INDIE INTERVIEWS : LIAM REGAN - DIRECTOR OF BANJO

Liam Regan is a UK born filmmaker who has recently made waves in the indie community with his low budget debut feature Banjo based on his short film Confessions of Peltzer. Since premiering last year the film has played all over globe and solidified Mr Regan's status as a up and coming filmmaker to watch. 

Inspired by filmmaking legends such as Lloyd Kaufman (Who makes an appearance in Banjo) and Frank Henenlotter, Liam Regan wears his love of genre movies on his sleeve with a style and approach that is reminiscent of the golden age of splatter cinema.

Micro Budget Massacre recently caught up with Liam about his experience making Banjo and what comes next.

Every journey starts with an origin story, How did you know you wanted to make films?

Ever since I can remember, I've always been enamoured with horror movies, some of my favourite childhood memories was when my Mum took me to my local video rental store and I would instantly be overcome with goosebumps and have a outer body experience (became dizzy) whilst browsing through the video boxes with gnarly artwork. A few of the memorable films I rented were the likes of 'Cat's Eye', 'Critters 2: The Main Course' and 'Ghoulies Go to College'. 

I quickly became a fan of creature feature flicks and with the addition of Sky Television in our household (in the early 90's) my love for the genre grew further as channels such as Sky Movies Plus and 'Bravo' showcased such milestone films in my life like 'Child's Play 2', 'Puppet Master 3: Toulon's Revenge' and 'Basket Case 2'. 

However it wasn't until the Summer of 1996, when one of my weekly trips to Blockbuster Video resulted in a purchase (My Mum purchasing that is, I was only 11 years old at the time) an ex-rental video tape of 'The Toxic Avenger Part 2', a movie that showcase a dark mixture of horror and comedy, fused with exploitation and ultra violence, I had never seen anything quite like it before, and then when opening my Sky TV guide magazine back in September of 1996, I noticed that the channel Bravo was having a Troma season in October, and this eventually introduced and exposed me to their back-catalog of films. 

Titles such as 'Surf Nazis Must Die' and 'Rabid Grannies' made me excited for every Saturday evening to roll around, with my eyes firmly glued to the TV at 10pm in excitement. So thank you to Troma Entertainment, they corrupted my fragile little mind, to want to be a filmmaker with self masochistic tendencies. 

With more and more people choosing to just go out and shoot their own movies now, what made you take the DIY approach to making your first film?

I realised that nobody was going to give me money to make the kind of movie, that deep down in my heart, I wanted to make. Plus, I'm a nobody (still am) - Prior to Banjo, I had no track record, other than a shitty 13 minute short film titled 'Confessions of Peltzer' and numerous IMDb credits as a production assistant on independent genre movies I've worked on over the years, and why should they give me money? This is a business at the end of the day, and investors at least want to see a return, and I'm wanting to make a movie about a guy who snaps his penis (based on a true story) and summons his imaginary friend, which in turn, manipulates him to shoot up his office. 

Banjo isn't a possession movie, or a zombie movie by the numbers, so it's a gamble - and it was a gamble for yours truly also. Plus, I didn't want to compromise my vision, I wanted this to be purely my movie, with my name on it, I have always viewed filmmaking as immortality in a way, leaving art behind for generations upon generations to discover (now I have panic attacks about all physical media being destroyed and digital rights being lost in the apocalyptic wasteland, long after I die. Paranoia is a bitch!),

As we all now DIY filmmaking can be tough, what were some of the downside of going out on your own?

It's a very long, lonely and self masochistic process. You write the movie on your own, then you have like a hundred people help you during the actual film shoot, and then you're on your own yet again. It can be depressing, self deprecating, yet it's the best kind of film school I have ever experienced. You make a million mistakes, and ruin and tarnish relationships and friendships, but through the blood, sweat, semen and tears, you create your film-baby. 

On the flip side, what were the upsides?

Creative freedom and expression, I had producers, actors, you name it drop out during pre-production, due to the extremities and content of the initial drafts of the screenplay. However I felt like I managed to strike the right balance, and I was able to hire the people I wanted to work with and move forward with the project, and held the vision I always had for 'Banjo'. I remember the first draft of the screenplay having at least 12 rape scenes, I remember being heavily influenced by hardcore exploitation horror movies during that period. I cut that down to 1 rape scene, which people never mention in reviews or interviews. 'Banjo' is essentially a rape-revenge movie, but has never been branded by that genre, which has puzzled me. 

