Interview: Damien Giglietta, Director of TKG: Kids of Grove

TKG: The Kids of Grove is the feature film debut from visionary director Damien Giglietta. Produced by 88 to 1 Productions; TKG is a thrilling and compelling story of the consequences suffered in the name of promoting and developing societal values and conditions of living.

The story centres around Wright Property Firm who have recently evicted residents from the government assisted housing unit known as ‘The Grove’ in their quest to bring a higher standard of community to the area.

“A background of the project was trying to create a story that showcases the similarities more than the differences between people from different socio-economic class. I wanted to showcase the survival instincts that kick in no matter what class you come from. Reaction to circumstance is a big theme in this project and how we will all do whatever it takes to stand by and protect the ones we care about.” Damien Giglietta

indieactivity: Did you start writing with a cast (You or any) in mind?
Damien Giglietta: I’m pretty blessed to work closely with Fusion Entertainment Group over the past 5 years where I have worked with some great Australian talent which includes main actress Maria Velletri, Leigh Smith, Ernest Arfan and Anthony Ciccotosto. Once the concept was in my mind and the script found legs I realized that there wasn’t a lot of breathing room in this thig due to the intensity. That’s where I turned to Leigh to inject some much-needed comedic relief. I don’t write comedy to well but knowing Leigh’s strengths I knew I was able to give him a license to improv. Maria was another one I have known for years and once I was in the scripting phase I knew she would always be the one to play Marissa.

Damien Giglietta’s TKG: The Kids of Grove is a Thrill to Watch

How long did you take to complete the script?
Damien Giglietta: I remember getting on a roll on the first draft in May of last year and completed it in nine days. After that I took a little bit of time to flesh things out and complete the second draft. Once the casting process was done and sitting down with both Mark Casamento (Jonti) and Mick Preston (Nick Wright) and talking through some ideas and character I completed the third draft and in July and we shot with that one.

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When did you form your production company – and what was the original motivation for its formation?
Damien Giglietta: We kicked off 88 to 1 Productions toward the tail end of 2013, I think it launched properly in 2014 though. The main motivation for myself personally was to create my own way. I turned to two of my closest mates in Peter McIntosh and George Davis who we studied film together and had been a crew ever since and started 88 to 1 Productions. Without their input and work the company wouldn’t have come to fruition.

What was the first project out of the gate?
Damien Giglietta: Together we have made quite a few short films, music videos and promo material, but in the 88 to 1 era I think it was a 7 minute short film called ‘The Lotus Job’. Two weeks out from the deadline of tropfest we were having beers at the pub and decided to enter tropfest for the first time. Within seven days from memory we had a script, we had shot it in one day, a few days later it was edited and completed. Amazing what a few brews at the pub can do.

During production, what scene (that made the cut) was the hardest to shoot?
Damien Giglietta: Maybe easier to say what easier ones were. I remember the last four to five shoot days were getting tougher and tougher. We had shot multiple choreographed sequences in this film, plus stunt activity and some heavy intense performance moments. The one that sticks out would be in the second last week of shot we had shot a crash sequence in Keysborough. It was one of those what could go wrong type of nights and the coldest night of the shoot. I remember wrapping that morning and asking myself if this whole shoot was over yet.

What works better in this latest production that mightn’t have worked so well in the last one you did?
Damien Giglietta: Just experience to be honest. I think the more situations you can put yourself in early days in your career will hold you in good stead. Advice to young filmmakers is to just create and keep creating. Your early work will be terrible but the experience will be invaluable.  Another thing is chemistry, myself and DP George Davis have done multiple projects together and being on the same page with only few words needing to be said helps enormously.

You produced and directed the film, what measure of input did it take to don these hats?
Damien Giglietta: Heaps. One of the biggest challenges outside of the script and budget was having a very young team on this thing. So trying to mix time between directing, producing and mentoring was tiring but the results we got from a very inspired and talented young crew was also energizing. Some of these ‘kids’ are going to have very long careers and can’t wait to see what they go onto next. But outside of that the input was always just focusing on each day at a time and taking each moment in stride.

Is there anything about the independent filmmaking business you still struggle with?
Damien Giglietta: There is a lot about it I love. The freedom mainly and the team environment is so different to that of a commercial set. But the struggles always start with the money. Ask the 88 to 1 boys when they read my stuff and have to figure out how we are going to pull it off with minimal cash. They may or may not carry on about it but damn they get the job done. Other than that I don’t focus on the struggle, just more on the freedom.

Where do you think your strengths line as a filmmaker?
Damien Giglietta: I think composure. As a director sometimes the clock feels like its going thirty seconds a minute. When things start going against you all you have to do is stop and breathe. Early days I would have lost control but now I don’t see the point, as long as the camera is working and the players are there we will get something shot. Another one is collaboration and knowing when to check the ego at the door. Being blessed working with Pete and George is being able to also rely on their creative input. But also trust. When you cast an actor you are giving them responsibility over that role. By the time the camera is rolling their input is extremely valuable. The amount of times I’ve seen a scene improve due to trusting them with a choice is rewarding and also confirms that filmmaking isn’t a solo sport.

Let’s talk finance, How did you finance the film?
Damien Giglietta: Purely all through 88 to 1 Productions, myself, George and Pete.

How much did you go over budget? How did you manage it?
Damien Giglietta: It was a little unorthodox as we never came into this project with a final figure of what we wanted to spend. The aim was to try and keep it under 80k upfront and have the rest come through on the backend. We did have a few headaches along the way and some weeks we had to overspend on somethings. But at the end of the day it is independent filmmaking. Keep it under seven figures you are doing something really well.

How important is marketing? Do you think a project can make any dent without it these days?
Damien Giglietta: I think it’s extremely important. More so these days due to the amount of content available to viewers now. Your project has to stand out by either the names you have in it or the actual concept needs to be one of interest. When it comes to the content driving the project than marketing is where it needs to be done.

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Can you tell us about your marketing activities on the project – and how it’s gone for you?
Damien Giglietta: I’m terrible at it but luckily I have some good producers that are covering the basis for me. But the trailer dropped a couple of weeks ago and now we can see the traction hopefully start from here.

What do you hope audiences get from your film?
Damien Giglietta: First and foremost, Entertainment. I mean the nuts and bolts of filmmaking at the end of the day is to entertain the viewer. The balance is always trying to tell a compelling story that leaves a lot for the audience to interpret and not spoon feed them the lines they have to stand behind. In my work I always like to cloud the lines so it’s not always in your face. Finding that balance so mainstream viewers will watch and enjoy the face value, while viewers who like something a little more in depth will have plenty to play with.

What else have you got in the works?
Damien Giglietta: Well now that TKG is in final stages of post-pro I’ve been able to start shifting focus to what comes next. The aim at the moment is to potentially shoot a pilot at the tail end of the year and move onto the next feature film in 2020.

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