Film-maker Emma Needell takes the established brilliance of visual effects and VR and brings emotion and empathy down to Earth in her new intimate short LIFE RENDERED.
Film And TV Now spoke with the film-maker about the short.
What’s interesting about this short is that it takes a very emotional human story that isn’t reliant on blockbuster action sequences a la MARVEL or STAR WARS in the context of the Unreal Engine technology used on the likes of GAME OF THRONES and THE MANDALORIAN. What was the start off point for the script?
I grew up in rural Colorado (we actually shot some of the live-action scenes on my parents’ cattle ranch), and always felt like a bit of an outcast.
We’re a Jewish family, and I’m allergic to horses, so in a town where everyone goes to the rodeo on Saturday and church on Sunday, I didn’t fit in. When I was ten years old, we got a computer and the internet — and suddenly I had access to anyone and everywhere in the world.
That experience was really the basis for the story — this idea of a digital or virtual world being as real, emotionally, to the main character, because it’s where he can meet people and be himself. The great thing too about Unreal Engine is that the software is democratizing — it’s free to use, and most of the virtual sets we used in the film we bought on the UE Marketplace for anywhere between $10-$100! I don’t think we could’ve made this film even three or four years ago, so it was a bit of kismet as well.
We have been through a time of detachment and isolation given the effects of the lockdown. How can VR technology bring people together in a more constructive and positive way, given that the opposite effect with the potential of smart phones has created in some ways?
VR is a tool, just like a hammer or a saw. You can use a tool to build a house or tear something down. I fear there will be devastating uses of VR (as an avid fan of Black Mirror, I know I’m not alone in thinking that). But then there’s a side of technology that is positive, that is humanizing, and that can’t be discounted, either. I personally experienced it as a kid, so I know it is possible!
I don’t think technology — no matter how advanced it gets — will ever be able or should fully be able to replace human relationships. This is the main thesis of my short film, that virtual reality is simply the mechanism for empathy that ultimately brings together father and son.
Some of the vistas in this film are reminiscent of BLADE RUNNER. Tell us about the build up and design of the foundations of the world.
Love that reference! The visual intent of the film was “rural sci-fi,” and that’s what I kept communicating to my cinematographer and to the various environment artists who worked on the virtual scenes.
And what’s iconic about westerns? Expansive vistas, silhouettes, a sense of epic as it relates to landscapes and nature. We wanted to bridge the real world and the virtual one with a similar visual intent!
Tell us about your cast.
Our cast is amazing. The first actor we cast was Owen Teague (who played Mark, the main character).
I saw his performance in the TV adaptation of The Stand and loved how he brought such a tender and nuanced performance to a villain character. I wrote him this very earnest letter about why he simply had to be in this short film, and to be my delight he accepted!
He was also a natural in motion capture, and so it’s no surprise that he’s now the lead actor for the reboot of Planet of the Apes. For the father character, we wanted to cast authentically, and found Luce Rains thanks to a massive casting call we posted.
We knew he was the right choice the second we saw his audition tape! Mark’s virtual lover, Armen Taylor, is an incredibly talented motion capture actor, with an impressive resume, and was a total pro (I learned a lot from him about directing motion capture).
Tell us about your production team.
Just as you cast your actors, you also must cast your crew. The first people to shout out are the producers: Jake Sally, Eric Day, Patrick Hackett.
These three producers are the kind of producer who genuinely cares about the project (and my vision for it), and when I needed something for the film, they always got it done. We shot the live-action scenes in Colorado, and were able to work with a local crew, who were all incredibly talented.
It was a joy to work with cinematographer Anton Fresco, who shot both the live-action and virtual scenes!
For the virtual scenes, we had two crews: the motion capture crew, based in LA, and the computer graphic/VFX crew. This part of the production process was a true COVID production: we had crew members around the world (Vietnam, India) that I would meet with on Zoom for creative calls and rounds of feedback.
Where did you shoot in terms of real locations and for how long?
We shot all of the live-action scenes in Colorado over five days. The first two days were split between the cities of Boulder and Denver, and the final three took place in Elbert County, the rural county where I grew up.
Given the advancement in technology, how long will it be before the CGI and VR worlds impact on more indie work over mainstream?
I think we’re still at the beginning, but when I look at films that are in the mid-range in terms of budget but with VFX that’s epic, it feels like the future of filmmaking has never been more exciting.
The Daniels’ work (Swiss Army Man, Everything Everywhere All At Once) and David Lowery’s The Green Knight are movies in particular that have incredible VFX and are not your typical blockbuster action films. Especially as the technology improves (and thus people can use more affordable hardware), I can imagine a world where VFX and CG is a part of many indie productions.
Who and what are your key cinematic influences?
There are two films I’ve watched at least once a year since they’ve come out: No Country for Old Men and Pan’s Labyrinth. The level of detail in both of these films — from the dialogue, to the acting, to the cinematography and sets — are so compelling, so layered, that I always get immersed in the story, despite knowing exactly what scene comes next.
It’s really this part of filmmaking that I love most of all: the immersive, cinematic world-building. And to that end, the other films I love that build out their worlds masterfully are: Mad Max Fury Road, Kajillionaire, and Spirited Away.
You collaborated with Respect Ability and GLAAD on this project. What has been their reaction to the short?
While I firmly believe that creators should be free to tackle themes that are not their lived experience, I also believe it’s the responsibility of the creator to do their research, listen to feedback, and be open to pivoting aspects of your story as you learn more.
I met with both organizations for script feedback and consultation, and sent them the final film! Both organizations responded with their congratulations.
Are there plans to show the film to LGBTQ and disability charities to highlight the concerns explored in the film?
Not at the moment, but this is a great idea!
Given what you’ve achieved with LIFE RENDERED, are you planning to expand and do a feature project utilising a mix of live-action and VR?
I absolutely have ambitions for feature projects (working on one now)! Knowing what this technology can do has also opened my eyes to how I could do “epic at indie scale,” even for a first or second feature.
What issues and themes are you keen to explore in future works?
I’ve been wanting to tell a climate change story for years, but haven’t quite found the right way in (meaning, one that doesn’t turn people off) — but I’m happy to report that I’ve finally nailed a story I’m really excited about that explores the theme of climate change, in a way that isn’t too dogmatic or obvious.
How has the festival circuit helped your film?
Film festivals are the lifeblood of indie cinema and up-and-coming filmmakers. It’s true what they say: watching your film on the big screen, with an audience, is an unparalleled feeling.
But the festivals are also an incredible way to meet other filmmakers — we immediately have a shared language, a camaraderie, because we all know what it means to not only make a film, but have your film screen at a festival.
Finally, what are you most proud of about this short?
Candidly, that we pulled it off! I remember, before we began production, feeling like I was at the bottom of a massive mountain that I wasn’t sure I could climb.
I come from a screenwriting background, and as a screenwriter, everything is on the page and it’s all in your control; as a director, while it’s important to have a certain amount of control, it’s equally important to know when to let go and let the experts of their craft shine.
You must have faith in your team, especially when directing a production as complex as this.
