Q&A WITH ANDREW TRAUCKI, WRITER/DIRECTOR OF THE REEF
March 2nd 2011 03:39
Writer, producer and director Andrew Traucki
Andrew: I read the true account many, many years ago in a book and it stayed with me. The fact that the story stayed with me for so long told me that it had something. The true event The Reef is based on occurred off the coast of Australia in the mid 80s. I tried to stick to the original as closely as possible
H: Was it easy to get funding for The Reef? Was it any easier than getting funding for Black Water?
A: It’s never easy funding a film.
H: You’ve moved from a killer crocodile to a killer shark, why tread such similar territory (so soon)?
A: I like true life survival stories. I like wondering what I would do in a life-threatening situation, whether I would have what it takes to survive. That’s what draws me to these stories, the fact they are based on true events and that they make me question my ability to survive.
H: Curiously both crocs and sharks are very primal creatures, unchanged for millions of years, and both beasts possess a menacing intelligence, so are you fascinated and/or frightened by one more than the other?
A: No they both terrify me but I think crocodiles are more “cunning” and therefore maybe a little more terrifying.
H: Shooting a movie at sea is notoriously difficult, how did you find the experience? It states the movie was shot on location, so were any sequences shot in controlled conditions such as a large pool?
A: It was all shot on location. It was extremely difficult. It truly was hard as we were in the water for five weeks, ten hours a day, six days a week, and the human body really isn't built for that. Also this wasn't shot in a tank but out in nature. Due to the changes in weather the schedule changed every day. It was far more difficult than a conventional shoot.
H: Your decision for both Black Water and The Reef to use real animals composited into location footage with actors is very effective. What’s your take on movies that use either animatronics or CGI?
A: I don’t think either animatronics or CGI work as well as the real thing. If I had no choice I’d go CGI. It’s getting better and better all the time.
H: You’re credited with some of the shark footage, what experience do you have with underwater photography? What was the experience like filming that massive Great White and the croc footage on Black Water also?
A: No I am not an experienced underwater diver. Both shooting crocs and sharks is amazing and terrifying. They are awe inspiring top-level predators. You feel pretty lucky to see them in their own natural environment.
H: I agree that the best way to achieve a tense, thrilling ride is by using suggestion rather than revelation (the first half of Jaws is a brilliant example of this). In The Reef the scariest stuff are the underwater shots of the vast deep blue, wondering when the shark is going to appear, or the lingering shots looking up at the swimmers legs. Were you ever concerned in the editing stages that you were asking too much of your audience in extending the jeopardy for so long?
A: You should have seen the first cut. It was a lot more extended than that. No I wasn’t worried. People either enjoy suspense and anticipation or they don’t. If they don’t they shouldn’t watch my films.
H: What works so well for The Reef and Black Water is the characterisations and casting, and allowing the right amount of screen time with them so that the audience truly empathise with their terror. Can you tell me a little about the casting process for your characters?
A: It’s extremely important when making a film especially one with only five characters in it that you have a great cast. I spent a long time casting and it paid off in the end. I love my cast they were all brilliant.
H: At any point did you consider pushing the movie into more visceral horror territory ie showing Matt’s injuries? What’s your take on blood and gore in (horror) movies?
A: No that’s not my style. I don’t like overtly gory films unless that gore has to be there for more than just shock. The psychology behind that sort of film, i.e. to shock, doesn’t interest me much. I find the anticipation and suspense of an event much more interesting.
H: Tell me about your creative approach to the colour grading for The Reef.
A: It was a difficult grade because filming in outdoor natural locations we had many many different types of water from crystal clear to almost muddy. So the grade was tricky.
H: Is The Reef your first time using the Red camera? What’s so good about it?
A: I love shooting digitally for it has so many advantages and personally I don’t think they are very inferior to film. I doubt the viewing public can tell the difference. The Reds were fantastic.
A: Of course it will be compared to Open Water just as it is compared to Jaws. Well in Open Water you saw one fleeting image of a medium-sized shark. In The Reef you see quite a lot of a very, very big white pointer so I think the fear factor is a lot higher in The Reef. My film’s edge is its realism, great acting and a bloody big shark.
H: Are you keen to make a movie with a big budget, if so what kind of genre appeals to you? If (and when) Hollywood comes a-knocking will you endeavour to stay true to the style of filmmaking you’ve established, or are you open to experimentation on a larger scale?
A: I am keen to make good movies, big budget doesn’t necessarily mean good film. I am open to experimentation and indeed my films so far have been quite experimental in the way they were made i.e. using real animals not fake ones, etc.
H: What are some of your favourite horror movies?
A: The Evil Dead, Psycho, The Vanishing (original Dutch Version), Deliverance, Paranormal Activity, The Orphanage.
H: Nice. So what next …? A killer kangaroo?? Just kidding!
A: Killer jellyfish. Just kidding.
H: Ha! Thank you for your time Andrew!
For more information on the movie please visit the official website [LINK=http://www.reefmovie.com]here[/LINK]
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