What have experienced documentary filmmaker David Nicholas Wilkinson and editor Jon Walker got in common with genre-mashing feature filmmaker John McPhail?
David exudes wisdom with his Tolstoy-style beard, which is not surprising given his wide-ranging career, beginning in acting when he was fourteen, and expanding over the decades to include producing, writing, directing and distribution.
Jon has worked with David on his latest documentaries, including the acclaimed Postcards from the 48% and soon to be released Getting away with Murder(s), as well as dozens of other film and TV projects.
Meanwhile John is a dynamic young director who has exploded onto the Scottish filmmaking scene with quirky takes on genre, including the exuberant zombie Christmas musical, Anna and the Apocalypse.
The answer is: they all communicate a can-do, have-a-go energy. Although very different in style, I noticed five common underlying themes in what they had to say:
- Learn by doing
David’s entire career is testament to learning by doing. One thing he learnt the hard way was idea-theft. A documentary is only an idea, until you start making it. Be careful who you share it with before you have something copyright-able.
Jon focused on coverage. If you don’t have enough, your editor will have to fill the gaps with “wallpaper shots”. He advised having a shot list and making sure what you shoot is worth looking at. “You can use the most expensive camera in the world, but if what you shoot is dull, you can’t fix it in the edit.”
“In this industry you’re continually learning,” said John. No two projects will ever be run the same. “The script that you write is not the film that you shoot, and the film that you shoot is not the one that comes out of the edit.”
- Have someone to talk to
Writing can be a lonely business. David says it’s important to have a sounding board, and counts on his DoP (Don McVey) and editor (Jon).
John also recommends talking out loud. In his early films, whenever he was stuck, he’d give his leading man and close friend Tyler Collins a call. Once he started speaking, it became real, and he instantly began problem-solving. Tyler didn’t even need to say anything.
- Assemble a good team
Jon started out working with friends from film school and people he’s met working as a DoP. When crewing his shorts, he chose people who wanted to take the next step up.
David once asked John Shlessinger, “Is there a secret to making a good film, a formula kind of thing?”
He said, “Well, not really.” Then he thought about it and he said, “Yes, there is. Fifty per cent — at least fifty per cent of making your film is choosing the right people for each dept and then letting them get on with, and if they come up with good ideas, you listen.”
- Don’t get flummoxed by financing
Both David and John used the UK’s Seed Enterprise Investment Scheme (SEIS) as a vehicle for private investment in their films. Indeed, David was one of the first to use SEIS, which isn’t specifically designed for film financing.
While making The First Film, he discovered you don’t need to have all the money in place when you start. He attracted money along the way and made it over a 2-year period with lots of time off. “Nobody wants to be the first to invest,” he mused.
John talked about showcasing his work at a special screening of his shorts to raise money for his first feature. He invited CEOs of construction firms. Four came along with family or colleagues. That got them into meetings with the companies to discuss funding. Additionally, he asked the CEOs to invest via a SEIS. Three said yes.
(Please note HMRC no longer allow the use of SEIS for filmmaking.)
- Get to grips with distribution
For John, festival attendance is key. Going to festivals means you get to meet people and it’s a good way to make in-roads with financiers, journalists and other filmmakers.
He further advises not to put your film on YouTube; your film has a two-year life at festivals.
Thanks to his distribution background, David can get his film into festivals and cinemas soon after completion, whereas typically it might take one or two years. Besides showing up at festivals where your film is being shown, David recommends that directors go on tour with their films. “People are fascinated by what we do, and we can use that to our advantage,” he says.
One final piece of advice to writers…
Jon: Even if you’re on a low budget, think what it is you want to say and stick to it.
David: Edit your film and think it out in your head, so that you don’t waste your money shooting extraneous footage.
John: Mind your mental health. When you feel down, go do something else. Tell yourself your script is the best thing since sliced bread and you’re the only one who can write it — all the way through the first draft. Keep the negativity for the second draft, when you’re revising and you need to be critical.
I write stories for children. Novels for grown-ups. Screenplays for laughter and tears. I enjoy travel, both in this world and in those created by books and films. I am also passionate about Art and Photography.
