Merrick here...
...with our first actual Cinematic Shrimp!
In case you missed our initial announcement (many details HERE), Cinematic Shrimp is a new AICN feature with a multi-pronged mission: to find and present interesting short films, to assist readers' understanding of how these films were made by speaking directly to the filmmakers who made them, and to help aspiring filmmakers get started on their own projects via insights and recommendations from independent filmmakers, industry/studio professionals, etc.
We've received a few messages asking what we've been doing since announcing this undertaking over a month ago. The easiest answer to that question is: this is an enormously time consuming, complicated process - more so than we anticipated when we first started out. Many details needed to be wrangled, and there are many yet to to be resolved. For example: we're currently arranging on-camera interviews for this feature in the L.A. area, but need a camera package to make this possible. The faster we pull together the correct camera package, the quicker you'll see some interesting insight from...interesting personalities...who you'll likely have a lot of fun watching. If you can help us with a camera package, drop a line via the e-mail link provided at the bottom of this article. If you're writing from a company, we'd be more than happy to fully credit your tech in our pieces in exchange for its loan/use.
So, this whole thing has been a bear. But a glorious, eye-opening, inspiring bear. We've received films from all over the world - from the rude and crude to the amazingly slick and refined- and the submissions are still coming. We haven't even scraped the tip oif the iceberg yet - having watched only a handfull of the volume of titles that has come in. This said, know that every film is being looked at, and many are being discussed. Just..not all at once. So, patience.
Expect "Shrimp Cocktail" postings every Friday starting this Friday - three featured short films for your consideration, one chosen by myself, one by Nar Williams, and one by Mr. Blaylock. These Friday posts may well include newslets, opinion pieces, etc. - although not necessarily always. And somewhere in there look for technology write-ups, the on-cam interviews mentioned above, the occasional "Shrimp Special" if a particular title demands time-sensitive attention, etc. Please bear with us as we pull all the pieces into this swirling puzzle, and allow room for change and evolution as we determine what does and doesn't work in terms or structure, timing, and format, and why. This is going to be a developing process.
With this in mind, it's my great pleasure to bring you Cinematic Shrimp #1 - and to re-introduce you to my partners in this madness, Nar Williams and Mr. Blaylock.
Enjoy!
Cinematic Shrimp is a new feature on AICN that hopes to turn you onto some great short films, talented filmmakers, and helpful moviemaking tips.
In the coming weeks we’ll be featuring “Weekly Shrimp Cocktails” – a few choice shorts for your Friday viewing pleasure – but to kick things off, we start with our “Shrimp of the Month” for March: “The Search”.
NAR WILLIAMS:
“The Search” is a beautiful film about a man named Bootland, a member of the SETI research team who’s tasked with beta testing a new SETI Homebased System. His search for extraterrestrial life leads to an unexpected connection with a nearby family.
It’s an eloquent and touching piece of work. Director Mark Buchanan chooses small everyday moments – returning a soccer ball to the neighbor kids, a dinner alone, an office meeting – and crafts them into a portrayal of a man yearning for connection closer to home.
The dinner scene in particular is quite brilliant, as is Gregor Barclay’s and Gavin Thomson’s music, and Matt Berry’s (The IT Crowd, The Mighty Boosh, Moon) understated performance as Bootland. Then there’s Flora Montgomery, who blew me away as Bootland’s grieving neighbor… Note to Shrimp Makers: want to dazzle an audience? Beg, borrow, and steal to get good actors!
Buchanan financed the film on his credit card (I sense this may become a recurring theme for Shrimp…) and shot it in 3 days on the Red One camera system. The film premiered at The Times BFI 53rd London Film Festival and has gone on to screen at film festivals throughout Europe. Buchanan produced the movie with Phase VI, a film collective based in Glasgow, Scotland. They have a number of short films and a feature in the works. Keep up with their work at www.phasevi.com.
Read my interview with director Mark Buchanan after you watch "The Search" below!
—> Follow Nar on Twitter HERE!
GLEN ("Merrick"):
I love everything about how THE SEARCH is handled.
It does so much, so elegantly, so effortlessly. It's about poignant concepts, but the film is smart enough and appreciates its audience enough not to beat us over the head with them.