So after that hard work, your filmmaking journey is far from over, what happens when the film is done?

The film is finished and everyone thinks you're rich and a millionaire, when in reality, you're broke as you have ever been in your life, and are clutching at favours, and you'll meet a dozen people wanting to take advantage of your current desperate situation. People you would class as friends will inevitably end up on your shit list by the time the year is through. You'll make another million mistakes on trying to find a sales agent/distributor for your project, and then you'll waste a shit load of money on film festivals that don't even consider your movie, even though you have paid them an extortionate fee to at least watch the movie. I think the best way I could put it is: "Life is not a movie. Good guys lose, everybody lies, and love... does not conquer all."  

Every film is an experience and more importantly a lesson, what did you learn that you'll take with you to your next movie?

Don't write too much dialogue, create more action sequences and make a much more fucked up movie. Lloyd Kaufman (President of Troma Entertainment) is my favourite shit disturber, he dealt with "taboos" and subject matters that the Hollywood system were too afraid to conquer back in the 70's and 80's, and I'm wanting to carry on that tradition. The key is to make a movie that nobody forgets, sure they can love it, or hate it, but they'll never forget it, that's the dream. I absolutely love making films, it's what I was put on the earth for, and I don't care if I need to max out more credits cards, or take out more loans or work as many legally available hours I can at my day-job, nothing will stop me from creating, it's the best therapy out there. I want to entertain people, I consider that as one of the major importance in life, other than finding the cure to cancer. 

And finally, what is next?

I'm currently writing a rape revenge/black comedy titled 'Parents Evening' which if you put the following movies: 'Heathers', 'Jawbreaker', 'Detention', 'Class of 1984' and 'I Spit On Your Grave' in a blender, you would have the 'Parents Evening' protein shake ... full of bodily fluids. I hope to shoot that in 2018, and if anyone wants to give me money for 'Banjo 2: Make Room for Daddy' I would be more than happy to bring those characters back, but it all depends on the success of the home video/on demand release of 'Banjo' which is due out on Amazon and iTunes by late 2016. 

For more information, feel free to add me on Facebook at http://www.facebook.com/refuseliam or follow me on Twitter @refuseliam

For more information on 'Banjo' please like the page at http://www.facebook.com/banjofilm or follow us on Twitter @banjomovie

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FINDING LOCATIONS : 3 Easy Ways to Find Your Next Film Set

As we've talked about before, finding the right location can make or break your movie. Shooting your film in the right place adds so much production in terms of style, look and value that to over look it is setting yourself off on the wrong foot.

In big budget movies, it not uncommon for sets to be built on a sound stage wherever possible, this is usually due to the amount of control the creative team needs over the set, i.e being able to remove walls, lighting, shooting around the clock. If you're shooting on a budget its unlikely (although not impossible) that you can build your 'Church Interior' or 'Canadian wilderness' from scratch as a set on a sound stage. This usually means that you have to find something the preexists in the world.

This is both a blessing and a curse. Finding a pre-existing location means that you have less control over things like weather, power, access, angles, food establishments and the list varies drastically from place to place, meaning a lot of prep and compromise most of the time. The upside however, is that you get something real, something that you can't build, something raw and lived in and that is really what adds the value to your films.

FINDING YOUR LOCATION

Following are 3 ways of sourcing locations when you are working on a limited budget, These 'suggestions' are by no means the best , or the only, ways of finding the right location for your film, but hopefully they'll help you think creatively about what you need and help you look at where you shoot in more productive way.

1. UNIQUE CIRCUMSTANCES

Douglas Prison : Isle of Man

Finding locations can be tough going. Especially if you need anything outside of student flat or family home, things start getting difficult pretty quickly. This is when you need to employ some of your unique circumstances to finding what you need. By 'Unique Circumstances' I mean this, Everyone has access to something unique that no body else has access to, in terms of locations.

This is basically looking at what you have access to personally. Can you make a film out that creepy looking shack your dad built at the bottom on the garden? Does your Aunt work at a High School after hours? Does your mate have the keys to the warehouse on a weekend? All these are great starting points to finding a great location to shoot in that isn't 'Mark's Studio Apartment' and also a brilliant way of getting the creative juices flowing. There a few things than coming up with a  scene or even an entire film based around an amazing location. 

