FrightFest 2024 is almost here so we begin our coverage with the director of the opening night's movie, Joanne Mitchell. Broken Bird is her directorial debut so we chatted about this and what she learned whilst deliverign her first feature. The movie will then be released into cinemas on August 30th.
NYX: It’s been a while since we last chatted, what have you been up to the last few years?
JM: side from family and general life stuff - workwise , I directed a short film, ‘The Outing’ starring Julie Hesmondhalgh and Con O’Neil, which played at festivals all over the UK and Internationally, I also produced the feature ‘Wolf Manor’ (aka ‘Scream of the Wolf’) and of course it’s now a couple of years since I was brought on board to direct ‘Broken Bird’ - time has flown!
NYX: The movie is based on the short, Sybil which you made a couple of years ago, how hard was it expanding on that original plot?
JM: Well, I always felt and thought there was so much more to Sybil’s character and her journey than could ever be touched on in the short film. The original idea and story was such a great concept which Tracey Sheals brought to us and the short film was a wonderful catalyst to expand on. For me I felt that we had to get to the essence of Sybil. Why she did what she did, what was her motivation in her life, to let’s face it, do some pretty insane and horrendous things. I wanted to go further back to who she used to be, where she came from and build on that. And of course to develop the other characters, all of whom had also been touched by grief in one way or another - one of the themes running through the movie. Together with Tracey’s original story and Dominic Brunt’s screenplay I think the movie took shape and we then expanded it even more when we were brought on board by Catalyst Studios as part of their slate of six movies all directed and produced by women.
NYX: Was it a hard movie to cast?
JM: Generally no. I had a clear idea of who I thought could play the various roles. I’d worked with James Fleet before (who’s just brilliant in every sense!) so he was always Mr Thomas in my eyes, and I was so pleased when he accepted the offer, and Robyn Rainsford, Rupert Procter and Jay Taylor I’d previously worked with too, three wonderful actors and team players. I saw a lot of actresses for the part of Emma, but when I met Sacharissa Claxton I instantly knew she was that character. A great actress with a wonderful range and a polar opposite to what I wanted for Sybil. Again, there were a lot of actresses that taped for the lead Sybil - I was looking for something unique and enigmatic, it’s not an easy part to play - so when I saw Rebecca’s tape, I knew she was instantly the one. Plus in her audition she used her Geordie accent, something I hadn’t thought of, and it was magic.
NYX: Rebecca Calder is incredible in this, how did she prepare to play such a complicated character?
JM: She absolutely is. And she didn’t have that long to prepare for the role - I think it was only a few weeks. Which shows just how talented and dedicated she is. It’s not an easy role, it took a lot of preparation, especially with delving into Sybil’s dark and complicated character, and then switching to her very real and (I think) likeable lighter side. Rebecca is such a nuanced, sensitive, thoughtful, imaginative actress and she never left a stone unturned. Always asking questions, challenging herself (and me!) as to who this person was and why. We spent a lot of time discussing all aspects of her character. She was an absolute joy to work with and really made the role her own.
NYX: As this is your first feature, were you nervous the first day of shooting?
JM: Of course!! There are always moments of doubt and imposter syndrome (I get that on most jobs!) but I was also super excited. We’d done all the prep and I knew the story inside and out, plus I had a great team surrounding me. There was a lot of support on set from the production and crew as well - I felt very fortunate. Have to mention here my producer, Zoe Stewart, who was most definitely my wing woman and all round wonderful human.
NYX: It’s a film very much about lost souls and incredibly emotional, what was the atmosphere like on set?
JM: Actually the atmosphere was really positive and upbeat, contrary to what you may think. There was a lot of laughter despite the darker and emotional elements of the piece. Maybe that just came from a natural necessity to balance it all out! Of course there were the various obstacles and stresses as is always the case, particularly with time. But the crew were so efficient and dedicated that we didn’t drop any days or scenes. All in all it was an amazing experience working with a fantastic team.
NYX: The locations are amazing, where was it shot?
JM: I was really happy with the locations. Although I have to say I was nervous at first. We shot the movie entirely in Serbia - a country I had never been to so had no idea of its landscape (apart from what I had googled). And when I arrived in Belgrade although some of the architecture is brutalist, there was also different styles from different eras which was really interesting and quite beautiful. And the countryside is stunning - some areas were very similar to the North of England too which was a bonus as this is where the film is set.
NYX: What lessons did you learn as a director whilst making Broken Bird?
JM: Preparation is key. And of course team work. I felt we had both those on set, but I do feel it’s a vital component to making the experience of filmmaking joyful and creative. I realise that casting is vital too. This would have been a very different film if I didn’t get the cast right. It’s important not to rush this when time is of the essence. Sometimes when the vision is so clear in your head you have to stick to your guns, but also be open to others opinion. I was lucky in that I was totally supported in this. But moving forward I’d like to think I could take that with me. Take one day at a time and keep calm and positive especially when faced with the myriad of changes that are inevitable on set. There’s always lessons to be learned - i just think it’s important to be open and responsive to them.
NYX: The score from Emily Rice is subtle and fragile at times, did you give her notes on how you wanted it sound or did you let her design the score?
JM: It was an amazing experience working with Emily. She absolutely got the character and the story, something that was really important to me in this collaboration. I’m not a musician in any sense of the word, although I did know what I wanted out of the score, mainly from a character/director point of view. There needed to be the smaller, quieter, stranger moments when we are inside Sybil’s head and then the more expansive cinematic moments that elevate the story, particularly the finale scene. I loved that mixture and contrast and Emily nailed it. For me it was exactly how I’d imagined it and more.
NYX: The movie is opening FrightFest 2024, its silver anniversary year, has this made you more nervous?
JM: Oh my gosh yes! I mean, FrightFest is one of my favorite festivals, for so many reasons, and I never imagined our film could open the festival, especially for its 25th Anniversary. I am of course nervous, especially as the FrightFest audience really know their genre. However, from experience the audiences at the festival are also extremely supportive and open minded on all aspects across the genre so hopefully they will enjoy the journey. The FrightFest team have always been so supportive of myself and emerging women film makers over the years - two films by women are opening and closing the festival, which is really challenging the traditional gender roles especially in horror. I am very excited and proud for everyone who played a part in making this movie - it’s a great way to end one part of its journey and to start another.
NYX: So, what are you working on at the moment?
JM: Well, I’m always thinking of new ideas and I continue to write. I’ve just come back from Rome where I was scouting locations for the next movie - a dark fantasy which we’re hoping to go into pre-production with early next year.
NYX: Joanne Mitchell, thank you very much.