I deeply respect the Carl Sagan-esque poetry of concept running throughout THE SEARCH - and the ironic twist that our protagonist's search for extraterrestrial intelligence...his effort to help mankind find some form of meaning/connection in the cosmos...results in a much more personal effort to find his own sense of connection and purpose.
In it's 11 minute(ish) running time, this film accomplishes more emotionally and conceptually than many feature films of far longer running times - there's a lot to learn about storytelling and presentation here.
My strong reaction to THE SEARCH ins't terribly surprising now that I know more about it's director (via Nar's interview below). Seems Mark was affected by ELECTRA GLIDE IN BLUE, an under-appreciated film from the 70s which resonates with me to this day as well. If you've never seen it, I highly recommend it. It's a little slow, but filled with atmosphere, style, great performances, and its beautifully shot. It's currently making the rounds on MGM HD (April 5, 16, 27). Check it out.
But THE SEARCH - is everything I wish I could accomplish with one of my own short films, although I don't think I could ever come close. A tip of the hat, Mr. Buchanan.
—>Follow Glen/"Merrick" on Twitter HERE!
MR. BLAYLOCK:
Jeezus...talk about a good way to start this thing. When this piece hit our collective monitors there was no way it wasn't gonna be our first featured short....this is everything that most shorts aren't. Quiet, understated, well shot, VERY delicately cut & scored. There's a sure hand at work here.
I have to single out, as most people will, the first dining scene. Lovely staging & editing.
The one thing that seriously surpised me was the quality of the script....I'm generally not terribly interested in films that 'have something to say', they tend to say it in such an unsubtle and patronizing manner as to completely alienate you from the message.
Not this time.
I dont want to wax too lyrical about this, because you really just want to sit back and enjoy it with as little foreknowledge as possible.
Below is an embed of “The Search” in HD. Running time is about 11 minutes.
The Search from Mark Buchanan on Vimeo.
INTERVIEW WITH MARK BUCHANAN, DIRECTOR OF "THE SEARCH"
NAR: Your production company Phase VI specializes in short films, and this is your 7th as a director. Why do you think short films are important – for filmmakers and audiences?
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
...to submit your short films via link or embed code, or to
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
NAR WILLIAMS:
“The Search” is a beautiful film about a man named Bootland, a member of the SETI research team who’s tasked with beta testing a new SETI Homebased System. His search for extraterrestrial life leads to an unexpected connection with a nearby family.
It’s an eloquent and touching piece of work. Director Mark Buchanan chooses small everyday moments – returning a soccer ball to the neighbor kids, a dinner alone, an office meeting – and crafts them into a portrayal of a man yearning for connection closer to home.
The dinner scene in particular is quite brilliant, as is Gregor Barclay’s and Gavin Thomson’s music, and Matt Berry’s (The IT Crowd, The Mighty Boosh, Moon) understated performance as Bootland. Then there’s Flora Montgomery, who blew me away as Bootland’s grieving neighbor… Note to Shrimp Makers: want to dazzle an audience? Beg, borrow, and steal to get good actors!
Buchanan financed the film on his credit card (I sense this may become a recurring theme for Shrimp…) and shot it in 3 days on the Red One camera system. The film premiered at The Times BFI 53rd London Film Festival and has gone on to screen at film festivals throughout Europe. Buchanan produced the movie with Phase VI, a film collective based in Glasgow, Scotland. They have a number of short films and a feature in the works. Keep up with their work at www.phasevi.com.
Read my interview with director Mark Buchanan after you watch "The Search" below!
—> Follow Nar on Twitter HERE!
GLEN ("Merrick"):
I love everything about how THE SEARCH is handled.
It does so much, so elegantly, so effortlessly. It's about poignant concepts, but the film is smart enough and appreciates its audience enough not to beat us over the head with them.
I deeply respect the Carl Sagan-esque poetry of concept running throughout THE SEARCH - and the ironic twist that our protagonist's search for extraterrestrial intelligence...his effort to help mankind find some form of meaning/connection in the cosmos...results in a much more personal effort to find his own sense of connection and purpose.
In it's 11 minute(ish) running time, this film accomplishes more emotionally and conceptually than many feature films of far longer running times - there's a lot to learn about storytelling and presentation here.
My strong reaction to THE SEARCH ins't terribly surprising now that I know more about it's director (via Nar's interview below). Seems Mark was affected by ELECTRA GLIDE IN BLUE, an under-appreciated film from the 70s which resonates with me to this day as well. If you've never seen it, I highly recommend it. It's a little slow, but filled with atmosphere, style, great performances, and its beautifully shot. It's currently making the rounds on MGM HD (April 5, 16, 27). Check it out.
