Director – MISAN HARRIMAN:
- The film deals with the effect of trauma and the impact on mental health. What was the start-off point for the short?
I think from my point of view all of us have been through a mental health crisis in the time of Covid.
It’s unique to have something that affects all Homosapiens, and I wanted to make my first moving image art piece recognise that we all have wounds, and are all on a journey of healing, and of course there is a tapestry of some of my personal experiences and narrative that I’ve conjured up from within my mind that started off this short.
- You worked with a stunt co-ordinator. Tell us about your working relationship with them.
It was amazing for me, to really learn from really such a specialised part of the film industry, stunt work is something I’ve read about – and obviously seen the result on the screen – but to meet the professionals and see them do it was like going to school for me, so I was a bit of a sponge and fanboying, but really working out the technical details to make sure the narrative, the story, the emotion was there, whilst everything was done safely
- You are a renowned and reputed photographer who has shot the likes Tom Cruise and Olivia Colman amongst others. Tell us a bit about your journey from the beginning to working with these people.
Well, I mean it’s well documented that I picked up a camera about five years ago now, self-taught on YouTube and films.
Particularly films have really prepared me for the moment I picked up the camera. My eye was training itself from the first film I ever watched, so my use of light and composition has helped how I take pictures, and now I’m going into the medium of film.
I feel really comfortable in using light and words and sound to add even more fidelity to the stories I am trying to tell.
- You worked with cinematographer Si Bell BSC, somebody who has worked on the likes of PEAKY BLINDERS amongst other acclaimed works. What does a name like this bring to the table when doing a short?
Si is extraordinary and he was very kind to me, we were essentially finishing each other’s sentences, completely understood the lenses that we wanted to use for each shot, and we pushed ourselves in the limitations we had in making a short like this to make sure it visually felt, it felt like a feature, I would say.
And his experience from working on Peaky [Blinders] and so many other extraordinary TV and Film projects really added to me going on my first journey with a DoP. I thoroughly enjoyed working with him and believe he is one of the best in the business.
- Who and what are your key cinematic influences?
Goodness gracious, well, favourite film (if you twist my arm) I would say is CINEMA PARADISO, probably changed my life – I watched it at the right moment. I love Kubrick, specifically BARRY LYNDON, of course as a photographer, that film is a living painting, but also I’m an 80s and 90s kid, so ALMOST FAMOUS, STAND BY ME.
I love Michael Mann, my favourite of his if I had to choose would be LAST OF THE MOHICANS, I particularly love how he filmed COLLATERAL, and of course, who doesn’t love HEAT. But I would also say SPIKE LEE is a huge influence, especially some of his early work – everyone loves DO THE RIGHT THING, I particularly love JUNGLE FEVER, and of course MALCOLM X – another life changing experience for me.
- Would you like to expand on the issues and themes explored in THE AFTER into a feature project?
No. I think what we have done is so special, and what David gave I wouldn’t dare ask him to try put that on a screen again. He left pieces of himself in this film that is more than we even deserve.
- What issues and themes would you like to explore in future work?
Well, I want to explore the full tapestry of the human condition step by step, so you know, I’m reading scripts I’m writing a few little things as well and I can’t wait to share with you my first feature. But certainly, I’m not genre specific, but obviously there will always be a sense of intentionality with the stories that I tell.
- Finally, what are you most proud of about this film?
- How long did it take to shoot?
- David Oyelowo is the heart of the film. How did he get involved with the film?
- Tell us about your cast
- How did Netflix become involved in the project?
- Tell us about your production team
- THE AFTER is getting its’ premiere at the London Film Festival. How vital is exposure in a prestige festival like this in helping shorts like this go forward?
The film premiered at HollyShorts and now has its UK premiere at LFF. I think festivals are massively important because they showcase and celebrate exciting new filmmakers like Misan, but also because they offer an opportunity for filmmakers to connect with their audiences – which is so powerful and so important. Especially for a film like THE AFTER, that resonates with people in deep and unexpected ways. It’s all the more meaningful as a shared experience.
- Finally, what are you most proud of about this film?