“In doing so, I hope that the piece will be sunk into the audiences’ subconscious as if it were a memory for them, instead of just another movie they came to watch to pass their time.”
Roy Arwas: The film didn’t so much come out of the blue. At Gearmark.TV we are 6 filmmakers, each experienced in his own field of the filmmaking process. The company has made a promise to make 12 short films in 12 months, and the month that was coming up was the month we have decided for me to direct something (February, 2016).
So Alexander Crews, one of the head writers in the company, has been wanting to write a script influenced by the world of GTA where the city is completely shrouded in corruption and violence. In the midst of this terrible place, the main character has the very simple goal of trying to eat his favorite cereal for breakfast. I, being a lover of absurd dark comedies, said it was a great idea, and after a day of brainstorming and talking, we came to the idea that the Cereal was Victor’s way of trying to relive his happier childhood memories before his parents were murdered.
HWC: What were some stylistic choices you were sure to include?
RA: When I went into the script and analyzed it, I was trying to find my connection with it, and when I did. I found a lot of challenges and things to try to achieve. The film, written like an absurd comedy, was crucially needed to be believable. So the biggest challenge was to make a cereal as important as the life of a child, or in our case, the memories of Victor’s childhood (happiness). I felt the style of the piece would be what makes the piece come together as a whole. So, firstly, we shot it like a drama, natural lighting, no high key. Sound wise, I wanted to audience to hear, and in turn, feel, what was going on inside Viktor’s head, and it took 48 hours inside a room with the amazing sound designer, Alfonso Cano, to be as detailed as possible with every single beat of the piece to make it have a feeling of angst and disturbance when needed. The score, as well, was used to emphasize how dramatic and tense the piece was, regardless of its surface topic. And finally, the acting, it was crucial to make sure the audience believes that the film had nothing to do with cereal, hence each character was developed to deal with inner conflicts that audience may not even know of, but in the surface, it came across as way more than a cereal, but a life or death situation.
HWC: What would you like to work on in the future?
RA: My main goal in life is to find the heart in any piece, in any genre I do, and to make sure it isn’t solely there to entertain, but it is exploring a theme which means a lot to me and the people involved, regardless of whether the audience sees it (hopefully they do), I want to make sure that my future projects all have a meaning and a heart to them. In doing so, I hope that the piece will be sunk into the audiences subconscious as if it were a memory for them, instead of just another movie they came to watch to pass their time.
RA: Filmmaking has been a part of my life ever since I moved to England in 2007 when I was 12 years old, my parents both worked in Pinewood Studios as production travel agents, and I always came to visit them at the office, which is where I was introduced to film sets. I started doing visual effects with my little brother with our home cam, and then, I realized I came about to make more and more films the more I struggled in life, be it bullied, or going through a rough patch. Film has become the perfect distraction from life, my obsession, while also a way for me to vent and explore situations that will solve whatever issue I had in life at the time. Film helps me grow as a person and as an individual, because each film has its own challenges, and different cast/crew members that give different perspectives, which teaches me a lot.
HWC: You attended film school. What was the most valuable information you learned while there?
RA: Film cannot be taught, it can be strengthened, so I wouldn’t say I learned much from the teachers. But Iearnt a lot from who the teachers were and their mentoring and advice have been substantial. I would have never ended up where I am today without the 5 people I have met in school. We started Gearmark Pictures as soon as we graduated and we learned and grew stronger together.
I would strongly advice people who attend film school to network, to be open to criticism, and choose who they get criticized by, and who they could grow around. Also, if the school provides equipment, it would be beneficial to go out there regardless of classwork, and shoot with those you feel most creative with, and learn together.
HWC: Any advice to filmmakers just starting out?
RA: Make films, all the time, don’t be scared to fail, because each failure is a lesson, and we all learn something. In my experience, no film has ever gone smoothly when shot, and that’s the most exciting part, the problem solving, always turns out to make the film better than it was planned to be.
RA: While all of those jobs were beneficial to me in my creative growth, I’d pick directing over all of them. Directing is something I have always been attracted to, and it is something that I would consider a necessity in my life, as it is the only way I can express myself and my thoughts. I love telling stories through the collaboration of amazingly talented people, and I love pushing the limits of how we tell stories visually. Directing is not only a job for, it is a way for me to explore and learn about the world we live in, in story, and in reality.
Check out more of Roy’s work here!