But THE SEARCH - is everything I wish I could accomplish with one of my own short films, although I don't think I could ever come close. A tip of the hat, Mr. Buchanan.
—>Follow Glen/"Merrick" on Twitter HERE!
MR. BLAYLOCK:
Jeezus...talk about a good way to start this thing. When this piece hit our collective monitors there was no way it wasn't gonna be our first featured short....this is everything that most shorts aren't. Quiet, understated, well shot, VERY delicately cut & scored. There's a sure hand at work here.
I have to single out, as most people will, the first dining scene. Lovely staging & editing.
The one thing that seriously surpised me was the quality of the script....I'm generally not terribly interested in films that 'have something to say', they tend to say it in such an unsubtle and patronizing manner as to completely alienate you from the message.
Not this time.
I dont want to wax too lyrical about this, because you really just want to sit back and enjoy it with as little foreknowledge as possible.
Below is an embed of “The Search” in HD. Running time is about 11 minutes.
The Search from Mark Buchanan on Vimeo.
INTERVIEW WITH MARK BUCHANAN, DIRECTOR OF "THE SEARCH"
NAR: Your production company Phase VI specializes in short films, and this is your 7th as a director. Why do you think short films are important – for filmmakers and audiences?
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
...to submit your short films via link or embed code, or to
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
MR. BLAYLOCK:
Jeezus...talk about a good way to start this thing. When this piece hit our collective monitors there was no way it wasn't gonna be our first featured short....this is everything that most shorts aren't. Quiet, understated, well shot, VERY delicately cut & scored. There's a sure hand at work here.
I have to single out, as most people will, the first dining scene. Lovely staging & editing.
The one thing that seriously surpised me was the quality of the script....I'm generally not terribly interested in films that 'have something to say', they tend to say it in such an unsubtle and patronizing manner as to completely alienate you from the message.
Not this time.
I dont want to wax too lyrical about this, because you really just want to sit back and enjoy it with as little foreknowledge as possible.
Below is an embed of “The Search” in HD. Running time is about 11 minutes.
The Search from Mark Buchanan on Vimeo.
INTERVIEW WITH MARK BUCHANAN, DIRECTOR OF "THE SEARCH"
NAR: Your production company Phase VI specializes in short films, and this is your 7th as a director. Why do you think short films are important – for filmmakers and audiences?
MARK: Short films are an indelible component of film culture, offering audiences the chance to eyeball something fresh, something daring.
For filmmakers, a short film is the chance to develop a voice and try out new things. A successful short can be the one-way ticket to a career in the movies.
NAR: What film(s) inspired you to become a filmmaker?
MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’.
Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite.
Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker?
MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects?
MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”?
MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes.
Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch.
MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned.
I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force.
I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers?
MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two!
Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!!
—> Follow director Mark Buchanan on Twitter HERE!
E-MAIL US!!!
...to submit your short films via link or embed code, or to
contact any member of the Shrimp Team!!!
PHYSICAL ADDRESS:
Glen Oliver / Aint It Cool News
4301 W. William Cannon Dr.
Suite B-150 Box # 243
Austin, TX 78749
Phone = (512) 981-5897
The Search from Mark Buchanan on Vimeo.
NAR: What film(s) inspired you to become a filmmaker? MARK: ‘Back to the Future’ was a landmark movie for me, as was the work of Steven Spielberg, Joe Dante, Jim Henson and Tim Burton. My folks really indulged the passion -- Dad is a massive film aficionado and I’ve fond memories of him exposing me to flicks like ‘Bride of Frankenstein’, ‘The Man Who Shot Liberty Valence’ and ‘Psycho’. He half-shares my Uncle’s view that there’s never been a decent film made in colour. Problems invariably arise when I invoke the titles ‘Black Narcissus’ and ‘The Adventures of Robin Hood’. Through the years filmmakers like Bob Fosse (‘All That Jazz’), Terrence Malick (‘Badlands’, ‘Days of Heaven’) and David Cronenberg (‘The Fly’) have been huge inspirations, along with under-appreciated gems like ‘Birth’, ‘The Fountain’ and ‘The Quiet Earth’. I also love Godzilla movies, ‘Destroy All Monsters’ being my favourite. Some of my most affecting movie experiences have actually occurred at film festivals. Perhaps it’s the interaction with fellow filmmakers and fans, indulging in the shared experience of watching films that you otherwise wouldn’t get a chance to see. I remember being hugely inspired by a programme of rare American cinema from the 70s that Shane Danielsen programmed in his final year at the Edinburgh Film Festival. Seeing ‘Electra Glide In Blue’, ‘Busting’ and ‘They Might Be Giants’ on the big screen was incredibly powerful.
