HUGH BALLANTYNE

Director
Writer
Architect
Photographer

INTERVIEW, STILLS GALLERY, FILM WORK, FLYER DESIGN, VARIOUS, CV

Interview with Hugh Ballantyne

What do you do?

I'm doing two careers at the moment I guess, splitting my time between architecture and film. I work for a firm of Architect's in Sydney three days a week and film for the rest. My aim though is to develop the film and be directing full time.

How did your interest in writing and directing films come about?

Emotions I guess. I'm very over excitable - about music, writing and film and how it effects me emotionally. I'm also really nosey, interested in people and keen to tell stories re-inforcing individuality. We don't all want to be the same, it's what's different about us that's interesting. If you are different it's not something that you should hide.

How did you get into film writing and directing?

I've been taking stills for years, most are in the UK but I've been photographing quite a lot here in Australia [see attached]. It was my dad who got me into it. I started taking and processing my own black and white pictures from around the age of twelve. I've been writing since then too. Mainly odd rambles and the like. It was two of my best pals who encouraged me, one to write and the other got me started with film by buying me a super 8 camera. That's why I reckon you've gotta be open and honest with your mates, you know if you love them then tell them, that sort of stuff. Mine have such an affect on me and you just hope you can do the same for them. That's what this industry's all about, support and working as a team. If it wasn't for the support of people like my brother then I don't know what I'd do, he's an inspiration.

How did you go from Architecture to film?

When I arrived in Sydney in 1999 I joined the firm of Architects I'm still with today. I applied and got into Award School, evenings and weekends, run by the ad' Industry. I knew I really wanted to art direct and write and thought advertising a way of doing both whilst also getting some cash. Inspiring lectures, art directors and copywriters. It's this sort of shit they should be teaching in school, not chemistry. Fuck, I hated Chemistry. I reckon it should be all about useful but you know simple stuff like lateral thinking, problem solving, decision making etc... Sort of everyday learning was amazing.

I mean I've always designed and shot flyers and the like [see attached]. After Award School, out of architect hours, I got a few art direction jobs, an Orange mobile phone ad' for UK Marie Claire, [see attached].

Having said that though I realised that the ad' Industry can be just the same as architecture. I mean, cash being a greater priority than creativity or integrity. I guess I'm just real naive, a purist? Also it's like an unwillingness of clients to push boundary's you know or technology to encourage progress and all that stuff.

I reckon film is just a more honest, without necessarily needing to be a worldwide product. I enrolled in a film and video production certificate at Sydney Uni., part-time for a year. My script was chosen as one of the films to be made that year, 'Public Enemy," which we shot on 16mm [see attached]. Also that year I worked on 3 documentaries for European Company 'Animal.' The brief was how does Australia do Sex, Drugs and Rock and Roll differently. I suppose it was partially that, encouragement from my partner and a real passion for film which got me going, I loved it.

Why did you decide to do both the writing and the directing?

I'm interested in both. When I read good writing it makes me beam. We're surrounded by some amazing talent and you think to yourself shit I'm nowhere near as good as that fella which maybe true but shouldn't stop you having a go. A partner once made me realise that stories didn't have to be long, which was a good reality check 'cus I was like well it's a novel or nothing. I think my writing's a visual thing, I like writing stuff that has a bit of a taste to it. Directing I think came from my passion about music, writing, art direction and a desire to tell stories.

Does it take you long to write a script?

Everything takes a long time in film and involves more people than you'd know, that's why it's so expensive. With writing …blimey, to put a time on it? Some are easy and some are hard. I mean "Me myself and I" I got up early one morning and pretty much wrote the bones of it before work. Although with others it's a different story. I think it's like any creative medium you can pour for hours over your work and most people do. I guess it's a matter of deadlines and compromise. This is something which is going to consume you so you've got to be sure that this is a story that you want to tell. What I have learnt though is that time invested at the front end of any project is invaluable. The last thing you want to do is be resolving story telling issues while filming.

How do you come up with ideas for a script? What's the creative process?

Well it's from everywhere, from things I've seen, read, heard etc… A lot of the things I write come from things that have affected me from shocking to funny. Like the line "Bluebirds flying with satin ribbons in their beaks" was from a hilarious drunken stumble home after the pub with a pal. The other night a mate came out with this great line when referring to a night he couldn't remember 'the night that never was' which we evolved into 'the morning that never came' and 'the afternoon that didn't happen.' How funny is that? My pals make me wet myself.

