Andrew Jones has written and directed two independent feature films 'Teenage Wasteland', which he also produced, and 'The Feral Generation' which both won awards on the UK festival circuit. He has also written four feature film scripts for companies based in America, Canada and Italy. In 2010 Jones set up the production company North Bank Entertainment in his hometown of Swansea in South Wales. He has most recently produced and co-written 'Night of the Living Dead: Resurrection', a British version of the 1968 classic. Future projects include producing 'The House on the Edge of the Park Part II', to be directed by 'Cannibal Holocaust' director Ruggero Deodato, and a biopic of Charles Manson entitled 'Manson Rising'.
What is the current project you are working on?
I'm currently in post production on a film I produced 'Night of the Living Dead: Resurrection', a British version of the 1968 zombie classic.
How do you measure success?
In the film industry the only measure of success is financial. You have to make money for investors and distributors to be considered a success and to get more work. Investors and distributors often don't even give a shit if you've made a good film, as long as they can market the basic concept and get bums in seats that's all they care about. When I first started I was a pretentious idiot determined to be a rebellious artist. I considered success to be making films that tackled social or political issues, which is why I made gritty dramas early on. But that kind of material is not commercially succesful, and there's no point me being creatively happy with a film that makes no money because I won't get the chance to make any more. You have to play the game or you've got no chance of making it. No one lasts long in the film industry if they fail to realize filmmaking is a business and you need to make money for people. So the only way I can measure success is if I look back in years to come and feel that I managed to balance my artistic integrity with good business sense.
How do you handle rejection?
When you first start it hurts. But it's the reaction to rejection that separates the men from the boys. It always made me more determined to prove people wrong and keep pushing forward. After a while you get used to criticism and realize that any art form is subjective, one person's opinion doesn't neccesarily mean the world. One man's shit is another man's champagne and for every person that doesn't like what you do there's always another one who appreciates your work. One thing you need to get used to when you're trying to get films made is rejection, because you'll get alot of people saying No before someone says Yes. A thick skin is the most valuable tool in a filmmakers' arsenal.
Did you always want to be a filmmaker?
I always loved films but I never thought it would be possible to become a filmmaker myself. It seemed too far out of reach.
What inspired you to become filmmaker?
The mid nineties independent film scene in America. Kevin Smith's 'Clerks' and Larry Clark's 'Kids' came out and they were low budget character based movies. I watched those films and the characters and stories were very relatable. I felt like I could make movies like that, drawing from my personal life. Then with the accessibility of digital technology suddenly anything was possible.
What is the best thing about being one?
For me the biggest satisfaction is seeing so many people working hard to make your vision a reality. A film starts out as an idea in your head, writing is often such a solitary process. So to then find a team of people who believe in your idea and are willing to work hard to make it a reality, that's a tremendous thrill. Being on location shooting a film is wonderful. It's hard work but when you have the right group of people, which I have been fortunate to have on all my projects so far, the carmaraderie of living and working together as you make the film is so enjoyable.
What is the worst thing about being one?
Dealing with egotistical arseholes with no self awareness. There are so many people out there who think that because they have worked on a film they are really hot shit. It gives them a baffling sense of entitlement and they treat other people as if they are beneath them. I'll never understand that mentality. Working on a film is not curing cancer, filmmakers and actors should appreciate the fact they are lucky to be doing something millions of other people would love to be doing. When you're working on low budget projects I'd recommend that every filmmaker tries to get to know everyone involved before they start shooting. If your instinct tells you someone is going to be a pain in the arse then drop them, even if they are good at their job. Low budget is all about a group of people making sacrifices and pulling together for a common goal, so there's no room for self involved drama queens who throw tantrums if someone doesn't wipe their arse for them. It's not worth the hassle and just one dickhead can ruin the morale of everyone on set.
What is the estimated number of projects you have worked on?
So far I've written and directed two indie features, produced and associate produced three indie features, and worked on about four features as a writer.
Who is your favorite filmmaker?
There are so many but I particularly appreciate the influence of Wes Craven. I know he's had a few misfires in the latter part of his career but his early work taught me that Horror is the perfect genre for filmmakers to comment on social issues and human behaviour in a way that can appeal to the masses. Look at the original 'The Hills Have Eyes'. That was a really powerful story about how the most civilised people can become the most savage when we are stripped of everything we care about, but packaged in a low budget horror film. I also love John Carpenter, in the 70s and 80s he was one of the most innovative and original filmmakers around. As for the way a filmmaker presents himself, I'm a big fan of Kevin Smith because he is one of the only filmmakers who truly connects with his audience on a personal level by going out and meeting them at Q&As. The candid way in which he discusses his career and the problems he has encountered on his films is a big help to up and coming filmmakers.
How has your life changed since you became a filmmaker?
