Daniel Kokotajlo on Starve Acre | The mysterious, mercurial pairing of Matt Smith & Morfydd Clark

Published: Aug 28, 2024 Duration: 00:04:40 Category: Film & Animation

Tags : Interview interviews film Movie movie interview morfydd clark HeyUGuys Matt Smith Starve Acre Danial Kokotajlo Andrew Michael Hurley Erin Richards Sean Gilder Robert Emms

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I like HeyUGuys. You're always doing stuff for us, not a horror fan as in conventional horror, but I love this is. It fits for my world. Somewhere in that triangle of Wicker Man and Midsommar. In that folk horror world. Yeah. And just saying to somebody is is whilst the whole premise is horror, horror, the whole story is about people, which is what I, which I, what I love first and foremost is that. Is that how you see it? Yeah, I think so. I'm just following the book, which, has those horror elements, but is still is a psychodrama. You know, it's about a relationship that, has to go through a very traumatic event. And sometimes, we need we need a bit of magic in order to deal with that. You know, that's what the book was saying. And so you can interpret that as horror, or you can interpret as something else. It's a bit more mysterious, you know, something like gothic horror saw dark fantasy. You know, it's not necessarily horror for me. I was just saying to Morpheus that, you know, she was she was born in Sweden, the land of the Viking, the land of the Norse gods. Grew up in the land of the Druids. You she bring that kind of otherworldliness with her? Yeah, yeah, it's in her bones and blood and, I just knew the very first time we spoke that she was right for, you know, the the way she was talking about her influences and folktales and in general. And she even understood it was, you know, that it was about nature getting its own back. You know, there's a sort of revenge element to it that she was connected with. So, yeah. And it came through in the performance set as well. You know, she was just, you know, the first take, it was just right. And she brought so much to it. And we spoke to aspect a little about Morpheus and Matt. But also you get a fabulous performance out of also something I never work with children, but he he really brings off his character. Yeah. How was that to work? Luckily off I just knew he again he was similarly he for some reason he just had the ability to deliver it in the first take, which was useful for us because sometimes he didn't quite understand the concept of having to do more than one take. So quite often I only had 1 or 2 takes of Arthur, but luckily it was good. And the level of detail in the film down to the cars and the decor and everything like that. How hard was that to pull together in this tiny farmhouse, apparently in the middle of nowhere? It was tricky. Yeah. But we worked hard on it, and we had enough time in pre-production to sort all that stuff out. And, you know, the production designer and art director were incredible. We were watching a lot of, stuff together. I was on the Yorkshire Film Archives watching documentaries from the 70s and finding out lots of, like, little details and quirks of the time that we put into the film. And lastly, can't let you go without talking about the sound design, which is utterly fantastic. And in is a theme, the thread that runs how it seems to hold the whole thing together. How much input did you have to give, or did I just, you know, seemed to pick up on your idea and run with that straight away? No, we talked a lot. The sound has been bad. We were having meetings every week talking about how to how to get across the sense of this whistle in the wind, and then when exactly does that morph into the soundtrack? You know, so there was a close collaboration with, with Ben and Matthew Herbert, the composer. And for me, it was always about not judging the characters ever. Quite typically in horror, we sort the characters get judged with this loud, sort of obnoxious sound design and score as well. But for me, I wanted the audience to understand that they were being there, that a spell was being cast over them, that they were being drawn into a place where they should be. You know, there's a sense of fate or what we used to call weird in England. And so they've been drawn to a place that they're supposed to be, yet they don't really want to be there. And so it was important to get that across through the music works fantastically. It's a marvelous film. I really enjoyed it and could just be to the pleasure. Ladies and gentlemen, you are watching. Hey, you guys. Yeah, you guys are you guys? I That's what they all say. You guys. Hey, guys. I. strengths and weaknesses, you to show that. God said he. Has access. Be. Left without a father. On the way to your father, please. Thank you. Robert. This way. Please. Go this way. Not your way. And the nicest voice inside. Coming how to that. Right. And then Daniel and one had to. Pull this off. Like. This. What's the. What's our. Noise level.

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