Please tell us about the projects you worked on before making Document 56. How did you start, and how did you learn to make films?
While Document 56 is my first film as a writer/ director, I have been working in the film industry for more than 40 years as a producer and assistant director, and mostly in feature films. I studied film in both the US and the UK, and gradually worked my way up through the ranks of film production to where I am now. Along the way I was fortunate enough to work with some very talented filmmakers who gave me the chance to prove my abilities and allowed me to find my own creative voice. Several of the directors I have worked with in the past were generous enough to give me their thoughts and advice during the process of making Document 56.
Tell us about Document 56. How do you describe it?
Document 56 is a true story, a Cold War-era mystery - and a black comedy, all at once. I am American, but I have lived and worked in Romania for more than 20 years and this film is born out of love and admiration for my adopted country. It is also a personal story, about the misinterpretation of language and about the attitudes that some foreigners - especially Americans - have when traveling abroad. I have always been interested in stories about history and how events in the past affect our present, and it seems that everyone who grew up in Eastern Europe has their own tale of the strange things that happened during the communist period. I had heard “urban legends” relating to this story, and when I did the research, I discovered that not only was it true, but far more weird than I ever imagined.
Please tell us about your favorite filmmakers.
There are so many… Andrei Tarkovsky, Akira Kurosawa, Chris Marker, Blake Edwards, Peter Weir, David Lynch, Ridley Scott, Robert Enrico, Alex Garland - I’m sure I’m leaving many out. I’m balancing “appreciation” with “enjoyability.” I very much appreciate the baby carriage bouncing down the stairs or the bone thrown into the air turning into a spaceship, but I don’t necessarily enjoy watching it again and again. One of the great directors whose work influenced me at a young age to want to pursue a career in filmmaking was John Boorman. I was lucky enough to work with him on his last feature, “Queen & Country” and he was a great advisor during the scriptwriting phase of Document 56. It’s wonderful when someone whose work you admire for a long time turns into a friend!
If you were given a good budget, what would be your ideal project?
Well, in addition to being the director, producer and writer of Document 56, I was also its sole financier, so being given any budget would be ideal for me! That said, a bigger budget doesn’t necessarily equal a better film, but it can allow for a greater selection of stories and ways to tell them. Ideally I would love to make my own feature - something with situations and characters that have emotional impact with the audience. I quite like the medium of short film, so I wouldn’t be averse to doing another one. I have many ideas…
Describe how you would ensure that production is on schedule. What steps would you take?
In my experience, whatever the project - from the lowest budget short to the most expensive feature film or series - the key is preparation. Figuring things out, exploring ideas, scheduling the logistics of making a film is so important. When I work as a first assistant director, I take part in planning every detail of the shoot to fulfil a director’s vision and seeing it through to completion. And I always - always - have a backup plan for when things don’t go as expected.
What was the hardest part of making Document 56?
I mentioned that I have been making movies for a long time, so I’m well-versed in all aspects of film production. And as I had no “deadline” to finish Document 56, I could take my time to prep and shoot it. However, my usual job largely finishes when shooting is wrapped, so the world of post production was completely new to me and I definitely had to learn many things as I went. So post production was the hardest part for me. I found a very good editor, Dana Bunescu, and she guided me through picture editing, sound design and so on. We had a lot of arguments throughout the process, but we respected each other’s creative opinions and I think the film came out better because of this. I was also introduced to a wonderful composer, Calin Topa, who until now has done mostly music for theater. We immediately connected in our first meeting, and he completely understood the approach I had taken with the film - telling a dramatic story and finding comedy in the absurdity of the situation. Lots of shorts don’t have any music, but it’s such an important element to a film - as much as a great actor or cinematographer. I can’t imagine making a film without music.
If possible, tell us about your next work. What plans do you have for your future work?
Within the next 6 months I have two projects - both as producer - coming out. One is a fantasy feature starring Willem DaFoe for A24 unlike anything they have done before. The other is a limited series for Paramount, directed by Roland Joffé called “The Gray House.” It’s a true story about a ring of female spies that helped bring down the Confederacy during the American Civil War. I have plenty of ideas for my own next film - both short and feature length - but for now I’m excited about showing Document 56 to audiences looking to find a little humor in our world.
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