I've been doing this for about six years now and it's been a learning experience for me, and it will continue to be. It's been a real thrill to become friends with some of the actors and filmmakers who I grew up watching, and drawing on their experience has been a huge help. But I still have to work hard to get jobs in the industry because I haven't made anyone any serious money yet. Once I make a film that achieves some level of commercial success then I may find that process a little easier. At the moment I'm just working my way up the ladder like many others.
What is one piece of advice you can give to someone who also wants to make it in the movie business?
Take risks. There are so many talented people out there but not all of them make it and that's because they don't take risks. Talent is only a small piece of what you need to suceed. You can take film courses and go to film school but there's no substitute for getting out there and making a movie. That's where you truly learn how to be a filmmaker. On my first film I used money from a day job to finance it and I shot it at weekends. That's what I think all new filmmakers should do. The film you make might be shit but you can learn from your mistakes and do better next time. That's what it's all about, learn by doing. And remember that you've never truly made it until you can look back on a body of work that features both artistically and commercially succesful films.
What do you like to do besides filmmaking?
I'd like to say I work at a homeless shelter or do charity work, but when I'm not working I just sit around the house and scratch myself.
Have you had any other jobs before you decided to become a filmmaker?
I've had a wide range of jobs. I've done alot of work with my father's painting and decorating business. That was a nice gig because my old man is my best friend and it's always great to hang out with him all day. I've done some really shit jobs too such as being a cashier in a petrol station, a barman and loading crates in a warehouse. The warehouse one was the worst because the boss was a total prick. Whenever I need to write a character who is an arsehole I just think of that guy. I know working a day job while trying to make it in film can be depressing but everyone with ambition has to pay their dues before they achieve something. Nothing in life worth having ever comes easy.
What are some of your favorite American films? Foreign films? Television shows?
All the best television comes from America. I particularly love 'Dexter'. That show is so willing to go into dark territory, you'd never get a show like that being made in the UK. TV companies over here are too shit scared of Ofcom and those ultra conservative idiots at Mediawatch to push boundaries. As for foreign films, it would be fashionable and artsy to say I love Truffaut or Godard but their films are fucking boring. Everyone is thinking that, but they feel they're obligated to like them because they get name checked as legends. I'd take old school Italian Horror over that dull artsy crap any day. Lucio Fulci is a particular favourite of mine.
How would you describe your film education?
I didn't go to film school so I've learnt by doing. My first film 'Teenage Wasteland' was rubbish but I learnt how to direct on that film. Then on the second film 'The Feral Generation' I learnt how to work with proper financing and a professional crew. I got a huge insight into the business side of the industry. That film taught me the difference between an artistic vision and a commercial one and the changes I needed to make in order to marry the two together. I'm in a pretty good position now where I've just finished producing a feature that was not only creatively satisfying but that also has a chance of commercial success. It now feels like I'm entering a new phase where I'll be producing more than directing.
How would you describe the film "scene" where you live?
There's something very special happening in South Wales right now. There was always alot of filmmakers around making short films, but those filmmakers have really honed their craft now and everyone is starting to make that move into features. Credit for starting that must go to a brilliant filmmaker called Gareth Evans, he took a risk and put alot of his own money into a feature film called 'Footsteps'. He has since moved to Indonesia and achieved worldwide success with the feature films 'Merantau' and 'The Raid'. But he inspired alot of people here in South Wales and now we have talented filmmakers like James Plumb, SJ Evans, Keri Collins and Tom Betts all making that move into features. James Plumb directed 'Night of the Living Dead: Resurrection' and I saw him come into his own on that film. He'll be making a big splash in the industry over the next few years. The main goal of my company North Bank Entertainment is to bring regular feature film production to Wales and utilise new talent. I hope to be able to produce features for alot of up and coming directors over the next few years.
How has social media changed the independent film industry?
I think it helps filmmakers promote and get their films seen. Twitter is a great way to instantly get information out to millions of people. Of course the flipside of social media and all the internet message boards are the keyboard warriors. People whose only reason for living is to be cynical about everything. For a filmmaker you have to be careful not to buy into that. We've experienced the good and bad side of the internet on our current project 'Night of the Living Dead: Resurrection'. On the one hand we've got alot of excitement going for the film through internet articles but on the other hand we've also been subjected to alot of online criticism because some people think we're just another soulless horror remake. I got involved in one discussion on a message board and what you realize is that the people who spew hatred don't want to have a constructive discussion about the film industry. What they really want is to tell you to go fuck yourself because it makes them feel better about themselves. It's so easy to do that anonymously. But on the other hand, if filmmakers wants to use the internet to promote their film then they must accept that there will always be hateful people lining up to shit on what they do. Best thing is to not buy into the criticism or the praise and just get on with making films.
