Kiwi filmmaker Jane Shearer's short flick, Nature's Way, centres around the murder of a young girl, left for dead in the forest. The murderer’s first instincts tell him he’ll get caught, but as time passes he becomes confident that he'll get away with it. Unfortunately for him, first instincts are usually right as nature aids revenge.
Nature's Way features at the Kea Festival of Kiwi Short Films in Sydney, Brisbane and Melbourne.
Shearer spoke with MiNDFOOD ahead of the festival.
What film techniques did you use for Nature’s Way?
The film had no dialogue, which enabled it to have a fairytale feeling within a modern setting.
The screen format we chose was 2.35 - a wide, long, landscape format, which lets us frame it in a graphic way and is brilliant for emphasising and giving power to the landscape.
Describe the setting of the film.
The film is set in an outer suburb in Auckland, New Zealand. I was fascinated with the new subdivisions built where they dig out native bush to make way for homes that all look identical.
The homes end up becoming a sea of one colour and linear form against the opposing organic mass of the forest.
It is such a visual juxtaposition and has lots of metaphorical reference for my film.
Why was it important to set the film in New Zealand?
To use the native bush. The bush feels alive and powerful.
What does the film tell viewers about life?
You’ll never get away with it. What goes around, comes around.
Was it easier or more challenging to convey this story as a short film? Why?
It was always designed as a short film. I don’t really find shorts easy to make though, because you have to tell a story and get a feeling from your audience in such a small amount of time. It’s a real challenge.
What difficulties did you face when making the film?
The forest with rain is really tough to shoot in. Sliding down hills, freezing cast and crew and the physical aspect the greens department had to cope with.
What personal experiences influenced the making of this film?
None, I hope.
Tell me about your process for creating characters.
I wanted the lead man’s interior life and exterior life to be poles apart. On the surface he’s trying to fit in and be normal, a mild mannered suburban man, but hidden inside he is a callous murderer. This concept was reflected in the landscape – the uniformed suburbia against the free, wild, forest.
How have audiences responded to the film?
The first time I ever saw it on a big screen, in front of an audience, was in competition at Cannes. I was so nervous, but it was exhilarating to see and hear the audience react in the right places.
This film was designed to show on a big screen, so I felt proud to see it really work up there. It was a brilliant feeling.
Why did you choose to be a filmmaker?
With filmmaking you write, sketch it up, collaborate with crew, create sound, finesse pictures...it’s a mass of different creative skills.
I’ve never been able to sit and focus on one craft like painting, so filmmaking suits my temperament. I also love watching films.
What is your next project?
I’m writing two features and a short with my partner Steve Ayson.
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The Kea Festival of Kiwi Short Films will screen five short films approximately 10 minutes long. Tickets priced at $20 for Kea members and $25 for non-members, cost includes movie ticket, welcome drink, goodie bag and prizes. Click here to register.
SYDNEY
Thursday, September 25, 2008
6pm-8pm
Chauvel Cinema, Paddington Town Hall, Cnr Oxford St and Oatley Rd, Paddington
BRISBANE
Tuesday, September 30, 2008
6pm-8pm
Dendy Portside, 37 Harbour Rd, Hamilton
MELBOURNE
Thursday, October 2, 2008
6pm-8pm
Kino Cinemas, 45 Collins St, Melbourne