NAR: What is your favorite thing about being a filmmaker? MARK: Following the dream. I’m very fortunate to be developing in an area I’ve been infatuated with throughout my life.
NAR: For some reason I always wonder how the fake software programs we see in films are made graphically. What did you use for the SETI program we see on the computer monitors? Photoshop? Maya? After Effects? MARK: Kevin Francis (HERE) designed the SETI Homebase software in After Effects. He designed a generic version for the actors to respond to on-set and later, once the audio was finalised in post, revised the animation so that it could interact perfectly with the completed sound mix. I love the archaic look of the program; it fits nicely within the context of the film.
NAR: Matt Berry is probably best known for his comic roles in shows like “The IT Crowd” and “The Mighty Boosh”. How did he get involved in “The Search”? MARK: It was a difficult role to cast because we needed someone who could express Bootland’s solitude with very little in the way of dialogue to help convey his emotions. Being an actor better known for his portrayal of larger-than-life characters, Matt was not an obvious choice but I had been a big fan of his performances in ‘Snuff Box’ and ‘AD/BC: A Rock Opera’ and desperately wanted to work with him. I sensed that he’d be great casting as amongst the operatic debauchery of his comedy there’s precision in his actions and a subtlety in his eyes. Thankfully, he liked the script and it became clear from our initial meeting that he was right for the role. He’s fun to work with and was fiendishly committed to his character. While we filmed the scene at the dinner table, I remember chatting to him about what astronaut Michael Collins’ must have felt during those hours Armstrong and Aldrin were on the moon. Collins’ unique loneliness connected with both of us. I’m really proud of that scene.
NAR: I love the acting in this film. Are you super hands on with your actors? Is there a lot of rehearsal? I know you said it was shot in 3 days... that seems like a time crunch. MARK: I’m ‘hands on’ in the sense that once the scene is blocked I maintain proximity with the actors. I have a shot selection, but I keep it flexible as I prefer to construct scenes around performance. I like the actors to bring their own ideas to every scene as by that point they know their characters just as well as I do, maybe more. Once I sign off on framing with the DoP, I don’t tend to look at the monitor, especially during a take. I stand beside the camera and watch the actors perform. Focus pullers hate me but it is the best seat in the house. I guess I’m pretty old-fashioned. I usually do a day of rehearsal before shooting but everyone’s schedules were so packed that it wasn’t possible on this production. It wasn’t a problem though as I had a killer cast. Along with Matt, Flora Montgomery is an awesome talent and plays the role of the mother with a dignity which is rare in other roles of that type. Tim Plester who played Flood – the Carl Sagan-type in charge of the SETI Homebase project -- is certainly one of the best British actors working today. He also writes and directs great shorts – ‘English Language (With English Subtitles)’ is a tour de force. I’ve never had enough time on any project but it shouldn’t be an issue if you’re well planned and have a brilliant crew watching your back. The squad on this flick were exemplary.
NAR: What’s your best practical advice for other (short) filmmakers? MARK: I’m still trying to chart a career course myself so it feels a bit odd offering advice to filmmakers who are in the same position as me. What I will say is that if directing, producing, writing or any movie trade is what you absolutely want to spend the rest of your life doing, you need to say ‘yes’ to every good opportunity that comes your way OR create opportunities for yourself, whether that be breaking onto a film lot, mounting your own productions, or a combination of the two! Every time I finish a project it feels like I’ve reached another step on the ‘Director: Mark Buchanan’ ladder. I don’t know where I’ll end up but I’m happy as long as myself and my regular collaborators (Gregor Barclay & Colin Bell) keep creating great work.
NAR: I'm certainly looking forward to following your career and the work of Phase VI. Thanks for being part of Cinematic Shrimp!! —> Follow director Mark Buchanan on Twitter HERE!
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