A promising upcoming film-maker is London-based Luisa Pretolani – who alongside her Production Manager Alida Pantone – has crafted a memorable period short called THE GLOVE, which focuses on the meaning of the object of the title and how it affects a wartime family.
Film and TV Now recently interviewed both Pretolani and Pantone, as they reflected on their work in a film that has been generating considerable buzz following its’ recent screening at the London Independent Film Festival at the Genesis Cinema in Mile End, London.
LUISA PRETOLANI
THE GLOVE is based on an idea that you had. Tell us a bit more about the genesis and what is so special about this story in your eyes?
The Glove was born from the collaboration with writer and dear friend Mark Clementson, who had already written “The Lift”.
We wished to tell the story of a child being confronted with an unexpected reality and his ability in grasping its complexities. It’s about steps that as children we take in order to slowly become adults: becoming aware of people’s feelings and emotions, especially when this involves our parents and the people we love.
I really enjoy Mark’s style of writing and how with his sober prose draws on the intricacies that life presents, making even the most difficult subjects very appealing to a wide audience.
The film demonstrates that sometimes an object can have a thousand meanings and there is a subtlety to the pay-off in this film. Were the characters based on anyone in particular?
No, the characters are not based on anyone in particular, but I have always been fascinated by how children see the reality where they live in and which coping mechanism they develop in order to make sense of it all, transform it and make it their own, or reject it. In this case a glove is the lead to a surprising move of the heart… or at least to the beginning of the understandings of the possible complications of love.
Tell us about your cast.
I am very thankful to Evelynne Ralph-Larner my agent and the director of ESRLAG Talent Agency for her work in securing such a great cast…
Birgitta Bernhard who played the part of Hannah in “The Lift”, is in “The Glove” playing with such a moving and honest way the part of Miriam married to Alan interpreted by the wonderful and here secretive Tony Hirst, aunt Rose is played by the equally brilliant and for the part, amusingly coquettish Kate Isitt.
The children are played by professional actor Alex Marriott as Josh and the film is opened by Lily Smith. Several years ago, I directed other short films which had children as main characters, (“Worlds”, “The Opening Night”, “Snow”) and once again, I found a great inspiration to be working with Alex and Lily as I was witnessing and being made participant to their interpretation of the story.
Tell us about your production team.
Again, as per the cast I was very lucky to be working with a team of people of the calibre of internationally awards’ winner production designer Mark Harriott and costume designer Maurizio Basile: both exceptionally creative and with a team of professionals to rely on.
Everyone put a great number of extra hours to craft three different sets for our period film. Tabby Casto curated the make up with research and precision.
The camera department with Caterina Albarella and Nikita Wolf was led by the fine director of photography Max Hodgetts, who has the ability to read my thoughts… and to understand my scribbled notes and doodles!
We had already successfully worked together on “The Lift” and several music video productions. At the head of production there was the splendid production manager Alida Pantone and her team which included the ever(!) hard working Rachele Fregonese and Cristian Lazar as the zealous script supervisor and of course Zac Moss our very efficient 1st AD!
Scott Edwards is the brilliant editor with whom I have been working in various projects including “The Lift”. We have a great understanding of our creative work together.
The poignant music score is composed by artist Emilio Merone who had composed the touching music for “The Lift” and who is a constant source of artistic inspiration.
A particular aspect of The Glove is the use of animation, which was beautifully realized by the great artist Mario Radev. Last but not least, graphic designer Cathy Heng who originated the poster of the film, capturing the soul of “The Glove”.
How long did it take to shoot and where did you film?
We filmed over 5 days at Draper Hall in SE1.
It was beautiful to be able to recreate the space of a film set in such a welcoming and easy to get to (it’s in Central London!) environment. We used the main hall where the set designers and the builders built, crafted and dressed the living room and the bedroom.
The 21st century kitchen was transformed over-night into a 1958 kitchen, and the actors’ changing room had become the main door and entrance to aunt Rose’s house.
It was a great challenge to make all the transformations in such a little time, but everyone believed in it and was committed to make it the best film. And we did.
