Page 24 - Metro

.MD NE SGD LHRRSDOR SG@S B@M G@OODM :VHSG BQNRR BTKSTQ@K BNKK@A- S SHLDR SGD CHQDBSNQ HM LD G@SDC SGD VQHSDQ HM LD ADB@TRD :w<
NQ@SHNM< VNTKC AD SN SQX @MC @CNOS #QD@LSHLD RSNQHDR m RSNQHDR SGD KDUDK NE NTQ UHRHNM SG@S VD VDQD RSQHUHMF ENQ V@R RNQS NE QHCHBT-
SG@S @QD MNS NTQR SG@S @QDM S NTQ OQNODQSX 2N VD JMDV VD @ARN- KNTR :w< 8NT UD FNS ENTQ A@AHDR 8NT UD FNS @M DKDUDM XD@Q NKC
KTSDKX CHC MNS V@MS SN :w< TRD (MCHFDMNTR BTKSTQD NQ ROHQHST@KHSX FHQK :+@MCDQR< VGN R MDUDQ @BSDC ADENQD 8NT UD FNS OQNRSGDSHBR
SN DWOK@HM OKNS DUDMSR XNT UD FNS DWSQ@R XNT UD FNS RSTMSR @MC B@QR @MC RGNNSHMF NM
.TQ BGHKC BG@Q@BSDQ :OK@XDC AX 2HLNMD +@MCDQR< G@R @ BGHKC- SGD V@SDQ
HRG ODQBDOSHNM NE :SGD YNLAHD SGQD@S< ATS :w< VG@S VD VDQD R @ VQHSDQ XNT SGHMJ ?( L FNHMF SN VQHSD LXRDKE VG@S ( VNTKC
SQXHMF QD@KKX G@QC SN @UNHC V@R SGHR RNQS NE ?L@FHB@K ANQHFHM@K V@MS SN V@SBG @MC XNT ITRS SGQNV HS @KK NM SGD V@KK m MN GNKCR
BG@Q@BSDQ BKHBGĔ :w< 6D @KRN V@MSDC SN L@JD RTQD SG@S HE VD A@QQDC MC SGDM VGDM HS BNLDR SN @BST@KKX DWDBTSHMF SG@S HS R
VDQD FNHMF SN G@UD (MCHFDMNTR BG@Q@BSDQR HM SGD RSNQX SGDX KHJD ?.G RGHS VGN R @BST@KKX FNHMF SN ITFFKD @KK NE SGDRD SGHMFR
G@C @ ONHMS NE UHDV SG@S V@R SGDHQ NVM SG@S V@R CDDO SG@S
V@R lDRGDC NTS m SG@S SGD BG@Q@BSDQR G@UD SGDHQ NVM NAIDB- 7KH ĺOPpV SRVW DSRFDO\SWLF HOHPHQW PHDQW WKDW WKH FKRLFH
SHUDR @MC FN@KR @MC SG@S SGDX QD MNS ITRS SGDQD OTQDKX SN RTO- RI VHWWLQJ ZRXOG EH FUXFLDO WR ZRUOG EXLOGLQJ $QG SUHGLFWDEO\
ONQS SGD VGHSD BG@Q@BSDQR M@QQ@SHUDR HQRXJK IRU D ORFDWLRQ GULYHQ SURMHFW WKH "@QFN team’s biggest
FKDOOHQJH ZDV ZHDWKHU 6RXWK $XVWUDOLD ZDV LQ WKH PLGGOH RI LWV
ZHWWHVW ZLQWHU VLQFH DQG H[WHULRU VKRWV FRPSULVH SHU
Road to production
FHQW RI WKH ĺOP 9DULRXV UHPRWH VLWHV LQ WKH )OLQGHUV 5DQJHV
5DPNH GHVFULEHV WKH ĺOPpV MRXUQH\ IURP WUHDWPHQW WR ZRUOG were used, meaning travel time also had to be factored in on
premiere at the 2017 Adelaide Film Festival, as a dream run. WRS RI FRQWLQJHQFLHV OLNH ĻRRGHG URDGV DQG ERJJLQJ <HW ZKLOH
%XW}WKDW GRHVQpW PHDQ LWpV EHHQ HDV\ scenes were cut and amalgamated, no major compromises
ZHUH PDGH o6RPH RI WKH VFHQHV DUH KDQGKHOG t VRPH RI WKH
$UDQXSGHMF R QNKKHMF QD@KKX E@RS NMD LHMTSD @MC SGDM SGD AQ@JDR PRUH LQWLPDWH VFHQHV t DV PXFK WLJKWHU VSDFHV KDYH WKDW >f@
@QD NM ENQ @ AHS :w < "NLHMF SNV@QCR @BST@KKX RGNNSHMF ( SGHMJ PRUH UDZ IHHO p VD\V 5DPNH
