Please tell us about the projects you worked on before making ‘Pants Labyrinth’. How did you start, and how did you learn to make films?
Simon: I did a video production course back in the late 90s, but then worked mostly on non-narrative visuals for live events. With covid and lockdowns, that became impossible, so I started getting more into narrative film and video projects. I’ve worked quite a bit with Kaylee Nicholas, the co-writer/director/producer of Pants Labyrinth. It’s been really great working with her, not just because we bounce ideas off each other, but because neither of us claim to be experts. When we’re working on a difficult bit of script writing, we take the time out together to learn new techniques in narrative development and filmmaking in general. It’s really helped develop my own work so much.
Kaylee: I’m very new to film. My background is more about theatre and events with a little bit of comedy writing. I’ve always been interested in and loved creative writing, art, music and literature, and I’m finding in film-making a very beautiful creative process in which I can draw upon and combine these passions. Thanks for saying such lovely things about me, Simon. The feeling’s mutual.
Tell us about ‘Pants Labyrinth’. How do you describe it?
Simon: If I were to describe Pants Labyrinth I’d have to start off with the fact that obviously it's a parody. We tried to include as many oblique references to the original as we could, but make it its own unique piece of work. A lot of my work revolves around dark comedy, surrealism and absurdity, and this is definitely true of Pants Labyrinth - full of absurd symbolism, ridiculous scenarios - with a low budget, B movie vibe, but a surreal visual aesthetic. A big part of the film is also the amazing soundtrack by Nat Gavin, who basically grew up on old B movie horror films and has really captured that in his score for the film, which takes it to a whole new place.
Kaylee: The intention at first was that it would be a one minute film as a test project for bigger things but it took on its own life and so here we are. I’d describe it as an unplanned (but very welcome) new baby.
Please tell us about your favorite filmmakers.
Simon: I like a real mix of different kinds of films, B movies, weird arty films, Hollywood blockbusters for being just so over the top. I guess, like a lot of filmmakers, my favourite director is David Lynch. I love his use of surrealism without being too high brow. That’s something I try to do in my own work, albeit in a very different way.
Kaylee: Animated stuff, fantasy I can get lost in, also very keen on the weird arty films, comedy, surrealism, gore, sci-fi. Complex plot lines throw me off but I love anything that’s conceptually expansive or deep. I don’t have a favourite film maker but I like Michel Gondry, Hayao Miyazaki, James Cameron, among others.
If you were given a good budget, what would be your ideal project?
Simon: Actually Kaylee and I have been working on a script for a sci-fi feature film. If I had a good budget and a choice of projects that’s the one I would choose. It’s a film about three billionaires all trying to be the first to get to Mars, but once they get there things start to get very weird. It’s a project with so much scope and I’m really pleased with the character development we’ve done on it.
Kaylee: I’m also very absorbed in our billionaires-to-Mars script at the moment. Imagine if the budget was so good that we go up into space ourselves, purely for research of course. That would be a dream. I’m sticking to that for now.
Describe how you would ensure that production is on schedule. What steps would you take?
Simon: It’s not glamorous, but I think the more thorough your planning is, the easier it is to stay on schedule, but also working with people, not against them. Take them with you so they feel as invested as you in what we’re doing together.
Kaylee: I’m also a fan of planning. And I think there’s degrees of both ruthlessness and resourcefulness required once things start rolling. I think as well if it comes to it, it’s important to prioritise the aspects that are truly fundamental to the project, if decisions need to be made about choosing or cutting something. It needs a clear vision as well as a sense of objectivity, and not being afraid to consider letting go of something even if at the time it seems very dear to you.
What was the hardest part of making ‘Pants Labyrinth’.
Kaylee: We shot the film in my kitchen at home. By the time we’d set up our sheets on hanging frames, the space we were working in was extremely small. It was challenging to find ways to express a sense of movement. Also, the joke at the end was Simon’s idea, I thought it was awful! Haha. I’m glad I trusted him though.
Simon: I mean, the joke is terrible.
If possible, tell us about your next work. What plans do you have for your future work?
Simon: As I mentioned, Kaylee and I are working on an animated feature film, Space Jarg. It’s a really ambitious project, so we’re going to make some shorts based on the same universe to try and build up an audience for what we’re trying to do. I’m really looking forward to this one. We’ve created some great characters and the whole feel is a really unique mix of surrealism and psychological realism.
Kaylee: Space Jarg for me too. The learning curve is expansive and rewarding, it’s hard to think of projects beyond that at the moment. We do both run regular informal, local, creative meet up sessions for anyone with an interest in making tv and film to attend and collaborate within. There’s lots of ideas, learning and skill sharing going on. Anything could happen. I’m really excited about what the future might bring.
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