Hunting

There’s different levels of grieving. And Hunting deals with ones on the top of the scale. And manages to find the key to it as well. Quite literally.

And because we think you are special and deserve double the fun we’ve got a double interview. With Katie the producer and Jack the director.

There is an ad in a newspaper with your photo in it. What does it say?
Katie: Has anyone seen this person? She might be hiding in a cupboard somewhere surrounded by budgets.
Jack: If I was selling something I imagine it would be rather boring — a bank account or washing up liquid — something disappointing sensible. I just hope I got paid well...

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
K: The difficulty is the organisation of all the 'small things' that often get overlooked - the getting kit from a kit house to a location and where to store it and who will drive it etc as an example - there are always small things that can easily turn out to be big things if you let them be but the worthwhile thing about this crazy world of filmmaking is that it's a puzzle with thousands of pieces and the moment it all comes together and everyone is smiling - you know you have done your job well.
J: I think it’s something to do with a film being a collection of other works of art — some larger than the film — the music composition, the architecture and design of the art department, the writer, the actors, the photography of the DoP. I’m drawn to the curation of other people’s brilliance. I love that it’s collaborative: maybe that shared endeavour is what makes the difficult moments both easier (a team alongside you) and worth it.

Why this film?
K: It was the twist that got me, I felt really intrigued by the script which was brilliant and felt flipped by the ending - I knew it was going to be a great one to make. Jack is a brilliant Director so it was a great one to help bring to life for him.
J:
I was flat-hunting and it struck me how invasive looking around a property is: how vulnerable the person living there, but out at the time, is. How a simple estate agents viewing could be manipulated by someone to darker ends. Plus it wasn’t too big a challenge to take on for my first film: two people, one location, performance driven.

You have unlimited budget, green light for your dream project and can cast anyone you want...
K: Constraints are what makes a film - that's where the passion lies. You get the real determination come out when you have hurdles to climb. That said though, developing a TV series such as The Affair would be a dream.
J: I’m not sure I’d want to work without constraints — for me restrictions (budget, time, my ideas) seem to help foster my creativity. But I’d love to adapt a sweeping multi-generation novel (see my answer to question 2 — other people’s art)

What are your future goals regarding filmmaking?
K: To continue to produce exciting content that moves people. I'm working towards my first feature and have written a pilot for a TV series which has been an ongoing project of mine.
J: To keep directing alongside my work as an actor. To take on new challenges and explore new genres and mediums.

Any Instagram, Twitter or websites where your future fans can stalk you?
K: @huntingfilm
J: @mrjackhawkins and @likeahawkfilms

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Hunting - with all of its’ twists and turns - will be screened July 9th at 19.30 at the Streatham Space Project. Be there or be somehwere else.
Tickets, as usual, HERE.