A L L O F T H E M - Creator and Director's statements part 1

All Of Them - Our new webseries about Love, Loneliness and London is finally ready to go live, so G59TV Blog asked the creator of the show, the series producers and series directors about the show's vibe and intentions. 

Gabriel Henrique Gonzalez, creator, wrote the first series episodes and directed three. Sweating through his adidas sweatpants, sporting glasses held together with blu-tac, he explains where the show came from, and what he wanted to achieve. 

"I was very keen to give G59 a platform that would invite and meld all of our creative sensibilities together. Our first series brought in new directors, DPs, actors and post production crew which really excited us. Creatively, the episodes come from moments we all bump into, dating fables heard from friends, and sometimes, experienced ourselves. As we discussed the concept further, it was clear that dating ranges from being hilarious (with enough hindsight and recovery time) to incredibly distressing, sad or disheartening. More often than not, it always renders us in a state of loneliness. We wanted to comment on a growing culture, but in a way that felt real, honest and sincere. Watching the show back, it is made up of such a peculiar fabric, which is so enjoyable and reflective of real life. I genuinely feel like we tapped into something authentic and original". 

Markus Meedt - Series Producer and director of  D O N N Y  &  H A Y L E Y. 

"Tinder is madness, dating is hell and London is an emotional maze. When Gab sent me the first 5 scripts of what would eventually become ALL OF THEM, I instantly fell in love with the downbeat, often odd, but always relatable characters.

My goal with the H A Y L E Y and D O N N Y episodes was to hit that soft spot between comedy and tragedy. Our well-intentioned heroes will do everything right to succeed just to find themselves faced with a dilemma of existential proportions: Who do you want to be, when the world is your oyster?

We intertwined the stand-alone episodes, with the most random characters crossing paths. Everyone you meet has their own little dramas to deal with. Not everything has to be an end of the world situation, to be the end of someone's world. And that, to me, is very much at the heart of the show.

We hope ALL OF THEM resonates with our audience as much as it does with us... or maybe they are just better at dating."

Bradley Porter, director of the RAE episode, warms the G59 heart with his reminiscing of the experience. 

"I like making films – and I like it even more when I get to make them with friends. I’d long admired G59’s ethos and camaraderie, so when the opportunity arose to direct an episode of ALL OF THEM I threw myself in. I was excited by the challenge of adapting to the style of the series and interpreting whichever script I was assigned. As it goes I was fortunate enough to be given a script with a great deal of warmth, humour and ambiguity so not even I could fuck it up! It was also an opportunity to work with April and Sid, actors I’ve long admired".

Part 2 of this post will meet up with Series producer Alex, Kristina, Jack (who also DOP'd an episode) and director of the MAZ episode Patrick Gather.

Stepping Out Of The G59 Nest

G59 Directors/Producers Kristina, Markus and Gabriel have stepped out of the G59 nest to direct/produce short films recently, following Jack and Alex's recent success of Three Minute Warning (2016) directed by Iqbal Mohammed.  

Jack and Alex stepped outside the G59 guise a couple of years ago to work on Iqbal's short which has gone on to achieve widespread success on the festival circuit, the film's arresting subject matter and storyline playing well with audiences as an important story that the world needs to see. Click here to see the emotionally wrought final result.

Markus Meedt, who directs and produces commercials for a living alongside his G59 role, has recently directed a short film written and produced by Mario Theodorou called Anonymous (2017). Shot on the weekend night streets of Soho, this effective portrayal of a Transexual cabaret performer is a great step forward for Markus, prompted by its recent acceptance to the East End Film festival, the first of many festival acceptances we're sure it will achieve (fingers crossed). 

Kristina Epenetos, also producing commercials at the moment, stepped out of the G59 hive to produce a short film entitled Miss J (2017) written and directed by Amani Zardoe. The film's excellent performances and contemporary energy make it one to look out for at this year's festival circuit. 

Gabriel Henrique Gonzalez has just completely principal photography on a short film entitled Deadly Sins (expected 2017), which shot for 6 days in Southend-On-Sea. The film's scale and production value make it a welcomed step forward for the director, with a couple of stunt sequences, action vehicles and breathtaking locations, written by Daffyd Bates, a colleague of Gabriel's from Bridget Jones's Baby, was produced by upcoming producing duo Archie Pearch & George Telfer of Clarendon Work Films. 

And the G59 team are forever teased by Hamish Ward's Expedition 1, a sci fi webseries of which he promises visual effects, space suits, and miniature models for his epic sets! Watch this space for sure, as the team continue to expand their network. 

