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In early September 2003, the film
This is not a love song was given huge publicity as it was the
first film to be released both theatrically and on the Internet.
In this 'short but to the point' interview, director, Bille
Eltringham, talks to
Michael Bartlett and Stuart Folley about
the film and about digital filmmaking in general. Look out for
the DVD soon, which boasts a 26 minute 'making of' featurette.
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Question 1: "Bille - tell us a little about yourself, your background,
and
your involvement in the film industry."
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Before film school, I worked as a bo'sun on square rigged tall ships,
and I was a dresser and prop builder in the theatre. Then I went to
Bournemouth Film School where I met writer Simon Beaufoy and producer
Mark Blaney. When the three of us graduated, we set up a company called
Footprint Films Ltd. We made shorts and then a feature film with kerry
Fox for BBC films and Pathe 'The Darkest Light'. In 1999, I directed a
3 part drama for channel 4, written by Tony Marchant, called 'Kid in
the Corner' and then I worked again with Simon and Mark this time with
the Film Council, on 'This is Not a Love Song'.
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Question 2: "Some reviews of 'This Is Not A Love Song' have made
reference
to the fact
that the film was shot with the same 'digital technology' used in Danny
Boyle's
film, '28 Days Later'. Describe the kind of DV camera(s) used on set,
as well as any accessories used such as lenses."
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Like other directors, certainly Lars Von Triers and Mike Figgis, we
used Sony PD150 (occaisionally with its wide lens) for most of the
film. I like its versatility and we wanted to shoot onto DV cam. We
also used a small Toshiba 'lipstick' camera on the end of the gun
etc... , and the Cannon XL1 for a few long lens shots (not often as the
difference in quality between DV cam and mini DV was too apparant.)
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Question 3: "What was the motivation behind the decision to shoot on
DV?"
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Speed, Control, Versatility. Both in terms of the practicalities of
shooting and in the difficulities of financing.
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Question 4: "Given the flexibility of shooting on DV, what sized roles
did
improv and storyboarding play?"
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We shot from a complete script that Simon wrote, so there is no
'improv'. But the project was set up from a 4 page treatment. In order
to make our self imposed 12 day schedule, Simon Had to work
arse-about-face. So we cast the two leads and the 4 of us did a 8 day
workshop, so that Kenny and Michael were very sure footed about their
characters. then we found all the locations. And only then did Simon
start writing. He had 2 weeks to deliver. We then had 2 weeks of prep,
and then the now infamous 12 day shoot.
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Question 5: "Do you believe that you captured the feeling you
wished to portray in the film?"
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Yes. I had a lot of freedom. I'm proud of it... warts and all.
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Question 6: "The film has been marked as ground breaking as
it does not follow traditional film making techniques (cast
before written, the kinetic camera work, various points of view,
released on the internet, to name a few), but what do you feel
is the most innovational aspect about this film?"
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Probably its internet release, but I had least involvement in that.
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Question 7: "The film was shot in a reasonably small time
frame (12 days), did you find that this added extra
pressure on directing? Sub Q: In hindsight, would you
alter the shooting period?"
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I wouldn't alter the shooting time. I chose 12 days because I wanted to
work without a safety net. I wanted to work with only instincts. I
thought if I work at a full sprint, I won't have time to stop myself
and worry. No looking back. Just undiluted instincts. Having said that,
i certainly wouldn't like to have done it as a first timer. That would
just be hell...
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Question 8: "What advice would you give to young
filmmakers looking to
shoot a film on DV?"
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Forget the format. Tell the story.
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