I read this great piece the other day, I think it was Tom Stoppard who in trying to describe to someone where a writer's ideas and characters come from he used an example of a writer standing at nothing to declare desk at the airport. The customs fella is going through the writer's bag. He pulls out dirty underwear you don't remember packing and a stack of pictures you've never seen before. Pictures of your family, a dead teacher, a childhood pet and finally a picture of you with your trousers down smiling at the camera. I think characters and stories are based upon people you know things you've heard etc… it's a right old mix of stuff. I don't think any character has ever been based on a particular person, more abstractions, like a Picasso … fucked up.

What are some of the films you've done so far? Themes? Genre? Type?

Looking at the clips here they seem to be a lot about poofs and pensioners! I suppose two subjects, which are close to my heart at the moment. I find old duffers fascinating. I mean for the sheer fact that they're old means that they've been through a bit and have a story or two. I reckon its character's that are both far removed from me but also which I have an affinity with, if that makes sense? The plan is to write more comedy though. I suppose it's all about conflict and love really, they are the two big story-telling themes of all time.

What are you working on now?

Well I've got one or two bits on at the moment. I'm finishing editing a short drama called 'Strange Love' and working on two documentaries.

I'm in the script writing stage of a documentary called 'Somewhere Between Heaven and Woolworths' [see attached] about Peter Clifton, an Aussie filmmaker who has shot some of the greatest rock and roll acts of the last thirty years. The Stones, Hendrix, The Doors, The Beatles, Led Zepplin through to the Pistols, The Clash and then to Blondie, INXS, The Chilli Peppers. Basically, it's a story about a guy who blagged his way into a teenager's dream.

I'm also trying to get funding/distribution for 'All the Way' a documentary I shot last year on the making of the feature film "The night we called it a day." Staring Dennis Hopper, Melanie Griffith, Portia de Rossi and a great Aussie cast Joel Edgerton, Rose Byrne and David Field. Unfortunately, the film didn't do too well here but we're trying to get funding for a one-hour TV slot for the UK before the features release next March. I really hope it goes somewhere 'cus there's some great stories/footage there, I cut a trailer which the networks really liked but as the Feature didn't do well it was a bit of a non-starter. The doco tells it like it is and not all sweet and fluffy but I reckon it would be a great promo' tool for the feature for the UK market.

I'm writing "Table Service" [see attached] at the moment, which once again seems to involve a cast of random pensioners. It's going to be dark but funny and make you laugh though you know you shouldn't.

I have six really strong characters who I plan to do a documentary on. Basically, 6 x 8 minute doco's on these amazing characters I've found. One is a 65 year old stripper who is still stripping who I met on the feature I was working on. She is an amazing character and has an incredible life story.

Do you like working in a team?

Love it. Collaborating with others I think gives you the buzz, which makes it all worthwhile. I'm lucky to have some great mates who are really talented designers and who I have really enjoyed working with. For example, writing "Perception" and photographing for the "Ministry of Sound" CD cover [see attached]. One of my great mates is an amazing designer and has done all the title sequences to my films; at least I know if the film's shit the titles will be stunning.
I think the most enjoyable team though has been "Strange Love" [see attached]. I had a fabulous cast and crew to work with and even though it was a struggle it was a great experience.

I mean what an opportunity to work with other talented creatives and create a great product. I have started working with these really talented animators for 'Somewhere Between Heaven and Woolworths' to re-create certain events like Peter being done over by the Led Zepplin heavies for allegedly trying to rip them off. Also working with a really talented musician for the score to Strange Love, all very exciting.

Where have your films been shown so far?

"Public Enemy" was shortlisted for Tropfest 2002 and made the best of the rest. "Me Myself and I" has been selected for The 2004 Mardi Gras Festival. I have submitted "Strange Love," "Pride in New York" and "Me myself and I" into My Queer Career film competition 2003, so we'll see.

To tell you the truth I've been a bit rubbish on the festival circuit so need to sort it out. I'm wanting to get a reel together, approach an agent and team up with a good producer and get out there. I applied to go to The Australian Film Television and Radio School [AFTRS] again this year for the second time to study directing drama. Nil by I'm afraid again but it's as competitive as you like, four places each year, hell's bells.

How do you get funding to make your films?