SGDQD R @ O@QS NE XNT SG@S R RSHKK SGHMJHMF ?.G VDKK SGHR LHFGS MNS
@BST@KKX G@OODM (S LHFGS E@KK NUDQ @S @MX LHMTSD !TS JMNVHMF @KRN SG@S VD V@MSDC SN FDS RNLD DWO@MRHUD K@MC-
RB@ODR @MC RDMRD NE RB@KD :w< VD SQHDC MNS SN KDS :SGD ATCFDS< HL-
7KH OHDS IURP VKRUW WR IHDWXUH LV GDXQWLQJ IRU DQ\ ĺOPPDNHU O@BS SGD KNNJ SG@S VD VDQD FNHMF ENQ 3G@S V@R GTFDKX HMENQLDC
EXW 5DPNH DQG +RZOLQJ GRQpW VHHP ODFNLQJ LQ FRQĺGHQFH t QR @R VDKK AX NTQ #./ &DNEE 2HLORNM VGN R @M @ARNKTSD UDSDQ@M
GRXEW KHOG LQ JRRG VWHDG E\ WKHLU H[WHQVLYH EDFNJURXQGV LQ WHO
HYLVLRQ 7KH\ DSSURDFKHG WKH GLIĺFXOW VL[ ZHHN VKRRW IRU "@QFN Two-for-one directors
ZLWK D ODLG EDFN VWRLFLVP t ZKLFK ERGHV ZHOO IRU WKHLU FDUHHUVp
sustainability – and Howling recounts that one of the biggest While the duo have joined the global ranks of genre directors
adjustments was getting used to the rigid structure of a feature ZKR ZRUN DV D WHDP t WKH 6SLHULJ %URWKHUV DV ZHOO DV &ROLQ
ĺOP VHW ZKHUHLQ UROHV DQG WDVNV DUH PRUH GLVFUHWH %HWWHU SUR and Cameron Cairnes are notable examples in the Australian
duction values are also a plus, though they do entail managing context – each had a loose area of specialisation during "@QFN’s
PRUH SHRSOH ZRUNLQJ DFURVV D YDULHW\ RI DUHDV 5DPNH DJUHHV t SURGXFWLRQ :KHUHDV 5DPNH JUDYLWDWHG WRZDUGV PDWWHUV UHODWLQJ
SUREOHPV GRQpW GLVDSSHDU WKH\ MXVW VFDOH XS to story and working with actors, Howling was more focused
"@QFN VDZ WKH GXR RSHUDWLQJ ZLWK D VL[ ZHHN VKRRW DQG RQ FDPHUD DQG VKRRWLQJ UHTXLUHPHQWV $FFRUGLQJ WR 5DPNH
D EXGJHW WKDW ZDV KDOI RI ZKDW ZDV UHFRPPHQGHG WR WKHP IRU their level of prep was such that they only needed to confer
WKH GHVLUHG RXWFRPH WKH\ KDG WR FRQVLGHU KRZ EHVW WR UHDOLVH ZLWK}HDFK RWKHU RFFDVLRQDOO\
the script given the schedule and resources at their disposal,
and also how to accomplish it all ‘without compromising on 3GHMFR BG@MFD BNMRS@MSKX NM RDS :w< @MC HM SGNRD HMRS@MBDR
WKH VWRU\ DQG WKH LQWHQWLRQV RI WKH ĺOPp $FFRUGLQJ WR +RZOLQJ NESDM SGDQD VHKK AD SG@S RSDO SN CHRBTRR GNV VD QD FNHMF SN CN
gauging a sense of how much action can be shot has been one SG@S NQ VD KK S@KJ SN SGD GD@C NE CDO@QSLDMS @ANTS SG@S !TS
of the most valuable lessons in moving into longform drama, RNLDSHLDR HS FDSR SN @ ONHMS VGDQD XNT ITRS JMNV VG@S SGD
along with getting a feel for when a scene may have too much NSGDQ ODQRNM HR SGHMJHMF @MC XNT ROD@J ENQ NMD @MNSGDQ
complexity on the page.