These experiences have also helped channel energy and momentum into the G59 dream as well! With All Of Them, a webseries about love, loneliness and London, due to be released next month on G59 TV's Vimeo page. 

PART 3: A Day (4:30am to 1am) Working On Bridget Jones’s Baby as the Director (’s assistant).

This is the final part of this post. Once you've read this you'll understand what the G59 team have to go through to stay productive despite the lengthy hours associated with the film industry. 

Thanks for reading so far!  

2pm until Mid Afternoon - Scour archive footage websites for news footage that we can use to fill the monitors of one of our sets. You’re limited budget wise and to certain sites. So it takes far longer than you’d imagine to find a series of clips you can actually use. You’ve got until the beginning of next week. Producer’s assistant/Best mate gives me a doubtful look. 

Mid Afternoon - That’s tea! Get a cup of builder’s for the boss, and for Producer’s assistant/Best mate. Offer to get a cup of tea for the crew member I fancy. 

Just after mid afternoon - Make tea, on your own. (She’s too busy to drink tea at the moment). 

1800pm Wrap - No wait, find out you’re going an hour over. 

1801pm - Eat leftover sandwiches and bemoan with the other crew members about having to go over. We don't actually complain that much, we all like this industry despite what I’m wearing and remembering I have to cycle home. No one is forcing us to be here! (But it’s good for team bonding to moan when they moan)

1900 - Wrap! Congratulate boss on a tough day. It’s sincere, it wasn’t easy and there was a lot to get through. 

2000pm - Get back to boss’s house. Carry bags in, get bike, PELT it home. 

2010pm - Bike pedal breaks, running repairs with cable ties I borrowed from an un-named department. 

2045pm - It’s mostly downhill so I get home a bit quicker. 

Here’s the important bit which keeps me sane after all those coffees and teas, if a little exhausted. 

20:55pm - Jump in the car, smash it up the M1 to the editor of my film’s house. Yes, I wrote and directed a low budget feature film called How you Look At Me before getting the job as the director’s assistant on BJB. We want to eventually sell it to a distributor, we believe we can after some interest following a preview at The Edinburgh Film Festival. So….

21:30 - Review the work on my film that the editor has been doing all day. Help them overcome creative obstacles, narrative flaws, search for that alternative take that I assure the editor of its existence. 

Some time later - Admit that I was wrong about the alternative take which clearly doesn’t exist. 

12:00am - Midnight, think about getting going home…

12:10am - Find the alternative take by chance and rework the entire scene around it! 

01:00am - Go home, I’ve fallen asleep in the edit, I’m not much more use here. Hopefully the car will make it, it’s twenty years old and doesn’t like being smashed up the motorway much, let me tell you. It’s called the white boat, as when you go round corners it creaks like a boat.  

01:35am - Get home, collapse in bed 'do boats creak?'. Sleep. And that’s me for the day! 

I always tell myself a couple of things on days like today, that make the gruelling hours and sometimes tedious but ultimately very rewarding work on films like Bridget Jones’s Baby worth it. 

  1. I’ll work as many hours as it takes to not be an assistant. 
  2. I was very lucky to have the job I did on BJB, and to have a team of other people willing to work with me on my own projects. So they’re hard work should be matched with mine. 
  3. Talent can always be questioned, Oscar winners etc, constantly have their work questioned so that never goes away. But no one can ever question hard work. 
  4. If my hard work gets me nowhere, and I ultimately have to be an assistant forever, then at least I can say I did everything I could to see if I was good enough to direct for a living. 

P.s. I actually quite enjoy wearing active wear.

How You Look At Me stars George Blagden (Versailles, Vikings) and will complete post production in February 2017. We're also finishing a web series called All Of Them about dating in London for G59TV. And before all that, Writer's Room, a web feature film and sequel to Casting, will be released online on Feb the 4th on G59TV. 

PART 2: A Day (4:30am to 1am) Working On Bridget Jones’s Baby as the Director (’s assistant).


So in Part 1, me and the director had just pulled up to set. It's 7am. My day is nearly 3 & 1/2 hours old, and it will be another 16-18 hours before I get to sleep, and it's not just because of Bridget and her quest for a sprog. 

07:00am - Arrive on Set. Get us breakfast. Boss needs food, don’t let the director go hungry, you won’t like it, trust me. I try not to order mine until after hers, otherwise I’ll slow down the caterers or they’ll get confused between my bacon egg, sausage, hash brown and baked bean bap, and her poached eggs and avocado. 

07:30am - Wipe down the baked bean stains on my active wear. 

7.45am - Walk to set, say hi to everyone (Really nice crew on this one, always good to say their names as well, and learn them, don't just call everyone John/mate), load up the monitors with the three bags of medicine, chargers, snacks, water and thermoses that the boss needs to survive the day. 

