Monthly Archives: April 2016

Katharine Round: Making The Divide

Alden is an ambitious Wall Street psychologist, while Rochelle struggles as a carer on a zero hours contract and Keith tries to make sense of his life behind bars, as a result of Clinton’s “three strikes and you’re out” policy. Through their stories, and four others, Katharine Round humanises the bleak fact that growing inequality is driving a terrible wedge through modern society. Jumping back and forth in time, and between characters and experts, this is an engrossing, cinematic, thought-provoking essay which flags up some root causes of today’s societal woes – and raises disturbing questions about the future. Inspired by the bestselling book The Spirit Level, The Divide demonstrates the terrible impact that decades of misguided economic decisions is having on modern lives – and the truth behind the adage that money can’t buy happiness.

As it is garnering press accolades and released in cinemas throughout the UK, I spoke to director Katharine Round about the making of the film.

CN: I found it a really powerful film. I understand how it was inspired by The Spirit Level, but of course it’s a very different entity, isn’t it?

KR: Yeah, it’s a very different entity…I thought it was quite a fascinating book. The challenge of course was how do you make something like that into a film that anybody would want to watch outside of that field?  In a way I’d always thought it had to be done through character because that is where I think film is strongest. So that seemed like the obvious approach but perhaps to others they did expect it to have lots of graphs and analysis. But I thought the book had done that very adequately.

Darren on swing

 

CN: How hard was it to find these characters and to settle on these characters given that the whole world is your universe?

KR: It was impossible. You know, I’m not going to lie. Normally when you make the film you find the character and then you draw the themes out from the character…But in a way I was looking at it the other way around. So it was how do you something that feels like it’s coming from the personal but illuminating the big picture. It’s a sort of tonal thing….So it did take a very long time.

CN: Where did you get the funding for the film?

KR: We raised initial finances through crowdfunding. At the time it was the most successful campaign on Indiegogo for a UK documentary. And so we raised a fair amount of money but only really enough to pay the bare bones of what was going on. Certainly not enough for me to get paid or lots of other things. But everyone else pretty much managed to get paid which is very important. But it was, and still continues to be, a financial struggle this project, because you underestimate the scale of what you are trying to do.

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Katharine Round

CN: It does seem so painful to me. Now it’s great because the film is coming out and everything, but how painful are these things to make?

KR: In some ways it’s a joy. Meeting all these people is very pleasant. But it’s a very long investment that you’re making. And certainly for the first year or couple of years of that casting process it was tough. There were lots of things happening, very negative programmes coming out in the British media, People Like Us, Benefits Street, you know. I was obviously trying to make something very very different but it was hard to engage people in that. You know they don’t see you as any different from anyone else in that way. Why would they or should they?

CN: I can imagine once you settled into your seven characters it became a much more comfortable experience.

KR: When we edited it, it was actually quite a pleasurable experience. We had all this experience and it was how you kind of navigate it. And John Mister, he was my editor and he’s amazing. And so smart and so unphased at the scale of this task and how to weave together these people into a kind of coherent narrative.

CN: How did you shoot the film?

KR:  I wanted to have quite a particular shooting style where we’d reference a lot of characters in a very similar kind of framing or position. So everyone is filmed in their mirrors; a lot of people filmed in their cars. A lot of people filmed in quite long shots. I wanted the audience to take away the idea that the people in the film are not necessarily that different from each other fundamentally. They’re in different circumstances and that shapes their opinions but fundamentally a lot of what they are looking for, security, a good life for their children, stable income for themselves, a lot of things are very universal. 

The Divide is screening at selected cinemas from 22 April, and goes on nationwide release from 31 May.

 

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Olly Lambert on Abused: The Untold Story

It’s not surprising that in entrusting the storytelling of its darkest hour, the BBC has chosen documentary director Olly Lambert. For fifteen years Lambert has steadily forged a reputation as one of the most talented and nuanced directors working in factual television today. Whether piecing together stories from both sides of the divide in Syria (in the multi award winning Syria: Across the Lines) to putting a human face on the many families caught up in the London riots (or torn apart in divorce), Lambert is very adept at drawing out difficult stories from often traumatized interviewees.