I always 'try' to write locations based on something I know we have or can get access too, even if that means taking a pause from writing for a moment and throwing it out there to people I know with a "Does anyone have access to..." and usually I receive a "No, But I have access to...", sometimes this will dictate where the film is set and sometimes the direction a film will go.  You have to be creative and compromise when it comes to low budget filmmaking. 

Slasher House (2012) Douglas Prison : Isle of Man 

For Example, I originally wrote Slasher House to take place in an old run down mansion, when we were offered an abandoned prison, it was too good to pass up and we adapted and it worked out for the better, both visually and thematically. It also meant we had to adapt one scene to be set in a 'Gallows' which was a pretty awesome, if not terrifying, experience and also added another dimension to the film.

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2. YOUR NETWORK

After you've spent your first couple of movies exhausting and exhausted your family and friends locations, you should have begun to develop a 'network' of people to work with, to show your work to and who also make movies. This is your community and these are the people you can turn to for help. 

Other filmmakers are a great conduit for resources, this is because, just like you, they spend their time making movies and, believe or not, have come up against most the same problems you have when it comes to getting locations and come out the other side. Its a great way to to find creative solutions to problems, by talking to people who have already solved those problems and getting their advice.

The biggest advantage of this, is that it gives you a new perspective and helps you think outside the box. One of the biggest mistakes I see people making in terms of locations is that they need something so they look for "INSERT LOCATION HERE" and that alone, when one of the key ways to solve the problem is finding something that can do the same job, but provides earlier access. Other filmmakers will have been through this and will be able to help advise you and what can substitute your needed set. 

Legacy of Thorn (2014) : High School Oldham : Main Building

Legacy of Thorn (2014) : High School Oldham : DT BLOCK

What I mean is, for example, on Legacy of Thorn we needed a hospital, but getting one that looked operational was tougher than we could have imagined. Instead we found a section of our old college that looked very similar to a hospital corridor (along with first aid room) and dressed it up to stand in for it. Throwing in some posters, a couple of extras in long white coats and nurses uniforms and we had a what we wanted but without the red tape of shooting a real hospital. 

Sometimes its worth talking to other filmmakers about how they made it appear that they shot in a location.

3.  JUST ASK

Possibly the simplest approach to finding the right location is to find the location you are after and just ask. It seems like there might be more to it, but its really as easy as that. Sometimes if we need a specific location we just find the place we want and then ask. Sometimes we're successful and sometimes not, but no one has ever done anything worse than say 'No'. Usually people just want you to cover electric or a small charge to use it, sometimes they might even just let you have it for free as long as it doesn't conflict with business hours etc.

The real issue with this approach is that it can become a numbers game and thats a lot of ground work, but if you're willing to put that work in, you'll almost certainly find the location that you're after. Just find the type of location you're looking for and make a list of suitable candidates, from here your kind of politely cold calling and explaining your project and what you want to do. Some people won't care, some will be interested, but won't be able to help you and you'll come across those who will do whatever they can to accommodate what you're doing. Its pretty much that simple.

Slasher House 2 (2016) Warehouse 

Slasher House 2 (2016) : Warehouse

For Slasher House 2, we needed a government facility (or something that could pass for one). We actually live in the town that has the government facility that solved the Enigma Code (now a tourist attraction), but they were a flat out 'NO' out of the gate. We decided that we would have to found something that could work instead of and figured a 'Lazer Quest' could work. We emailed every Lazer Quest in a 100 miles radius and out of 25 we got a response from 2, we met with one. It didn't work out due to the times we needed, but we had the location should we want it. 

We eventually went in a different direction that worked out better for us, but I'll talk about that in a future blog. 

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I should point out, that its important to be honest and up front here, telling them you're shooting a family drama when really you're shooting a gore soaked torture porn is counter productive when you turn up on the day and start spraying the place down with food colouring and syrup and if they think they've been fooled, chances of them signing a release form are slim and even if they do and then find out they've been lied to they'll just flat out refuse the next filmmaker that come knocking and its your job to make sure that we pave the way for everybody in the community.

Just like any aspect of filmmaking, employing creative thinking is your friend and if you think about what you need in front of the camera creatively you might even surprise yourself in what you come up with what you think of outside the box or sometimes its as simple as just asking. 

MJ

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