It’s slick, styley, and sinister. Unsigned Mark Tintner’s film for Alessi had the audience holding its collective breath at the screening of shots new directors showcase in Sydney. We talk to the London-based Aussie newcomer…
How did the script come about and how did you end up directing it?
Alessi and mydeco.com held a Europe-wide competition for film makers to pitch a viral treatment based on a new Philippe Starck commissioned product. The brief asked to see ideas of different uses for the product. I was immediately drawn to the product as being dangerous – more of a weapon, so i took their brief to an extreme and proposed a modern melodrama. I subsequently won the competition to direct my narrative slice of cinema.
Was there a big budget or should i say was there a budget?
Low budget. My pitch however, was seriously ambitious! It was always going to be a big challenge – it’s a tricky thing to make low budget look big budget but I wanted to punch above our weight. I feel we achieved this. The timeframe from commission to submission was less than two weeks.
Tell us a bit about the shoot …
With my army of nine we were prepared and ready for battle. But it wasn’t a battle at all. Everyone worked together as a well-orchestrated concerto…a beautiful thing. Shot in one interior location over one day running to schedule, the set was calm and enthusiastic. I like working in a positive environment – encouraging and no shouting! I was so pleased to have Ed Reeve onboard as DOP, his meticulous nature and experience as an architectural photographer, made every frame glisten. Only one shot was hand held, otherwise I wanted the look to be quite rigid and static. Similarly, the score by the insanely talented MC Lord Magrao (from band Guillemots), set the mood and cemented the drama. We shot on a Canon 5D Mk 2 and the Canon 7D using a “Captain Stubling” redrock micro HD DSLR rig with follow focus and a glidetrack. I worked with UK based American editor Charles Wheeler for this project who helped enhance the story with his inspiring technical talent. Leading man, Rob McNeill, brought to life my complicated man with the magnetism of a movie star – a joy to capture.
The judges highly recommended your video in the shots New Director Award Asia / Pacific – did the client like it too?
The client was extremely positive and encouraging with feedback. To them I was an unknown entity with a strong pitch and small budget in tow. I’m thrilled to be receiving such a warm response from people I respect in the industry, especially as this was my first commercial project.
How long have you been directing?
Nearly two years. I have a background in production and performance which has definitely shaped me as a director.
What’s the plan now?
I’ve just returned this week to London from the shots awards in Sydney and have been approached about two new projects in the UK, one a narrative film and the other commercial. Both are very exciting. For now I want to move with this momentum further into the advertising world.
