Posted by KB on March 2, 2011
Since the release of his 2007 film, Hammer Bay, Ben Briand has been impressing audiences and critics alike with his creativity and style. Taking on short films, video clips, commercials and photography, Ben has instilled in his work a unique visual approach that’s seen him dubbed “one of Australia’s most promising film makers”. We caught up with him in the wake of the release of his latest short film, Some Static Started.
Covered: dying men, square pegs, scripts and shorts.
KB: You’ve just released Some Static Started, can you tell us a bit about it?
Ben Briand: It’s a short film I made in association with the guys at China Heights. I describe it as a strange nightmare in a hot motel by the side of a highway. In his final moments a bleeding man recalls a reoccurring dream he has had featuring a beautiful girl in trouble. It’s a short film
KB: It finishes the trilogy that includes Apricot and Castor & Pollux – were these films devised as a set from the start?
BB: Not consciously. But there are certainly threads that are consistent through all the works. I like to think of them as different perspectives on the same idea.
KB: With such an emphasis on dialogue, getting the right actors is obviously key to making your films work. Do you ever have someone in mind when writing?
BB: I have a type of person in mind who I think will bring those qualities to life in an effortless way, but not necessarily a specific person. I find it dangerous to lock myself into an idea too early. All too often I have thought that a certain song or actor would be perfect for a script and then by the time you arrive at the point when you need to put the actor or the song into the work, it has organically shifted in another direction and you are trying to fit a square peg into a round hole.
KB: What is it about the short film format that appeals to you? And what are the downsides to it?
BB: Weirdly enough I grew up not liking the short film format. Perhaps that is why my shorts are a little unconventional when compared to the traditional format. I like shorts that feel like a moment, rather than a large arc. I think that is why Nash Edgerton is so good at them, because he understands that strength in simplicity. When I was younger I think I tried to tell the world in15 mins and was unsuccessful.
KB: Career wise, it’s safe to say you’ve been pretty successful. Was there ever a real push to break into filmmaking, or has it just been a natural progression from your first win?
BB: That is very kind of you. I don’t know if I would say successful because it doesn’t feel much different than when I was running around with my high school’s video camera at age 15. It has always been there since I remember so guess I would say a natural progression. It is very much a part of me and what I do and think about every day. I feel more comfortable communicating with the language of film than I do the spoken word.
KB: Was working in advertising always a goal for you? Or was it something thrust upon you in the wake of your short film fame?
BB: The short films came late in the piece. I have always been interested in all moving image formats. I still am and love the way they all inform each other. This month I am working on a video installation, rewriting my feature and shooting commercial because I feel comfortable exploring all these formats and their ‘rules’.
KB: Speaking of which, there something about that Moccona ad with the candles I’ve always wanted to know: how many jars of coffee did that girl have to buy?
BB: Ha! She is one hyped up village girl.
KB: And what’s next for you? Any exciting projects you can tell us about?
BB: I am collaborating with my partner Brenda on a three-screen video installation in time for Australian Fashion Week for her luxury accessories brand Benah. Also, my feature project is moving into the next stage of development and the potential of bringing that to life is pretty darn exciting.
ben briand, some static started, china heights, film