Where did you get the van that is featured in the film?
We hired it from a company which hires period cars and vans to movie sets.
You recently screened the film at the London Independent Film Festival 2020. How was the reaction to the film?
We received a great reaction and feedback from the public, people loved the film, and it was a wonderful opportunity to meet with some of the crew and cast again!
THE GLOVE is very much a period piece, seemingly set in post-World War II Britain. Are period pieces something you enjoy making more than contemporary ones?
Not in particular, but I am always fascinated by how characters and their stories have to be weaved into the fabric of their time. The way a child, like Josh would react today to what he uncovers in the story, would probably be very different from the way Josh behaves in the film.
Not to mention that during the car journey, a child in 2020 probably would not be looking out of the window and dreaming….but would be lost playing with his parents’ phone, maybe oblivious to the bickering in the front seat!
At present, I am working on the script of “The Cook” a period piece set mainly during the II World War, but covering the decade before and after, so if we‘re talking about filming a period piece, I think that will definitely be an interesting piece from a directorial and artistic point of view.
Finally, what are you most proud of about the film?
I am proud for the way we all worked together to tell a story we all deeply cared about. It was not only ‘my film’ but it was, and it still is, ‘our’ film. Everyone who worked on it was really invested in whichever creative way that they could contribute. I am also happy that we really tried to employ more women in the crew and had a more diversified team. It was not easy, but River Crossing Productions is determined to assist and support the development of a very diverse group of artists and craft people and our commitment is vital to the way we think our productions.
ALIDA PANTONE
How did you become a Production Manager?
After working on the short film The Lift (as actress) I asked its Director and Producer Luisa Pretolani if it was possible for me to assist on her next project to better learn how a film is created.
She welcomed me as production assistant and by the end of that same production I learned and managed so many things to earn the “Production Manager” status. That Project is The Glove. 🙂
The film maintains an air of authenticity with all the period objects that we see in the film. How difficult was it to get hold of some of those items for the production?
Thanks for noticing! We have been blessed to find a fantastic Production Designer, Mark Harriott, who also happens to have a real passion for vintage. He took care of sourcing all the objects you see on our set, including original newspapers from that period.
You are very much involved in the independent film sector. How does being a Production Manager on an independent short film differ from being on a feature for example?
I don’t think the length of the film makes a difference for a Production Manager. The process is pretty much the same. The real difference is made by the story, how complex it is.
How many crew were you responsible for?
Crew working on set, not counting the cast, 30 people. Overall, including cast and everyone who worked on this film, we reached 50.
In terms of the logistics about health and safety and all those other elements that are essential on any film, how were these managed?
We had to go through very specific issues due to building different sets with our carpenters and driving a period car in central London. We made a very detailed risk assessment for each day and each location and had special insurance to cover the car and everyone working on set.
We had a great 1st Assistant Director (Zac Moss) who was extremely dedicated to keep everyone on track and safe, giving daily briefings and keeping a good eye on everything and everyone.
What was your working relationship like with the director, Luisa Pretolani?
Luisa is a fantastic Director. Always very calm and caring. But she was also the Producer of the film so has been interesting and very inspiring to see her “changing hats”. What amazed me the most was the trust she put in her team and the countless time she thanked everyone, truly showing how grateful she was for everyone’s job. It’s a true pleasure working with her.
Are there other positions on a film set that you have had experience in?
Yes, I’m a very curious person and I love to challenge myself and learn new things.
I’m an actress (perhaps that’s why I love wearing different hats…It feels a bit like a role play!) but I’ve also officially directed and produced. I say “officially” because I’ve also pretty much covered all the other roles on a film set, from runner to gaffer and boom operator making my own independent, zero budget short films. That’s how I really learned the value of working with a professional team.
Would you like to be a writer / producer / director in the future?
I have many ideas but writing is not my thing. Producer and Director yes. It is something that I’m working on.
Finally, what makes THE GLOVE so special as a short film?
It’s a fascinating, high quality short film. One journey, but so much happening in it. There are so many stories in those 12 minutes!
For more on THE GLOVE, please go to:
