Kitplus - TV-BAY Magazine

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WHAT IS HUNGERFORD? Hungerford paints a thrilling and visceral portrait of a small English town descending into violence and carnage. It is a great story told with huge energy and a great deal of heart. 1. Script, Script, Script You are probably writing this yourself or with your writing collaborator. That means the work you do on this is more or less free which means you should do lots and lots of work on it.  Thanks to the ingenuity of the director and crew and excellent special effects Hungerford achieves a sense of scale more fitting for a film with 100 times the budget. This is UK film making in the hands of the next generation of film makers – a generation who have grown up on genre movies, who operate outside the institutions of the British Film Industry, and who are utterly fearless and highly proficient with the tools of production and post-production in the pursuit of excitement, scale and an audience. Jesse (our Creative Director) and Drew spent the best part of a year getting the script right and making sure that it was achievable on the slender resources that we had. If the script isn’t right the film is unlikely to work. Don’t start until someone whose judgment you trust tells you it’s as ready as it can be. 2. Story and character are everything A lot of the work you do on the script must be about character and story. Don’t attempt to compete on spectacle; you will never win against a Hollywood blockbuster. Don’t build an incredibly complex plot that requires extravagant set pieces to keep the story moving.  Well worked character storylines will do all the hard work of keeping the audience engaged in the gaps between special effects and set pieces and cost far less to pull off. 3. Use what you have got to hand Write your script around the resources available to you. Live near a disused factory? Set your film there. Have a mate with a drone? Use it. Have friends with spare bedrooms in a particular location – shoot there and make sure the cast and crew aren’t expecting hotel accommodation. Can anyone cook? Make and freeze lunches and heat them up on location.  4. Everyone should have at least two jobs Multi-tasking is the name of the game. The producer is the caterer, the make-up artist the script supervisor, the art department, the costume department etc. etc. And they all need to be paid as little as possible.  We always try and pay everyone something, usually the same and usually the minimum wage but you need people who are willing, energetic and happy to muck in. Jobsworth’s kill the buzz. Sometimes this means you can’t use the professionals that put themselves forward and accept the low fee (with profit shares) because their professional standards mean (often rightly) that they can only work one way.  Someone needs to be in charge of Health and Safety – don’t cut corners on that or on insurance. Insurance for low budget film is cheap and essential if you want to hire any professional equipment. 5. If you cannot do something, teach yourself on YouTube YouTube is truly an astonishing education and ‘how-to’ resource. We needed a special effects make-up artist – the producer’s daughter (who also appeared in the film and was a floor assistant) taught herself to make wounds and burns on YouTube – hear the audience wince when some of the effects are shown on screen.  Sometimes though you just have to hire a pro. One of our most valuable hires was our amazing acting coach, Sarah Perugia. Our cast were unknown and had, for the most part, no formal training. Sarah helped Drew and Jesse draw some wonderful performances out of them which contributed massively to the authenticity of the film. KITPLUS - THE TV-BAY MAGAZINE: ISSUE 101 MAY 2015 | 73