Martin Daniels Unearths Ghosting Isolation from The Anthology Isolation Horrors

Martin Daniels is a Writer, Director, and Composer based in London, United Kingdom. He is a full-fledged Composer for film and his music range from Classical to Experimental. Daniels began his work in film back in 2011 when he made making extreme Crime and Horror films, which were released on his Bleakscape label. Daniels continues to work in the Psychological Horror genre to Crime, Psychological Drama, and to Dark Drama. His 2018 film Being Without was a finalist at the 2019 Gold Movie Awards. Films that are currently in production are The Affliction Table, Emily’s Hands, and House of Lexi. Martin Daniels joins other directors such as Emma Dark, Richard Markworth, John Whitaker on Nicolai Kornum‘s The Isolated Horrors. He talks to us about this work on a segment of the anthology short: Ghosting Isolation.

indieactivity: How do you choose a project to direct?
Martin Daniels (MD): I make my own films: I write, cast, direct, produce, and compose the music for my films. I never force an idea but I take time to work the whole thing out with a script, score, and/or soundtrack.

Why filmmaking and screenwriting? Why did you get into it?
MD: I have always been fascinated by filmmaking from a young age while I dreamed of doing it. I eventually got into making films by chance through a friend, who connected me with another who wanted to make a video for one of my tracks.

How can a filmmaker, if he so chooses, distribute his film? How do you get it in front of an audience?
MD: Networking is the key. Get to as many people who can help as possible. Back in the day, I put my films out on DVD but that’s outdated and was a chore to send through the Post. I would do Pay-Per-View (Digital-Rent). Also, consider sending your film to film festivals (there are numerous types and you must research the type that suits your film) is essential to get them in front of an audience and obviously putting them Online but I’m very dubious about that.

Is there anything about the making of independent film business you still struggle with?
MD: Money!! And the lack of it! Locations also are still are a challenge to secure. It has been this way that from day one really.

Talk to us about your concept of collaboration?
MD: Every film I do is a collaborative effort with the Director of Photography (DoP), Sound Editor, Actors, and Makeup Artist. Everyone works as an amazing team on each film. In my segment on The Isolation Horrors, (titled: Ghosting Isolation) the collaboration was in five separate locations due to the lockdown. An amazing effort by all involved.

What uniqueness do female directors/filmmakers bring to film/TV/cinema?
MD: Some of my favorite filmmakers and writers are women; Phoebe Waller Bridge, Joanna Hogg, Emma Dark, Lynne Ramsey, Lynda la Plante, Samantha Oci. What do they bring to film? Brilliance! They bring brilliance!!

When you are offered a project, what things do you put in place to deliver a good job?
MD: The Isolation Horrors is the only project I have been offered, yet! As I create my own films off of my own back. And Yes I make 100%; the way its filmed, story, acting, and score and/or soundtrack.

How do you find the process of filmmaking as an indie filmmaker?
MD: It is amazing. I love being creative and have been that way since I was a child. it is an amazing way to explore and progress each time I make a film and a soundtrack to it. always learning.

Why would you choose an actor, writer, or producer? What do you look for?
MD: I look for a natural flow in the actors’ work; to make it quite a real feeling. The more Real the acting the Better. I Write and Produce all my films so I don’t have to make a choice for a Writer or Producer

At what period in the filmmaking process, do you need to start planning for distribution?
MD: Once the film is complete and I’m happy with the way it came out, I send it to film festivals. My previous films now show on a Canadian Channel called lateflix and also on up and coming horror inprint iscreamz. If I was doing DVD again or Blu Ray then I would seek distribution.

Indie filmmaking is a model of zero or small budget. How do you get a film to the audience with such a budget?
MD: With a brilliant DoP such as the great Nicolai Kornum who works on all my films with me. He makes magic happen. He really is a genius. A very focused and clever person in film. It is a huge pleasure to work with him.

How do you think filmmakers can finance their projects?
MD: Countless ways really, I work so that how I do it. If I didn’t? I’d prob work as a hitman or something like that as its good money! Well until I got caught that is!

Describe your most recent work, or film, take us through pre, production, and post-production?
MD: My most recent film is a drama titled The Other Soul to Evie. Pre-production was focused on the Script and Music. The film addresses a topical issue; the actors studied and researched before principal photography started. We shot over a 2-day period at a location (flat/apartment ) in Drury Lane in Central London. The story behind the film focuses on a guy who had an accident. He is cared for by his Alcoholic Sister, but their father wants to take him away. The Other Soul of Evie stars Charlotte Gould, Charlie Suff, Alan Austen, Kitty Whitelaw, Caisa Martin, Tomasz Zaroda, and Josh Shrives.

What is your experience working on the story, the screenplay, the production, premiere, and marketing?
MD: This is always something I wanted to write about. I had a chance encounter with someone on Regent Street in London’s West End that gave me an idea. As soon as I got back home, I began writing the Script. it’s still yet to be released to film festivals.

How did you put the crew and cast together? Did you start writing with a known cast? What was your rehearsal process and period?
MD: I have had previous work experiences with the actors, so you could say I had a cast in mind; Tomasz, Charlotte Gould (The Mind of Juliane), and Caisa Martin on most of my films. It was the first time out working with Alan and Kitty. We had a rehearsal in the Pub before we started shooting.

What and how long did it take to complete the script?
MD: It was like all of my scripts: a solo effort. It took around 2 or 3 months to write it, including edits and rewrites.

Did the tight shooting schedule make it harder or easier? How did it affect performances?
MD: Our shooting schedule was super tight. But everyone did amazing and it didn’t hurt the performances. The collaborative effort on the project had everyone getting hands-on; I couldn’t ask for more.

How much did you go over the budget? If you did, how did you manage it?
MD: The project didn’t go over budget.

What other films have you written and made?
MD: I have written Being Without, The Affliction Table, Emily’s Hands, House of Lexi, The Mind of Juliane, Everyone Laughs at Leanne, and The Other Soul to Evie.

What do you hope audiences will get from the presentation of your film?
MD: Possibly that the audience will get inspired. Also, people will notice the beauty of my Cinematography which Nicolai shot who is a master.

What are your future goals?
MD: Hopefully to do this full time. And compose music for bigger films.

Tell us about what you think indie filmmakers need in today’s world of filmmaking?
MD: A good eye! Originality! Never be afraid to take a chance.

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