August 2010 Archives

For an emerging filmmaker, the anticipation of starting a new film can be a daunting yet thrilling project. For writer/director Jacob Holmes-Brown, translating his work from page to screen is an exciting process, as production for his film The Rag Witch continues this week.

The film follows Marcus Stone, a shattered and disillusioned young man who is dealing with the brutal death of his childhood friend, Leon. Marcus deserts the same military detachment that he and Leon served for over six years, and falls into the hands of a powerful individual known only as The Witch. Drawn into the Witch's shadowy world by her blind servant girl, Sofia, Marcus is offered a chance to escape and a chance at a new life.

Holmes-Brown spoke to FTI about what audiences should expect from his period drama feature.

What would you consider your original inspiration for writing the screenplay?

 I set out to write a story that merged folktale conventions with a more modern environment, in which a folktale would find itself out of context. In this case we have a deserting soldier, Marcus, whose only hope of escape lies with a "Witch" or at least a woman who styles herself as one. Our story takes place during the Great Depression in Australia, in an age when such "folktales" should have become obsolete.

 The inspiration for the story came from a quote in the first episode of the TV series Carnivale: "There was magic then, nobility, and unimaginable cruelty. And so it was until the day that man forever traded away wonder for reason." Combine that with an obsession for myths and Russian history. How that translates into the finished film is an interesting process, but I aimed to write a film in which the folktale conventions would be explained with reason. Yet we are still left with the tale of a broken soldier finding his true self and overcoming his adversity; a tale in heroic tradition.

As a young, emerging filmmaker, how would you describe your experiences with getting your script into production?

From the beginning I think Nikit Doshi (Producer) and I realised that this would be a self-funded production, as it had to run according to our own schedule and film-making style. So it is essentially an incredibly low budget feature film, but we have been exceptionally blessed with the people we have had around us from the beginning of the project. I have been particularly fortunate with my Director of Photography, Arthur Bienkowski, who from the very start of the film knew exactly what kind of film I was setting out to make.

With very little experience directing outside of the university environment, I have had to challenge myself in working with cast and crew in new and very different ways. Often we have attempted exercises and discussions by instinct rather than prior knowledge. But the process of working with my actors, particular James Porter, Rina Freiberg, Nina Deasley and Cody Fern, to develop their characters and to build our scenes, has been very rewarding.

The whole process has been quite a startling experience. We have experienced, I would think, a great deal of the knockbacks that emerging film-makers are struck with. From location issues and filming delays, to changes in cast and crew. But we've used each opportunity to further hone the film, and to concentrate our efforts in getting the film made. It has proven to me that with enough faith and perseverance you can make your film, on your own terms.

Do you have any expectations or apprehensions going into the first stage of filming?

It is always interesting turning up to set on day one with a crew that you've never worked with before. A cast who remain, under your hand, untried. But now that we are halfway through our first block of shooting I am humbled everyday by the willingness and talent expressed by our amazing crew. Rarely have I seen a group of people work so coherently and comfortably together.

Personally, I am waiting to see how my writing fares once taken through the process of rehearsal, shooting and editing. I think that this is the real test of a director; to translate everything that occurs into a coherent whole, with one core and one mind. I am very excited to see my actors step into their scenes. We have had considerable conversations regarding the development of the characters and I look forward to seeing them allowed to grow and breathe within my scenes.

Can you tell us about the filming locations?

As it is a period film we went on a long process to find a suitable building for our set. With a budget as low as ours, building our interior sets was never an option and so we knew that we had to locate a building that would give us everything that we needed in one space. I think I have now seen every significant pre-1930's building in the Perth metropolitan area due to our location scouting!

The building in which the majority of our film takes place is the Old George Hotel in East Fremantle. It is a National Trust building, but it maintains the art deco type look that I always associated with the Witch's building (high ceilings, white walls, ornate cornicing). Other locations include some historic areas down south and parts of the John Forrest National Park.

When can audiences expect to see the final product?

That is the #1 question. But I believe that the film will be completed shooting by early September and we shall be completing the post-production process by the end of the year, or early next year. From there we are aiming at International film festivals with the goal of an International premiere.

Check out The Rag Witch official site, or become a fan on Facebook.