08.00am - Call Time! We’re officially counting the hours to wrap and the crew scoot about getting everything and everyone ready (and yes, some of them have been working since I was struggling up that hill all that time ago). Director and DOP get together with the script and discuss the day’s work. More of a recap rather than fresh invention. They’re pros so it's mostly discussed prior (mostly...). 

08:10am - Find out the day’s sides (script pages) have changed during the night. 

08:11am - Have heart attack with Producer’s Assistant/Best mate about printing off the new sides, taking extra care to investigate emails thoroughly, call everyone back at the production company to see who has these phantom pages, time is of the essence! 

Spend an excruciatingly excessive amount of time doing this, hope to god we’re printing off the right sides... I mean, we speak to everyone that could possibly know. Even people that don't work on the project anymore!

08:45am - Get shouted at for not printing the right sides. Sometimes everyone forgets to CC us into emails with people that could possibly know. 

9-ish - We’re rolling, first take of the day after rehearsals and final looks. 

Now until lunch - Stay out of the way as camera and grip and costume and make up and anyone else frantically reset the scene take after take after take. You’ve seen one set, you’ve seen them all, let people work. Tackle emails, (Both Bridget and for my projects when time allows) and concentrate on the radio, shuddering with horror upon hearing your name blast through it, “Is Gaaaaabe around for Sharon?!?!”; RUN TO SET.

3-5 minutes later - Take lunch order once they've cut. Breathless from running. Help find wifi. Print off another copy of the shot list. 

1330pm - It's running Lunch, so you essentially work through it. Which is hard to imagine as Renée jumps around to House of Pain whilst our key grip shovels a beef wellington down their gob behind camera. (Any similarities to key grip's diets here are coincidental). I eat my food once I’ve got the boss’s. Go back to unit base in the golf buggy to discuss pick up times for tomorrow with transport. Have a look at tomorrow's draft call sheet, prepare for locations and scenes. You’ll find that taking notes all those months ago in prep come in handy at this point. ‘Do art department have the fake cat?!’

13:45pm - Call art department to make sure they have the fake cat. Of course they've got the fake cat, they’re professionals. Here name on radio “Where’s Gaaaaaaabe?”; RUN TO SET. 

13:55pm - Breathless, you have to reassure everyone that Art Department will have the fake cat for tomorrow’s scene. But they haven’t got ice cream for the dessert in the scene we're shooting right now! FUCK, who forgets ice cream?! It’s a new request so it's understandable. Spend the next twenty minutes in the biggest supermarket in the world elbowing grandmothers out of the way at the checkout with soft scoop gelato spilling from my weedy arms. Barry is primed outside to leather it back to set. 

Get to set, ice cream and raspberry ripple in arms. Take pride in job well done when suddenly... "IS GAAAAAABE around for Sharon, cup of tea for Sharon Gabe". I hope to hell we've got milk left. 

Part 3, next week, where we learn about afternoon tea, and going over!

PART 1: A Day (4:30am to 1am) Working On Bridget Jones’s Baby as the Director (’s assistant).

Some people might be aware that Guerilla59 is made up of a core group of people who met whilst working in the film industry. One of the jobs in the industry that kept me in fresh pants and able to sustain life as a G59’er was the role of Director’s Assistant to the hilarious and hard working Sharon Maguire on Bridget Jones’s Baby (2016). Here is a typical run through of a day in my life whilst working on the film AND whilst trying to keep my other projects running, both G59 related and otherwise. 

Firstly, a little about the role, I am not an Assistant Director, I am the Director’s Assistant. ADs run the floor, deliver the schedule and all sorts of important stuff that I wouldn’t do for all the tea in China (despite having worked in that department several times). Speaking of tea, I mostly spend my hours making that for my boss, and coffee. And carrying bags, but hey, “Do you know who I get coffee for mate?”. 

04:30am - Alarm goes off. Wake up. First thought, “what time is it?”, check watch. It’s 4:30. Hit “Snooze”.

04:38am - Pretentious Alarm insists on going off (it’s not all about you, Alarm). I get up. Shower. Get dressed for work. But not in what you’d imagine, there are no media friendly trendy skinny jeans or rare T-shirts, are rare t-shirts a thing? Like collector ones, like Supreme or C&A ones I guess. 

I get dressed in active wear, and baggy shorts to cover my modesties. Here is why. 

