![]() ![]() I think we, like everyone, love people like David Fincher, but that was more broad for the first section. It’s got this stilted nature to it, which we liked.“Īllen cites even more unexpected sources of inspiration: “I think we broke it up into sections that’s the best way of thinking about it. ![]() In terms of a specific film, though, we did look a lot at the unusual stilted nature of Servant, the show, because we loved how they’re telling you something’s off just through the visual language of that show. “We spoke a lot to him about what we can do to keep the film fresh and visually interesting throughout when it’s all in one space, and changing up the lighting scheme as the film progresses to make it feel like it’s a new environment, even though we’re in the same place that we were in 20 minutes ago. “ Maxx Corkindale, our cinematographer, was just awesome,” Bell explains. While Bell and Allen succeed in capturing a quintessential haunted mood, their influences are very modern. For example, there were some scenes where we had a second camera going for coverage, and we could never use it because it just had to have such a specific point of view at all times.” Again, even if they’re not used to analyzing the cinematic language, they do. Because the audience will start to overanalyze it. I think whether they’re aware of it or not, because we constantly present certain clues of what’s happening internally with the characters, you quickly realize you can’t have a meandering shot. “ There was nothing to hide behind,” Allen elaborates. ![]() How you keep everyone’s attention during the film becomes really important.” How you light everything becomes really important. But then, when it comes to it, it just puts so much more emphasis, like you said, on everything else, and everything else becomes really important, and every little detail in the house becomes really important. Everyone being together in the same place every day, really familiar with it, and you can pick up where you left off it is great for a shooting schedule and awesome. And it’s one of those things that, sure, having a single location and two characters practically and for a shooting schedule does help, and it’s great. It’s a nice simple thing to do for a first feature.’ That is just so wrong. Two characters in one location for the film’s entire runtime leaves nowhere to hide every element is essential, from lighting to staging to acting and everything in between.īell said of the challenges, “ The hilarious thing about this whole process is that you think, ‘Oh, one location, two characters is simplifying filmmaking. There’s a deceptiveness to the simplicity of You’ll Never Find Me. When you encounter those people, you go, ‘Oh, that’s a side of Australia that I don’t think we present very much in films.'” Because we are such a large country with such a small population, it creates these pockets of little towns and lots of very isolated people, and people who perhaps are isolated for a reason or want to be isolated. But at the same time, Australia is a really interesting place, and it has a lot of weird and interesting people who live there. Which is great we love gorgeous, buff, tanned Australian men. ![]() It’s the guy with the ute and the dog, and he’s gorgeous, and he’s buff, and he’s tanned, and all that stuff. The filmmakers spoke with Bloody Disgusting at Tribeca, discussing their debut’s origins and horror influences.īell wanted to subvert the conventional depiction of Australians in her debut feature: “We have a traditional style of film that comes out of Australia that portrays Australians in, often it’s a very positive light. Bell and Allen use the familiar setting to introduce a grim, contemporary horror story. You’ll Never Find Me employs a classic horror setup – a raging storm traps two strangers alone at a remote location in the dark. Jordan Cowan and Brendan Rock star in the intimate horror feature penned by Bell. As the savage storm worsens, these solitary souls begin to feel threatened- but who should really be afraid?” In the film, “An isolated man living in the back of a desolate caravan park is visited by a desperate young woman seeking shelter from a violent storm. Claustrophobic chamber piece You’ll Never Find Me, the feature directorial debut by Indianna Bell and Josiah Allen, just debuted at the Tribeca Film Festival, where it introduced a haunting new entry in Australian horror. ![]()
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