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Lou: Hello Irene, and
thanks for taking the time to answer some questions. You directed a short film in 1996 called Clown Story. How did that come about?
Irene: I was doing a degree in directing and writing for film and television
at Unitec, Auckland. This was the second year and as a part of it we had to
write and direct an original piece of film.
L: What kind of equipment did you use to shoot the film
and how much did it cost?
I: This was a few years back, so at that time the school could only provide us
with super VHS cameras. We then onlined it to BETA SP, and that became the
master. Luckily nowadays you can transfer onto DVD without losing too much
quality. I still have the Beta master tapes but I transferred them onto
digital tape a year ago. No one was paid to work on the film, so the
actual cost was around $500. That was mainly for food and the costumes. The
school paid for the equipment but we had to buy our own tapes!
L: You have an interesting cast in your film,
including Daniel Gillies who recently had a prominent role in Spiderman
2. Your film also has Karl Urban in it. How did you get Karl and
the rest of the cast to become involved in your film?
I: Well, there is an acting school attached to the film school. So two of
the actors came through them (Daniel and the only girl in the group of clowns,
Rita Stone). However, I cast a friend of mine, Oliver Driver, in Karl's part
initially. He then suggested Karl to me and I met with him and he was going to play Daniel's part (psycho clown). Brett Stewart and Paul
Glover were both friends of Oliver's and actors I knew. When you aren't paying
people, you try to make it fun for them in return, and the boys were all keen
to have a lark doing it. Oliver pulled out of the major part a couple of weeks
beforehand to prepare for professional shoot on a feature film called
Snakeskin, and I asked Karl to take on the bigger role. Oliver was then going
to play psycho clown. On the DAY OF FILMING Oliver was a no show (to this day
he still looks shamefaced for not remembering to come), and eventually said he
couldn't make it. You can imagine the panic. We called Daniel Gillies at his
home and he was on set in 30 minutes, doing each scene after learning the
lines on the spot. He deserved an award just for being so darned cool about it
all. He literally walked into the location and hopped straight into the first
shot. Everyone was so professional...I will never forget the difference
between one actor and the other in attitude, lol. Both Karl and Daniel worked
like true gentlemen to get the day done with the changes.
L: As you know, I like animals, and your dog Keila
was in the film, so what I really want to know is, did she get on with
Karl?
I: She LOVED Karl. A relief especially since she was a rescued dog and
likes to bite new people every now and then. He had a dog treat hidden in his
hand almost all the time and to this day when she sees him, her doggy
face lights up.
L: Can you tell me
about your experiences writing and directing your film?
I: It was huge. Lots of late nights, lots of nausea about how much could go
wrong. Once I had written it, the casting and everything wasn't so bad. I
designed and made a few of the costumes as well. It's quite an ambitiously
sized piece with a large cast and a number of locations. Luckily we seemed to
get it all done. The filming was a blast. I made a few wonky choices and well,
you can tell it was low budget. But I learned a lot from the whole thing. The
film was entered into a competition called the "Fifteen Minutes of
Fame" Film awards and won Best Costume Design and Best Editing. So
despite it's flaws, I am very proud of it.
L: Did your film require a lot of rehearsal?
I: No. We read it through once, then rehearsed on the shoot days. It's common
with short films to have this guerrilla approach. Budget, time, a lot of it is
to do with the actors not being paid, so you don't want to soak up all their
spare time. They have the script well in advance and they are expected to know
it when they arrive for the shoot. In a perfect world you could rehearse for
ages but that almost never happens in films.
L: What was Karl like to work with?
I: Wonderful. So professional, a lot of fun. We stayed in touch for a long
time afterwards but unfortunately it was pre-e-mail days for him and I. One
thing I am always grateful for though, is he continues to list this film on
his CV, long after a lot of big stars would have let it slide as a 'small'
work. I am very proud to be able to say I spotted the star early, lol. I still
have notes from our meetings about a feature I wanted to work with him on. I
am still writing it so you never know...
L: Are there any behind the scenes anecdotes you'd like
to share?
I: You know, I bet there are heaps, but my
mind goes blank when I try to think of them. I guess things like we couldn't
have the little clown fairy girl for too long on set, so all the shots of Karl
reacting to her were done with him looking at our first AD Katie as she hung
out of the tree.
The kids in the library scene spent all day
playing with the actors.
We couldn't afford good food so we had the
same flavoured rolls for lunch every day.
We had a big wrap party at my house and Karl
got drunk and kissed pretty much everyone, even me.
Karl still puts this film on his CV but I
don't think Daniel does.
The scene in the car is a really hokey blue
screen, and it is supposed to look a bit raggedy. It took almost 8 hours to
get those few shots, and we had to hire a crane to lift the little car into
the studio!
We made a spinning thing for the camera to do
a 'batman' style cut where the screen spins. But another group of students
took off with it and we never saw it again!
L: By the way, a friend wants to know if you, quote,
"used special lighting on Karl's rockin' arse?"
I: Well, we didn't actually film his arse, so...no. And we only had five
lights. Plus he doesn't need a whole lot of help from fancy lights.
L: Have you been following Karl's slow success? Did
you ever imagine that someday Karl would be in big budget Hollywood
movies?
I: Yes! And I don't think it's slow. I think it's been a very steady climb
really. I never imagined it, mainly because when you are down here in NZ you
don't stop to think that ANYONE you know would be in Hollywood. Now it's more
common, and I can see that it was a natural place for him to be. There are a
number of actors I know or have met who are making it there and it's just
fantastic to see all their hard work paying off at last.
L: If you were to participate in the TV show This Is
Your Life, what would you say to Karl before you appeared from behind the
curtain?
I: Geez, I'd be scared...maybe I would ask
him if he had any schmackos in his pocket? (Keila's bribes)
L: You're involved with
something called Theatresports in New Zealand. Could you explain what it's all
about?
I: Sure.
Theatresports is a form of improv
comedy for theatre, started in Canada by Keith Johnstone. Most people are
familiar with the TV version "Whose Line Is It Anyway?". We do all
kinds of shows, and I have been involved professionally for over 12 years. I
have even travelled the world and am quite well known in some very small
places.
L: What other well known
New Zealand identities have been involved with Theatresports?
I: My dear departed friend the late Kevin
Smith (Hercules the Legendary Journeys), Craig Parker (LOTR), Jay Laga'aia
(Onstage in Sydney in the Lion King, Water Rats). Lots of people who are well
known here. Dean O'Gorman who is currently in McLeod's Daughters...a bunch,
check out the website.
L: Anything else you'd
like to add?
I: Just that I hope you
haven't seen the last of me. I am taking an enforced break to raise a child
alone, but once he is a bit bigger I am going to be making more movies...so
roll over Mr Spielberg!
© Lou
2004
Email: necromancer@australia.edu
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