Chortle chortle! Funding? From anywhere, behind the fridge? I guess the term funding is a bit of a loose one when it comes to drama. There are no funds on this scale. You rely on a lot of other people's goodwill. It's hard. A lot of people doing a lot for nothing, that's where there's got to be a love for the idea I mentioned earlier 'cus it's a real commitment. I funded "Strange Love" myself, which is pretty full on when you're broke but…

We've got partial funding from the Film Finance Council for "Somewhere Between Heaven and Woolworths," once we get a network locked in and we're currently on the hunt for funding for "All The Way." Then it's "Table Service" and I haven't a clue how I'll fund that.

Where do you want to take your film work?

I love both Documentary and drama but my passion is with Drama. I am currently working 3 days a week doing architecture and 2 days a week doing film. So this year I want to nut out a couple of shorts but concentrate on writing a one-hour feature. I want to do a series of Alan Bennett 'Talking Head' - like monologues of various characters to camera. I also want to get taking a lot more stills and do something with my pictures. (With film) The independent route would be the way; my films and passions aren't with the big blockbusters. I suppose the ideal would be to follow a Mike Leigh or Fred Schepsi type career, a steady flow of fairly successful films here and overseas.

Which writers or directors' work do you admire and why?

Well bit of a list really but at the top for directors I think… well one of the first directors I fell for was Peter Greenaway. I loved his films full of strong themes and imagery I think he encompassed a lot of what I was interested in at a particular time and very much still passionate about: architecture, interior design, landscape architecture, music, photography, theatre, sculpture etc…

I thought shit that's what I'd love to do. Aged 20 when I was travelling around Europe I saw this most amazing Greenaway exhibition in Vienna. The title of the exhibition was '100 Ways to Represent the World.' In the most amazing setting, in a historic palace, he had created 100 installations in 100 separate spaces each containing 100 pieces. 100 oscillating fans to represent wind, 100 bags of blood suspended over white paper spraying blood through fountain pens to represent the works of famous writers, 100 suits of armour in formation representing man's need for protection, 100 litres of ice melting to represent the ice caps. It rocked.

I think directors would have to be Peter Greenaway, Mike Leigh and Lars Von Trier and writers would be well those guys but a real favourite is Alan Bennett. I'm a bit of a DOGMA fan and a bit of a favourite being "Festin" (The Celebration) a Danish film, it's a bit of a gem.

I like it when you see a film based on a theme which has been done time and time again but the writer or director puts such a spin on it and blows the others away. I think 'Rules of Attraction' was a great example, beating the shit out of other American Campus films. The thing that intrigues me about that process is the fact that I have been dissuaded, or should I say I have dissuaded myself along the way thinking that oh that's been done before and therefore I couldn't do my version of it, whether it be a painting, a collage, a photograph etc… but it's not about that. What's interesting is your spin on an idea, like what I was saying earlier about individuality and not being the same. It is what YOU'VE got to say as an individual, which is interesting not regurgitating what others say, or following other people's life path.

What are you reading at the moment?

"The collected Dorothy Parker" shit that woman was an amazing writer, hilarious acidic wit 'I may as well be dead' type stuff. I mean… She has a great way of expressing that little voice in yer head. One hell of a woman, she said what others would just think.

Why and when did you move in Australia? Do you plan to stay here or is this just another stop?

I did my professional qualifications in England before I travelled for a year in Asia and arriving in Australia. Fuck Asia was amazing, a real lifetime opportunity. I travelled, wrote and took pictures. I guess it gave me the time and space to think about who I was, what I wanted to do and what was important in my life blah, blah… it was great. Like many before me, I fell in love with Sydney, it's a beautiful city, it has a great feeling and a positive 'can do' attitude.

I have met some wonderful people here. I would love to base myself here but yeah, I mean I love England and I have my family and many of my dearest friends there who I miss like you wouldn't know but Sydney is good for me now. I guess I want to be based in the best of all worlds: New York, London and Sydney oh yeah and travelling the world in between. Is that so much to ask, a little more than socks for Christmas I fear?

Contact details

Email: hballantyne@optusnet.com.au
Phone: 0417 426 023


INTERVIEW, STILLS GALLERY, FILM WORK, FLYER DESIGN, VARIOUS, CV

About CG | Editor: Kirsten Lowe | PO Box 559, Broadway 2007, Sydney, Australia
Ph: 0410 310 238 | Fax: +61 2 9555 1752 | Email: kirsten@chaosgeneration.com