It’s a skill he’d need in spades for tonight’s film, Abused: The Untold Story.  The abuser left out of the title is, of course, BBC entertainer Jimmy Savile, the unfathomably long running serial abuser, the paedophile who lived for decades as a celebrated children’s entertainer, and went to his grave with his crimes still a secret. Lambert’s feature length doc dissects how the abuse finally came to light after Savile’s death. Most importantly it gives voice to a number of Savile’s victims, some speaking publicly for the first time. I spoke with Olly by telephone about the process of bringing their stories to the screen.

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Olly Lambert

CN: It’s a dark topic to immerse yourself in for eighteen months.

OL: Weirdly, now that it is all done – we only finished it on Saturday – there is actually something strangely inspiring about the people in it. What I think comes across is they are so strong. There is nothing victimy about the people. Your starting point with them is a very dark place, the darkest moment of their life, usually. But the fact that they’re able to speak about it really clearly and really powerfully with a bit of distance is an obvious testament to how far they are able to move on from it, and how the very act of talking about it is such a release; almost a physical release. So that sort of becomes part of the film. The act of talking becomes profoundly cathartic. And in a few cases actually quite life  changing. So even though it is a dark place  to go to I think I’ll be able to look back at it and think “well that was worth doing; it was worth going there”.

CN:You said that with a couple of interviewees it was actually life-changing. Can you elaborate on that?

There was one woman, Dee. She’s found the very act of speaking to a stranger, who is also a man, and being able to tell everything that happened to her for the very first time, made her realise she could say it. And she wouldn’t be causing disgust in me, and she actually realised that she was accepted and that it wasn’t her fault and that there was somebody who would listen. Speaking about it in that way to a stranger, and being part of a chorus of voices within the film that all speak of the same experience, has just been really profound for her. She’s a completely different person to the person I met a year ago. It’s very moving. She’s just transformed.

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Dee – (C) Minnow Films – Photographer: Richard Ansett

CN: That is very moving. And it is very sad that it has come presumably decades after the abuse.

OL: Yes, absolutely. She’s an interesting story because when it was Savile’s funeral, she watched it. And she said that she didn’t feel anything about it. She said that she should have  felt glad that he was dead. But at the time that he was buried she didn’t realise there were more people like her; she thought she was the only one. It was only when other people started coming forward that this kind of little solidarity developed between people.

CN: Can you talk about how you approach having Savile appear in the film?

OL: There are no images of Saville’s face. One of the first victims I met talked really powerfully about how distressing it was that whenever there was something on the news, that was effectively her story, a story about her, that changed her life. She was exactly the sort of person who should be engaging with the story and yet she wasn’t able to watch it on television because news editors, sort of understandably, but a bit thoughtlessly, would reach for the most garish gross images of Savile as an old man with these sorts of rose tinted glasses and looking very menacing. And of course that makes it very colourful for everyone else but for her it was like just being confronted with someone who had just fucked up her life. Like being confronted by her rapist. There are a few fleeting images of him as a kind of ghost in a way. And it made the film very difficult to edit.  Because obviously having images of him would have been the perfect thing to cut to. But it felt absolutely wrong direction to go in. So that means that the film is viewable, or more viewable, to exactly the kind of people who’d be most affected, so it’s keeping them in mind. It’s also honoring the wishes of the people in the film that don’t want to confront his face any more.

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Kevin – (C) Minnow Films – Photographer: Richard Ansett

CN: What was the biggest surprise to you in the making of the film?

OL: The thing that really jumped out from the very first conversation I had with a victim of Savile was the way that this single event, which might have been a matter of minutes, decades ago, was how they had completely reshaped a person’s life. Had configured everything in their life. In the case of one person, there was a very serious sexual assault which probably took about ten minutes. Immediately, that little girl never really trusted her mum again, because she felt that her mum had allowed it to happen in some way. She cannot have a relationship with a man; she couldn’t have a physical intimacy. She tried to have a relationship with a woman and couldn’t really have physical intimacy. Because of the nature of the assault she had a phobia of being sick, or being around people being sick. And that meant she would never get on an airplane. So she wouldn’t travel. And you know it’s completely present when you’re sitting in the room with her. You sit down with her in her home, there’s nothing remotely “historical” about her abuse. She’s absolutely living it every day… That was the thing that stuck with me that I didn’t really feel had been covered. So that really became the focus of the film – the way that these assaults ricochet down an entire lifetime. And they’re still being played out now in real time. And the film shows that.

Abused: The Untold Story airs 11 April on BBC One at 8.30pm and will then be available on IPlayer.