Hi I’m Eric Garson, I’m a debut short film director from England. First Off, looking through indieactivity‘s list of inspirational interviews with indie filmmakers Misha Calvert, Paul Kyriazi, Andrew Cant, Michael & Cati Gonzalez, Melissa Vitello and household names such as Lord Attenborough, Martin Campbell & Tom Hooper is a great honour. I’m a bit young for an autobiography, however I was born in Kenya & grew up in England. I’m 29.
indieactivity: Why did you get into filmmaking and screenwriting?
Eric: I stumbled across a podcast by Irish Film Critic, Steven Benedict and additionally Alexander Mackendrick’s seminal book, “On Film.” This opened my eyes to films. And finally, I joined an amateur film club in Reading. Made friendships, which blossomed into a gang filming on a weekly basis. Resulting in the production team, for “The Carter Sanction.”
indieactivity: How can filmmakers finance their projects?
Eric: In the case of The Carter Sanction, we set up a crowdfunding campaign, using crowdfunder.com. It’s not really about the money, target or even if people donate. It’s about letting people know you’re making a movie. It’s a statement. You’re promoting, you’re getting out there, “we’re making a movie, be part of this journey with us.”
indieactivity: Talk to us about your concept of collaboration?
Eric: Allow the actor or crew member to bring their suggestions or interpretations first before you set out what you want. It is the only time as director, you’ll get an unvaccinated interpretation of the character from the actor. It may be better than what you had imagined.
I would add, filmmaking is inherently collaborative, the first crew job I did, was boom operator. If the microphone was too close to the talent, it was in the shot. If it was too far away, you couldn’t hear the talent. Thus, you have power over the shot. Likewise with the rest of the cast and crew. You scratch my back and I’ll scratch yours. And, hopefully we’ll get that juicy take, we all want. Esprit de coup.
indieactivity. How do you find the process of filmmaking as an indie filmmaker?
Eric: At times filmmaking can be intensely stressful, fluid and unpredictable. For example, a lead actor breaks an ankle & will be out for two months, what do you do? A key actor or crew member cannot make a shoot, one day before filming, what do you do? The weathers against you or you have limited time on set, what do you do etc. Filmmaking is beset with problem solving, but if you have a story you want to tell and believe in, this will pull you through.
I most enjoy the moment when an actor is in a sweet spot. When they’ve found the character, they’ve found their place in the story and they’re knocking out a performance. And, you can feel their buzz and energy on set from the performance.
Consequently, it is your duty (as director) to capture their performance, capture their moment and capture their emotion. This to me, is the most thrilling element about filmmaking.
indieactivity: What are your future goals?
Eric: To entertain an audience. To get my films made. And, to ensure my cast and crew get the exposure they deserve for their work. Projects wise, I want to make The Carter Sanction, as a feature film. The format allows an audience to go on a journey with a protagonist. It’s harder to achieve this in the short film format, because of time limitations. My intention would be to shoot anamorphic on 16mm film in a sleepy European city, with all the bells and whistles.
indieactivity: Tell us about what you think an indie filmmaker needs in today’s world of filmmaking?
Eric: Drive. Entrepreneurialism. Adaptability.
indiectivity: Describe your recent work, or film, take us through pre-production, production, post-production & marketing too.
Eric: We have just completed principal photography on The Carter Sanction. We are in post-production now. The roots of the film, came from a short sketch made by a close friend (DP) Rick Hanley & myself called Gunfight II. When shown at our small film club, the response was, “so when are you going to make Gunfight III?” and so the movie was born.
I posted a casting call on Starnow for actors and very quickly found a cast including, Laura Ellen Wilson, Laura Arbeláez, Sajid Shah, Steve Overton, Silvia Calatayud Gil, Rudolph Benade, Tony Richardson, Samantha Fields, Eilis Cahill , Laurence Ford, Charlotte Pitson & Ashleigh Drew.
Simultaneously, with my producer Gabi Bilin, we found locations including offices, aeroplanes, telephone boxes, farmyards, city streets & country houses for the film sites. It’s hard to underestimate the amount of effort, heartache & time it takes to find and afford access to certain locations on an indie budget.
Regards crew, the majority were members of my film club, Rick Hanley (DOP), Gabi Bilin (Producer), David Gregory (Camera Operator, VFX & Editor), Leon Silavant (Stills), Sophie Marchant (Sound Operator & Mixer), Krzysztof Rodzik (Boom Operator), Becky Taylor (Makeup), Ivor McGurk (Composer), Mike Benjamin (Camera & Drone Operator), Dave New & Thomas Biddle (BTS Footage & Poster Design.)
In terms of production, the most important element is time. Setup takes time, lighting takes time, getting radio mics on, people arriving late, time of day you need to shoot, explaining to cast/crew the scene, rehearsing with cast & crew beforehand, back to start positions, etc.
It all takes time and very quickly you find yourself either rushed or unable to get the quality you’re looking for. Thus, as director, you really have to marshal people and keep the momentum up on set. The ability to lead your team and communicate effectively activity on set, is what will get the film made or not.
indieactivity: Briefly write about your career
Eric: I studied Biomedical Sciences, branched into Immunology and pursued research projects in Lentiviral Vector gene therapy for Schizophrenia and Ataxia. I worked at a Biotech, vaccine company making and testing vaccines against Influenza, Tuberculosis, Malaria & Hepatitis C Virus. After all that, I ended up making films. Go figure.
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