7KHUH ZDV DOVR D SHULRG RQ WKH VKRRW ZKHQ WKH FUHZ ZDV VHSD
8NK@MC@ R RBQHOS V@R @L@YHMF m @MC @L@YHMFKX CDMRD @R VDKK :w< UDWHG LQWR WZR SURGXFWLRQ XQLWV o7KLV ZDV QRW MXVW % UROO PDWH
2NLD BKDUDQ RTASKD DWONRHSHNM HR RDS TO D@QKX NM ATS XNT RS@QS ULDO LW ZDV DFWXDOO\ VHSDUDWH VFHQHV p VD\V 5DPNH
PTDRSHNMHMF ?6DKK CN VD MDDC SGHR KDUDK NE CDS@HK "@M VD CQNO
BDQS@HM SGHMFR @MC HS VHKK RSHKK L@JD RDMRD HS VHKK RSHKK AD DEEDBSHUD (S R MNS VG@S XNT HCD@KKX V@MS SN AD CNHMF ATS HS V@R @ MDBDRRHSX
3GDM XNT FDS SN SGD DCHS @MC XNT KNRD DMSHQD RBDMDR @MXV@X :w< @S SG@S ONHMS @MC HS RDDLDC SN VNQJ :w< 6D SQHDC SN LHMHLHRD
XNT UD FNS SN FN SGQNTFG HS @KK ITRS SN KD@QM SG@S SG@S @R LTBG @R ONRRHAKD m ATS VGDM HS BNLDR CNVM SN @ BGNHBD
NE DHSGDQ FDSSHMF @ RBDMD NQ MNS FDSSHMF @ RBDMD NE BNTQRD XNT QD
FNHMF SN CN HS
Budget limitations
5DPNH UHFDOOV WKDW NH\ EXGJHW DGMXVWPHQWV ZHUH LPSOHPHQWHG RQ Out into the world
the script level, nearly all of which were made prior to shooting.
o:H ZHUH YHU\ OXFN\ WKDW RXU SURGXFHUV .ULVWLQD DQG 6DP IURP With domestic distribution handled by Umbrella, it remains to be
&DXVHZD\ DUH VWRU\ RULHQWHG DQG KDYH EDFNJURXQGV LQ WKDW DQG seen whether "@QFN ZLOO IDUH EHWWHU DW WKH ORFDO ER[ RIĺFH WKDQ LWV
DUH UHDOO\ JUHDW VRXQGLQJ ERDUGV p %XW VKH H[SODLQV WKDW VKH DQG recent genre brethren. From 3GD +NUDC .MDR 6HDQ %\UQH
+RZOLQJ ZHUH FRPPLWWHG WR PDLQWDLQLQJ WKHLU DPELWLRQV IRU WKH ĺOP and !KNNCX BQDR (The Cairnes brothers, 2012), to 3GDRD %HM@K

22 • Metro Magazine 195 | © ATOM