We loved Hold On for Fabich which was such a great idea that we all identified with and chuckled. This film, Heartland, for Tom Walker on the other hand is more cinematic with a compellingly serious narrative. Please tell us about the creative process of writing this – how it evolved from the brief and why this subject mattered so much to you.
The story was inspired from a few different things I’d been reading, namely the tragic stories of homeless soldiers and the rise of trafficked women working in the UK. (Something which the Evening Standard seem to be campaigning for recently which is great.) The script came out of those real stories combined I think with my own feeling of becoming disillusioned by Britain post Brexit. I think the film was a good way for me to rediscover the UK’s beauty I suppose.
It’s beautifully shot. Was the shoot straight forward? What were the main challenges of the production and how did you resolve them?
Nick Morris the DOP did an amazing job with the tiny lighting budget we had. He is definitely one to watch. Shoots are never straight forward really but I think that keeps everyone on their toes. I think I’d worry if things where too easy, like I was cheating in someway. The hardest part on this was being told that we couldn’t shoot on the ferry which was a disaster as we really needed the footage. So Nick shot the whole scene with the camera slung backwards over his shoulder as we all pretended to be lost on the ship. Legend.
You are a former creative turned director with an emphasis on writing your own material – we see you’re completing your MA in scriptwriting too.
Yeah, I graduated in an MA in screenwriting last year and that has been a huge help in my work and my ability to judge what is a good story. I can honestly say it’s the best thing I’ve ever done and I don’t think I could have written this without doing that course.
Has your career path evolved seamlessly or is there a lot of angst decision making ticking in the background?
Japer from the LA Caviar office said that as an ex creative I would have to work harder to show creatives that I was a proper director and in some way I think that’s true. There isn’t any angst, but I do feel the eyes of my old work mates on me whenever I make anything. But I think that peer pressure is healthy as it makes sure I keep questioning things.
Anything else you’d like to share?
I just won the Jameson’s short film competition which has been an incredible opportunity. The shoot was out in LA with Dominic West which was great fun as he had never played a comedic role. In this he plays a bank robber who uses an Uber as a get away car. It’s a fun one which I think will be out in Nov so I am looking forward to sharing that.
Prod Co: Caviar
Director: Ollie Wolf
Producer: Ben Swift @ Beautiful Productions
Ep: Katie Dolan
1st Ad: Mike Hogan
Dop: Nick Morris
Make Up Artist & Assistant: Sarah Haines / Janine Gregson
Wardrobe & Assistants: Jade Kewley / Eleanor Doyle & Daniel Malcom
Art Director: Anthony
Male Lead ‘Sean’: Nathan Wright
Female Lead ‘Karolina’: Daniela Spataru
Colourist: Nick Dalby
Vfx: Rich Greenwood
Sound(Mix): Jamie Thomas
Editor: Leila Sarraf @ Trim
Label: Relentless Records
Commissioner: Lisa Foo / Hannah Colson