Breakfast with Wild Will
An interview with Alan King, director of Wild Will
How did you compose the sound material?
At first, I recorded the film’s soundtrack using a professional condenser microphone, but as bizarre as it sounds, the quality was too good for what I was going for! I wanted two-way radio and interview room atmospheres, I was looking for a certain discordant quality to the audio. So, I recorded the audio on my mobile phone and it was just what I wanted. Then I layered the soundtrack with effect filters from Final Cut X in post-production.
Why did you want to apply a radio effect to the sound?
I thought it might be an interesting way to potentially facilitate a feeling within the audience that they were a part of the inner sanctum of the story. I considered there would something quite intimate, compelling, voyeuristic almost, about being a third party listening in on these two-way radio conversations between the films characters.
Why did you use black and white and apply scar effects on the image?
As a big fan of classic black-and-white films such as Rashamon, Lord of the Flies, The Seventh Sealand Psycho, I drew on this cinematic genre for Wild Will, whilst also focussing on imbuing the piece with my own voice. I love the marks on old films; I love the jump cuts on old films. Those marks are like each film’s very own unique fingerprint. So, I decided to give Wild Willa unique fingerprint.
Why did you decide to use so few images to accompany the sound?
I was experimenting with different ways to build tension. A change of shot can offer a release of pressure, so during the edit I challenged myself to hold off cutting to alternate shots. It was counter-intuitive in many ways. It’s a bit like when we make eye contact with someone in public: we don’t feel comfortable holding their gaze for too long, but what if we do? Our heartbeat increases, our temperature rises. It’s uncomfortable. That’s how I felt during the edit. Hopefully some of this tension translates to the audience.
Do you have an interest in horror movies?
This is my first horror film as a filmmaker. I try to watch them, but I’m too much of a big chicken and I close my eyes at all the scary bits then end up missing half the film. They’re a lot less scary to make. I’d love to do more.
Would you say that the short film format has given you any particular freedom?
Definitely. We live in an age where anyone can make a short film with minimal budget if we choose. All that’s required is imagination. To become better at anything, I strongly believe that you can only learn by doing, then doing again, then doing again and again. That’s how a craft is developed. The short film format has given me the freedom to play, explore, take risks and, at times, even fall flat on my face. I have made five shorts in the last five years and in that time, I have learnt so much. For various reasons, I believe the short film format allows filmmakers the space to do this. That’s exciting!
