choice of
lenses in order to craft very dynamic shots for the film.
Number
3: The Production Design.
When
working with a low budget and limited locations options, you must have a
solid set design team to make your film look like a million bucks. Having
limited locations enabled us
to work with what we had and become even more creative about how to make
it look appealing to the eye. Each frame of the film was meticulously
crafted using art direction and camera positions as the creative driving
force.
Number
4: Sound recording and sound design.
The
soundscape is a crucial factor in executing Hall
well. Fifty percent
of the success of this film is sound design and we can consider it a
character in itself. It was important to have a strong sound recordist on
set because if sound is jeopardized, the film will suffer. Sound design is
a crucial factor for the success of low budget filmmaking and it is
important to prioritize within the creative process.
Do talk
about Hall's key cast, and why exactly these people?
I
wanted a solid cast who was not only talented but also prepared for the
challenges of the shoot. I knew it was going to be physically exhausting
for everyone especially for the leads and the sick characters in the
hallway: with makeup changes, playing sick, executing dialogue, working
with tight schedules, the list goes on. I knew during the casting process
that the cast I had selected were warriors and would fight with me until
the end. I knew instinctively that my actors would give me what I was
seeking from them: a great performance combined with physical endurance.
Our
Japanese actress Yumiko Shaku (Naomi) was a crucial part of the process.
We wanted to bring diversity to the film and demonstrate that no matter
which part of the world you come from, you can experience similar
situations in life and connect with what seems to be unfamiliar, such as
the two leading characters Val (Carolina Bartczak) and Naomi did in our
film.
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Another
important reason for having Yumiko in Hall
was that her team from
Japan was also investing in the film. They were instrumental in making the
production happen. At first, I was hesitant not knowing how to speak
Japanese, questioning if I would have a difficult time directing her, but
in the end it was a great experience and pleasure to work with her.
Without Yumiko’s involvement, the film would not have had the same
impact. She was a warrior on set, giving her 100% on every scene to the
point that I had to tell her to calm down and she wouldn’t listen! She
had fever at one point during production, exhaustion kicked in after five
days, yet she kept going. Having Yumiko onboard on this film was one of
the best decisions I’ve made. Not to takeaway from the other cast, they
were all unbelievably great to work with and made the process so much
easier for all of us.
In
addition, our young star Bailey Thain who plays the young daughter in Hall, was an amazing child performer and a true warrior. She was
always present and ready to shoot. Off camera she would be goofing around,
and the moment we said the camera was up, she would get back into
character!
What
can you tell us about the shoot as such, and the on-set atmosphere?
The
on-set atmosphere was outstanding; good mood, good vibes, everyone was
smiling and happy to be there despite the tight schedule. We were well
prepared and worked endless hours in pre-production in order to have a
successful shoot, and we executed. We had an amazing team of people and I
hope to work with them again soon. The cast cooperated and was aware of
the circumstances of being a small low budget production, so
they gave their 100% commitment. Twelve days of filming is tough for the
making of a feature but we did it!
From
what I know, Hall's presently still in post production - so what's
the schedule, and any idea when and where the film will be released onto
the general public? Yes
we are still in post-production and the film should be competed by early
summer. We are aiming to release it at a category A film festival in the
fall. Any future projects beyond Hall
you'd like to share? Apart
from my intentions of making Hall
a horror franchise series, I also
have three other projects that have been in development in the last few
years and I would love for one of the them to be my next film. Moreover,
two of those scripts were finalists at the prestigious Academy Nicholl
Fellowships awards and made the highly curated Black List in Los Angeles.
They are well written stories, with compelling lead characters and very
relevant themes to our present times. One of these scripts is based on
true-life events that were inspired by my years working as a mailman. The
third project is a short Italian fable dedicated to my dad and his
hometown in Italy. From the three scripts, this one is the most personal
to me and already has gained the interest from Italian A list cast. We
also have a reputable distribution company representing the project. I am
truly looking forward to making these projects a reality in the near
future.