What's your opinion on crowdfunding?
I've never tried it so can't speak from experience. It seems to have worked for other people, so anything that can help indie filmmakers get their films made should be supported wholeheartedly.
How does independent film differ from the mainstream?
It's a whole other world. In the mainstream they're making films with big budgets and as a result of that you have films made by commitee. You have financiers or studio executives giving creative input on the project, and I guess that's fair enough when you consider the amount of money they are putting into a film. But the one part of the mainstream process I will never understand is the test screening and focus groups. Usually those groups are made up of teenagers and looking back on myself as a teenager I would have spouted a load of uninformed crap if someone had asked me how to make a movie better. Test screen to see how the collective audience reacts to the film, but don't ask them how to make the movie better.
In the independent world, which is all I have personal experience of, we are always working with modest budgets. Of course you're still obligated to make the investors' money back, but they tend to leave you alone to make the film. In the UK we have the EIS scheme, which allows investors to get significant tax benefits, so that helps attract private equity. As long as you have the EIS scheme in place and a planned route to market then you don't get interference in the creative process. Of course the tough part is distribution. At least when you're subject to the confines of a big budget studio production you know the film will be released and they'll spend millions on marketing it. Even if you get distribution for your indie film, which is difficult enough, it's hard to find a distributor willing to spend alot of money on marketing. A release can come and go without much public awareness.
The funniest thing is seeing what some people define as an "independent" film. There's so much stuff that gets financed by the American studios or by corporations over here that get classified as independent film. Those films are not truly independent and it's ridiculous they're classified as such when they've been financed by a corporation.
I think the ideal situation for any filmmaker is to be in a position where you could get big budget gigs, then use the proceeds to make smaller indie films. Steven Soderbergh has done that, he makes big budget fare like 'Ocean's Eleven' and then he is able to make something that's a labour of love like 'The Girlfriend Experience'. Alot of sucessful directors now follow that 'One for them, one for you' pattern and it's the dream position to be in for any filmmaker.
You could go back in time and see any film being made. Which film would it be and why?
John Carpenter's 'Halloween'. It's a masterpiece, It would be fascinating to see how they managed to take such a low budget and create a classic that has continued to resonate with audiences for decades. I've seen a bunch of documentaries about the making of that film but that's no substitute for actually being there.
What's your favorite movie quote and why?
Jack Nicholson's line from 'As Good As It Gets': "Sell crazy somewhere else, we're all stocked up here". I often say it to Jehovah's Witnesses who knock my door.
What is your opinion on movie remakes and sequels?
With our film 'Night of the Living Dead: Resurrection' we have a brand name title that is internationally recognized so I was able to get that film financed far easier than the new, unknown titles I was seeking investment for. That's why the current climate is so remake heavy, we're in tough financial times so both mainstream and independent investors are looking for less risk. A known title that has already made money is less risk than backing something new. I know that frustrates alot of film fans, but all those remakes are making money and as long as they do the current trend will continue. Personally, I have no problem with remakes if they take the basic concept of the original film and try to do something different with it. I know alot of people hated Rob Zombie's 'Halloween' remake but I totally respect him for doing something different and giving the film his own voice. As for sequels, I actually love them. Growing up in the 80s and loving horror movies, most of the new releases I saw were sequel entries in the big franchises like 'A Nightmare on Elm Street' and 'Friday the 13th'. Granted, a sequel by definition is always going to be inferior to the original. But if you set the original aside and try to embrace the sequel on it's own I think it can be fun to see returning characters and a continuation of the story.
What is your opinion on book to movie adaptions?
I think the most pointless thing people say about a movie adapted from a book is "the book is better". Of course it is! In a book a writer is able to give so much added depth and back story because they have no time limits. In a movie you have, on average, 90 minutes to tell a story so when you're adapting a book you need to minimize the sub plots and concentrate on the heart of the story. I have written a screenplay adapted from a novel and you have to be so clinical in the way you approach the material. What works in a book doesn't always work cinematically, so no matter how faithful you try to be to the themes the film will always be a diluted version of the book.
Is there anything else you would like to add?
My production company North Bank Entertainment has been set up to support new talent so any up and coming filmmakers out there who want to sample the world of low budget filmmaking then get in touch through my website. I'm always happy to hear from people.
Vincent Rocca is a self-taught filmmaker. His formal education consists of a weekend film school, after which he hammered out a 92 page script and the movie "Kisses and Caroms" was born. Since then he has worked steadily in the entertainment industry. In addition to the 14 titles Vincent has distributed into the marketplace, he has also produced a few features, ghost written a few Hollywood scripts, and penned the 334 page book, Rebel without a Deal, which chronicles how a High School dropout made his first movie in five days for $11,000 and got it distributed by Warner Bros. where it grossed over $1,000,000.00.
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