04:55am - Smash every corner, bannister, and wall of the apartment building's staircase with my bike, neighbours love it. It’s a Falcon Mountain Bike Circa 2002, before they realised that bikes should be lighter rather than heavier and thus, it’s heavy as shit. (And I still haven’t grown into it despite mum promising me I would and it only has one pedal that works at 100%)

05:11am - Cycle up the hill I fucking despise. A man smoking a joint leisurely cycles past me, I have lights, helmet, active wear. He has a doobie and a bike made after 2002. 

05:55am - Arrive at my boss’s house. I get changed in the park opposite her house, like a tramp for instance, or someone who has just committed a heinous crime. Lock my bike up, hitting every part of the staircase, it feels even heavier at this point. It's still dark at this point.

She likes me to drive in with her and Barry (Legend, Driver, Bloke) so we can plan the day; Shot list, tackle emails, tackle getting wi-fi so we can tackle emails.

05:56am - Pretend I haven’t fallen asleep in the car whilst boss tackles emails. I simply clock my head towards the window pretending I’m taking in the night lit sights. 

06:30am - Drive past my street, yes, we pass my street on the way to the studio. But she’s the director and she gets what she wants during this prettttttty stressful moment in time. It’s a huge film with lots of pressure and expectation. Anything to help. 

Written By Gabriel Henrique Gonzalez. Part 2 to follow next week, what happens when the director (and her assistant) arrive on set. 

Gabriel wrote on Jack's blog.

Directorial Decisions: Camera format

 Gabriel Henrique Gonzalez  22.06.15

I often used to wonder if it is a case of mistake or design which gives a film its final look, or feel if you will. After several years of working in the film industry, as an Assistant Director, and Director’s Assistant, I had ample opportunity to find out the answer to this question.

The first thing to consider is, there are rehearsed practices and procedures that are adhered to in filmmaking, for sake of ease for those who work day to day, the producers, the co-ordinators, the assistants, diary planners etc. The second thing to consider is, when it comes to the creative element of a film, there is simply nothing that is rehearsed or standardised. It is like creating a new technology with every film.

So when it comes to designing a look for a film, picking a camera format is obviously a huge part of this. In my experience, the other key parts are the production design (sets, props), costume design and in some cases, the cast and supporting cast. All these things swirl into a unique and engaging tableau on your screen.

My decision, as a director, and I must mention now, I am not, and never want to be a DOP or cinematographer, I am a director, and sometimes when allowed the privilege, a writer/director. My decision as a director in regard to the camera format, is a huge derivative of my original question from all those years ago. ‘Is it mistake or design that gives a film it’s final look?’. This instinctively leads me to ask myself another question about the film which is invariably prompted by that first question, What is the film’s final look?

The film’s final look, to me, is a question of its personality, the façade it wants to present to me as an audience member. Films can assimilate a traditional, innovative, intense, grandiose, ridiculous or terrifying shape. Defining the personality of a project is key for me when deciding on other visual elements, the camera format, the sets and locations, the costumes, the cast and ultimately, the direction.

When I worked on Rush (2013), Ron Howard and Anthony Dod Mantle, were keen to bring the racing and the cars to life, for the audience to feel the mechanic, chaotic energy of a Formula 1 car during the action sequences. They also had to balance it being a period piece, of the 1970s. Their solutions, if I may touch on them in a very simple way, were incredibly effective, with the use of lenses famed for their application on The Godfather (1972), and also, with the use of Indycams. These tiny cameras that we were able to attach to the cars during high speed sequences, and at times even attach to moving rigs, added much celebrated movement to the camera. The personality of the film, a period adrenaline filled story of two rivals, was brought to life for a modern audience as a result. As well as choices with costume, and casting as well. Obviously there is a lot more that goes to creating this finished atmosphere, but for the sake of this piece I’ll keep it prompt.

Back to my tiny, minuscule films in comparison, I try and adopt these lessons and attitudes. I sit down, and I first asses what we can afford, I have a look at a budget, and I go from there. I’m not in the position to go around demanding a camera package that costs a few grand a day, and I actually celebrate that fact. Most first time directors simply walk into each project asking what is the best camera out there right now, which are the best lenses out there. That’s great if you want to make commercials for the rest of your life, but in my opinion, an ignorant attitude to have when it comes to filmmaking. In reality, directors should be asking themselves several key questions, what do I want to feel whilst watching this film, what do I want the audience to feel, and what do I want to do with the camera, and unfortunately what can I afford/have access to?

If you can begin to answer some of these questions then you will find a visual space for your film to operate and flourish in. You will find visceral beauty in the most unexpected of places when making films, which is why I love the medium and why it is an art form. So… don’t ask what’s best in terms of camera and look, but rather, what is most appropriate for my film?


http://cineresource.com/ 16th December 11:32am