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As far as I know, you entered the
filmworld as an actor, right? So what can you tell us about that aspect of
your career? Yes
I did start my career as an actor doing background work, commercials and
stand-in gigs on large American sets. It was a great learning experience
as a filmmaker to have had the opportunity to be part of such projects and
witness the machine behind studio productions. I can say acting and
working on Hollywood sets as I did was my education in film production. I
was rejected from film school twice, but it did not stop me from pursuing
my dream. Working with Robert Zemeckis, Zack Snyder, and on large-scale
sets such as X-Men and 300, has been a privilege for me
because it has given me the confidence in myself that becoming a director
is possible and not too far fetched. As a background performer, I was able
to observe what was happening behind the scenes more than if I had been in
front of the camera. That’s when I knew where my heart was. Those
precious experiences on set were my inspirations to continue with my own
journey within this industry. What prompted you to get into directing
eventually, and have you received any formal education on the subject? I
studied Film Studies at university but was rejected twice from the Film
Production program. Today the university that rejected me twice sends me
student interns to work with my company Franky Films, which is kind of
ironic (giggles). My brother and I have been making skits in our
parents’ basement since we were kids. From original content,
reenactments of other films, music performances, we were artists at heart
since the beginning. The passion for directing has always been part of me,
it just evolved overtime. I believe it is when I watched the movie
Ghostbusters
in the late 80’s that I knew I wanted to become a
filmmaker. What
can you tell us about your filmwork prior to Hall, in whatever
position? My
film work prior to Hall has been an evolution of my craft, an
educational experience in film and an exploration of my psyche. All the
themes and storylines I’ve explored were personal to me during that time
and some still are today. All the films I’ve made to this day have had
some type of social commentary and themes that are relevant to the times
we live in. I’ve always been intrigued with topics that touch upon
societal institutions such as the media, government, and social class
along with topics that explore the modern world versus the traditional
world. These are themes that are somewhat recurrent in each one of my
films and I intend to explore them even deeper in projects to come. I
presume my sociology background has influenced my filmmaking career.
How would you describe yourself as a director? I
am a storyteller who tells stories through visual compositions made up of
moving images. My goal is to touch people so they can experience a variety
of emotions and feelings to which they can relate or appreciate. I see
myself as a very well rounded director. Having experience in front of
camera as an actor, surely made me an actor’s director, however, I do
also have experience as a DOP and editor. I know exactly the angles,
colors and framing for each shot, which makes working with a DOP a
pleasurable collaboration. I always come prepared and know what I want. As
an editor, I know each cut in my film prior to shooting it and have a good
idea about how the film will be pieced together. Again, having a solid
editor by my side allows me to see things that I don’t necessarily catch
on to, however, I always come prepared with a clear vision. All these
experiences gave me a profound knowledge of directing and truly have
helped my craft grow and evolve. Filmmakers
who inspire you?
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Feeling lucky? Want to search any of my partnershops yourself for more, better results? (commissions earned) |
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To
name a few: Sam
Mendes,
Sidney
Lumet, Stanley
Kubrick, Coen
brothers, David
Fincher, James
Wan. Your favourite movies? To
name a few: Network, American Beauty, The
Shining, Ghostbusters, Goonies, Big Fish,
Edward Scissorhands, Halloween-franchise, Silence of Lambs, Matrix,
Forrest Gump, Fargo, Usual Suspects. ...
and of course, films you really deplore? Mobster flicks (giggles). Your/your
movie's website, Facebook, whatever else?
Website:
www.Franky-Films.com
IMDb: www.imdb.com/name/nm3167230/
Instagram:
www.instagram.com/FrankyFilms
Facebook:
http://www.facebook.com/FrankyFilmsMTL
Anything else
you're dying to mention and I have merely forgotten to ask? “What
does it take to make it in the film industry?” To be able to live your
dream and get paid for it at the same time. To wake up to go to work and
not call it work. Thanks
for the interview!
The
pleasure was mine!
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