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An Interview with Francesco Giannini, Director of Hall

by Mike Haberfelner

March 2020

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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.

 

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.

 

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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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!

 

© by Mike Haberfelner


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Thanks for watching !!!



 

 

In times of uncertainty of a possible zombie outbreak, a woman has to decide between two men - only one of them's one of the undead.

 

There's No Such Thing as Zombies
starring
Luana Ribeira, Rudy Barrow and Rami Hilmi
special appearances by
Debra Lamb and Lynn Lowry

 

directed by
Eddie Bammeke

written by
Michael Haberfelner

produced by
Michael Haberfelner, Luana Ribeira and Eddie Bammeke

 

now streaming at

Amazon

Amazon UK

Vimeo

 

 

 

Robots and rats,
demons and potholes,
cuddly toys and
shopping mall Santas,
love and death and everything in between,
Tales to Chill
Your Bones to

is all of that.

 

Tales to Chill
Your Bones to
-
a collection of short stories and mini-plays
ranging from the horrific to the darkly humourous,
from the post-apocalyptic
to the weirdly romantic,
tales that will give you a chill and maybe a chuckle, all thought up by
the twisted mind of
screenwriter and film reviewer
Michael Haberfelner.

 

Tales to Chill
Your Bones to

the new anthology by
Michael Haberfelner

 

Out now from
Amazon!!!