| || |
Making an Omelette has a healthy pace and a surplus of style that makes one think that they took inspiration from directors like Guy Ritchie, Tarantino, Rodriguez and perhaps Luc Besson but they were happy to admit that those influences extended further into the mainstream, "So many films and directors have an influence in what we do. We are really into film makers like Steven Spielberg, Martin Scorsese, David Fincher, George Lucas, Robert Zemeckis, and even Terry Gilliam as well as the likes of Tarantino and Ritchie." Brothers that partner in film obviously have a special understanding that's often difficult for many to relate to and, whatever ones tastes, there is something to be said for a sibling relationship that can hold together throughout a production. The obvious ones aren't all involved in the directorial process of course. The brothers Weinstein, like the Woolf partnership spanning 20 years up to the 1970's, have achieved the sort of influence that most brothers dream about at war in the back garden. The Coen brothers are another duo that have managed to place childhood differences aside to collaborate their way to immense success so I was keen to get the Davey's view on this at once esoteric and oddly charming accord. As expected they were typically downbeat and enthusiastic in response, "Definitly the Wakowski Brothers have had a big influence on us and the fact that there are so many filmmaking brothers is definitly a cool thing to be associated with."
Despite its success Making an Omelette is an achievement, not merely for the fact that the entire film cost under £50 to make but for the examples of technical innovation with which some scenes were achieved. With the knowledge of the tiny budget in mind, the 'how?" kept me awake like those infuriating Christmas stocking puzzles. For instance, there is a marvellous time lapse scene in which a potential, rather feeble victim is tied to a chair with a gun to his face - he has 10 seconds to live and the brothers make it stretch to an eternity. Remember the 'frozen time' shots in The Matrix? The camera seeming to pirouette around a fly kicking Keanu? Robin and Jesse did the same, "Our way of doing it was a cheap interpretation of the same effect. We achived it by using a rig attached to the ceiling and which spun 180 degrees around the heads of the actors. It worked out a lot cheaper." Other techniques that added to the film's completed feel and the illusion of a crippling budget? "Skate board wheels running on plastic piping for dollys and jibs made from shower curtain rails and lifting weights." (see below)
With an eight year stint as established musicians the Davey's have another pair of aces up their sleeves, they can compose their own scores - and do. "It's a good thing because when your filming you often have the idea for the soundtrack in your head, trying to explain this to a composer is often difficult and you also don't have to worry about getting clearence etc. It's definitely a good thing."
After winning the Best Short Film award at BT's ceremony their short has had an extra publicity boost by being latched onto the end Snatch. When asked how it felt to have the film on such a prestigious release Robin commented "We were amazed when it was proposed to us. We never expected something to turn up like this. We really enjoyed making the film and its great to be able to show it off."
The duos second film The Finch is still in the works. The brothers hope it will follow on from the success of Making an Omelette. When asked to reveal the plot, Jesse said, "its currently in the making at the moment and thats all I can say - not a gangster or egg in sight though. To give you a rough idea its a 10 minute short, kind of like Star Wars crossed with 12 Monkeys" Any plans for a feature? "Definitly, thats next on the cards."