Calligram Pictures just released "Co-Stars" and the feature length film "Bloom". We interview director Noah Gerometta about them.
Would you say promoting two screen productions simultaneously is an advantage or disadvantage, and why?
We are so early into the release of these films that it's difficult to tell, so I don't know that I have any practical evidence to suggest that it's an advantage or disadvantage, but I like to imagine that it's an advantage. That someone may see 'Co-Stars' or 'Bloom', notice the same people were involved, and then watch the other. I think it would be wonderful if Co-Stars and Bloom were both playing at the same festival somewhere.
How are you promoting them?
Trailers, teasers, social media, film festival screenings, and we've spoken at length about the films on our podcast. It's difficult to promote films when people don't have a track record of previous films to base their decision to see a new film on. People are essentially watching the films we've made on blind faith, so I'm very grateful to anyone who watches 'Bloom' and 'Co-Stars'. I'm personally often excited to see debut pictures because I like to be surprised by new filmmakers.
What was your favorite part of being involved in both of these films?
When I'm working on someone else's project, it's often enjoyable to watch others steer their film, and help if they ask. I enjoy working on sets when I'm working with people I enjoy being around, regardless of my role. On 'Co-Stars', I was script-supervisor, which is a very enjoyable role for me when working with a well-prepared director. I have done this role before for Izac and will probably continue to do it as many times as he wants me to.
Bloom was stressful in each stage of the project. It's done, and it's still stressful because it isn't released publicly yet. Writing, directing, and editing something are painful throughout, with the occasional moment of happiness when we manage to write or record something that is meaningful to me, or when someone makes a joke that brings my head above water for a minute.
What would viewers like about each film?
It's difficult to say because I hope each individual member of the audience will have their own unique experience with both of the films. I personally enjoy many things about 'Co-Stars' that are easy for me to pinpoint because I didn't make the film. I enjoy the bold lighting choices and destabilizing editing choices. I like that the film surprises me even though I worked on it. Even if I'd never met Izac or Skye, I believe I'd come away feeling that the film is personal and meaningful to them, which I'm personally partial to.
As for 'Bloom', I'm unable to watch it as an audience member. Hopefully people who don't make films can understand my inability to watch the film cleanly if they compare their inability to view something they've created with how others may perceive their creations. I see everything I would've done differently, even in the aspects I'm happy with. I blindly hope that some people will be moved by the film and discuss it afterwards with their loved ones.
Were there any challenges in filming these movies?
I am sure that I have no idea how many challenges had to be solved on 'Co-Stars' because I had next to nothing to do with producing it, but every film comes with its own laundry list of unanticipatable challenges. 'Bloom' experienced a countless number of problems that I will not mention because I don't want anyone to be thinking about them while they're watching the film.
Were there any challenges or bloopers that you can describe?
Many. The first significant challenge had happened the day before we began shooting, when my producer, Jackson, went to pick up some equipment we had rented, to find they had rented the equipment out to someone else. We found the necessary equipment elsewhere, but the sudden added pressure was awful.
How do you choose projects to produce?
So far it's not been much of a choice. I've only performed producing duties on projects I've written myself or had a hand in writing. To that extent, I know during the writing process the sorts of production related problems that will likely be caused by writing scenes that could be difficult to film, so when working on very low-budget films, I often have to make choices while writing to attempt to keep those problems to a minimum.
Do you currently have any plans for future projects?
There are a few films I will likely be working on this year and in the following years with crew members who have worked on 'Co-Stars' and 'Bloom'. There is a short film called 'Bleeder' which Taylor Glockner, Izac Brodrick, and I are currently working post-production on. Hopefully, it will be on its festival run towards the end of this year. Other than that I am always writing.
Do you prefer to work on feature films or shorts, and why?
Both have their benefits and drawbacks. Features obviously take much longer in each stage, and are much more expensive, but allow for greater interlinking and exploration of ideas, simply because they're longer. It's more difficult for me to reach something meaningful in ten to twenty minutes of screen time.
Does your production company get help from the Australian government?
We haven't applied for funding as of yet for a project, but we've only been working with very small budgets.
How do you ensure your feature films are good?
There is no way to ensure the quality of any film. There's only planning. For me, I don't write scenes I won't be able to film. I mostly understand the limitations of the budget I will have access to before shooting by simply planning for the worst.
Do you get any feedback on feature film ideas before you film, and how do you do this?
There are very few people I trust to show my completed scripts to. I hardly ever show drafts to anyone, and I've learned over the years to be even more cagey than I once was. I only take screenwriting advice from people who have written screenplays I enjoy. I show my finished scripts to the people whom I would like to work on that particular film with, and if those people enjoy the screenplay, then hopefully we will agree to work together.
What kind of movie would you make if you had an unlimited budget?
I would make many insane films, but I don't often think about having hundred-million dollar budgets because it's not useful for me. Of course there are ideas I have written that are inherently so presentation dependant that they would require tens of millions of dollars to be executed, but I set those to the side because I may as well be buying lottery tickets. So few films have been made for a hundred million dollars that it's not something worth planning for in my view.
I believe there are small, medium, and large-budget ways of tackling any subject matter or idea. When an expensive idea presents itself, I don't worry about the form the idea presents itself in. I write the idea down, and experiment with the idea until it's practically viable. Many of the best films revolve around two to ten people talking in one or two locations. I have much to learn, and I'm happy to continue playing with simple elements.
Index > Noah Gerometta Interview