B:
The film feels like a Hollywood blockbuster. And then there is a big tonal switch in the third act, where you introduce some really gritty documentary elements.
A:
I wanted the audience to experience that same moment of shock that I experienced when I suddenly discovered Skid Row on my bicycle. But equally, the last thing people want after a hard day’s work is a film that preaches to them. I always want the viewer to be entertained, so the first two acts are played out as a fictional narrative. The idea was to surprise the audience, switch to documentary footage and really drive home the message that this is not fiction. This is real life.
B:
Is there any particular reason why you chose to shoot on film rather than digital?
A:
The film is visual and cinematic, but I didn’t want it to look too polished. I was looking for something more real, more gritty, something that feels like a documentary movie, so we decided to use 16mm. Shooting on film was also a way to get out of my comfort zone. With limited amount of film stock, it’s not like digital where you can do endless takes — you have to be so much more decisive. If you’re not careful, you can miss a shot, and then you don’t have a story. So it’s a little more stressful, but you end up with a result that you couldn’t achieve in any other way.
B:
So it’s a passion project. How did you get it up off the ground?
A:
I got a lot of help from all different people - there was a lot of luck in play as well. For instance, I met the guys from Bonaparte Films, we got talking and they really loved the idea and wanted to help out. So I linked them up with Paranoiia Productions in LA and we were able to get the ball rolling.
There was a lot of hustling, and we did manage to get a lot of stuff for free. We negotiated the lenses, the gear, and even the locations. Everyone involved wanted to contribute and help out.
The result is a classy film that was created through the charity of everyone involved to hopefully highlight an issue that needs exposure. So a huge thanks to everyone’s generosity.
B:
Is this an activist film?
A:
It’s an interesting question, because it makes me realise I’m not really an activist in the traditional sense. I’m a filmmaker. It’s a story that I felt a strong emotional connection to, and decided shine a light on it in an artistic way. Of course I want as many people as possible to see it. I see it as more of a contribution to a conversation, and as a way to give the homeless a voice in society. Hopefully that way, more people will become aware of this problem and feel inspired to do something about it. I feel like, as creators, we have the opportunity to inspire people to take action.