Page 31 - Fujifilm Exposure_5 The Wings Of The Dove_ok

ALL HUMAN LIFE IS HERE
ALL HUMAN LIFE IS HERE
W hen Justin Kerrigan finally arrives, he’s out of breath and very apologetic. He has spent the morning, and a bit more, with legendary record produc- er Arthur Baker, who’s co-ordi- nating all-important music on
Kerrigan’s debut feature Human Traffic.
With Baker only in town for a few days, Kerrigan is anxious to speak to him. As the writer/director, and someone who readily admits that it’s a very personal project, Kerrigan’s keen to make sure that he’s very closely involved in what-
ever’s going on no matter the time involved.. “This film is my baby. In fact, it is like having a baby per day except you only get a head then some legs then an arm: it is my job to turn it into something coherent and make it all work,” he
explains with enthusiasm.
Cardiff-born Kerrigan, now 24, originally want-
ed to be a painter, “you know, oils and stuff”. But he gradually grew tired of the brush and canvas and picked up a video camera. “ I found painting far too static. I thought I could do more with films. They are much more immediate.” He eventually ended up at film school in Cardiff where Allan Niblo, the producer of Human Traffic, was his tutor and guiding light.
“Right from the start I knew we should do a film together,” Niblo remembers. He had a com- pletely original style and a message to get across. The main thing I helped him on was his confidence to achieve it.” He didn’t think he’d be making a fea- ture film for at least 10 years and I just told him, ‘no, you can do it now.’”
Kerrigan thoroughly enjoyed his three years at film school. During his time there, he was short- listed for the Fujifilm scholarship eventually com- ing third. The impression he left with the film provider meant that Niblo was able to get a special deal on Fuji film stock for the shooting of Human Traffic. Another of Kerrigan’s short films, Party Politics, was BAFTA-nominated. Although plaudits seem to follow him wherever he goes, Kerrigan remains philosophical.
“I’ve won awards [including the DM Davies Award at the 1996 Welsh International Film Festival for Life In The Bus Lane] but ultimately they’re decided by a really small group of people. The only good thing about winning is that more people come to see your work and you can give the trophy to your parents.”
Once he had finished at film school, Kerrigan’s initial plan was to see
the world. Niblo had other
ideas for his protégé.
“I had saved up some money and I was going to go travelling for a bit.” says Kerrigan. “But Allan con- vinced me to write a feature film. It took me about a year and half, on and off. I had a lot of trouble condensing my ideas. The first draft of the script was about 380 pages. It ended up as 90.”
The process of getting it
made was equally difficult. “We
sent the script to all the usual
suspects,” says Niblo, “but they were unwilling to take the chance. We were especially messed around by the political shenanigans in the Lottery Fund. I mean what else do you want? You’ve got Wales’ best new talent, a youth culture film that’s got massive marketing appeal, you’ve got the BBC broadcasting it, but because of the Fund’s politics and their immoveability, it didn’t work out.
“We always had a lot more interest from the States,” Niblo continues. “I’m signed up to the showbiz agents CAA out there. As a result, we got a lot of positive reactions from America. We’ve got several companies wanting to distribute the film, but we’re holding out on a distribution deal for the moment. We’re waiting for more money.”
Eventually, with a budget of £2.2 million and with the backing of BBC Wales, Human Traffic was shot in thirty-nine days on 35mm film entirely on location in Cardiff. It is set within the dance scene and follows six young people as they deal with
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Fujifilm Scholarship runner-up
Justin Kerrigan on his feature film debut at 24
film production news
Photos: Director Justin Kerrigan at work on his feature film debut Human Traffic.