For this series of interviews, I’ve chosen 8 questions as a tribute to the iconic 8mm camera, diving into the vision and passion of each filmmaker/actor.
M W Daniels is a writer, director and composer based in London.
Is there a movie from your childhood that sparked your love for cinema, or was it something that developed gradually?
“Star Wars” and “Superman,” which my parents took me to see in 1978. And also, importantly, both soundtracks to those films I listened to endlessly as an 8-year-old and became completely fascinated not only by the gigantic main titles, but by the more gentle, ambient, and thought-provoking pieces such as “The Desert/The Robot Auction” and “The Little People Work” from the original “Star Wars Episode 4 Soundtrack” (1977), and “Leaving Home” from the “Superman” soundtrack (1978), and “Lovers Fly North” from the “Superman II” soundtrack (1981). Also, “The Catamaran Race” from the Jaws 2 soundtrack (1978). All these masterpieces were composed by the master himself, “John Williams,” and he is always a huge inspiration to me, right from 1978 up to the present day—the undisputed all-time king of film soundtracks. These films, along with “Jaws,” “The Empire Strikes Back,” “Who Dares Wins,” “Clash of the Titans,” and “The Golden Voyage of Sinbad,” all developed my love for cinema from the mid-1970s to the early 1980s.
Which filmmaker inspires you the most, and why?
A very hard question to answer as it could be many but to narrow it down, I’d say people such as Derek Jarman, Francois Truffaut, Pasolini, David Lynch, Michelangelo Antonioni, Joanna Hogg, John Waters, Robert Fuest, Euan Lloyd, John Huston, Mike Hodges, Don Siegel, Jean Luc Goddard, Victor Sjöström and Eric Rohmer, all inspire me greatly. The whole scope and feel that these filmmakers bring to their working is stunning. All completely individual and all broke new ground. If I had to pick a film from each that’s not only a favourite of mine but also a constant source of inspiration they would be as follows.
Jubilee – Derel Jarman (1978)
Shoot the Piano Player – Francois Truffaut (1960)
Salo – Pier Paolo Pasolini (1975)
The Elephant Man – David Lynch (1980)
Blow Up – Michelangelo Antonioni (1966)
Exhibition – Joanna Hogg (2013)
Pink Flamingos – John Waters (1972)
The Final Programme – Robert Fuest (1973)
The Mackintosh Man – John Huston (1973)
Get Carter – Mike Hodges (1971)
The Black Windmill – Don Siegel (1974)
Pierrot le Fou – Jean Luc Goddard (1965)
The Phantom Carriage – Victor Sjöström
My Night with Maud – Eric Rohmer (1969)
If you could organize your own film festival, what kind of films would you show, and why?
I would show a wide variety of some of my favourite ever films, which would be …
The Baader Meinhof Complex (2008) My Night with Maud (1969) Salo (1975), Trans Europe Express (1966) The Phantom Carriage (1921), Exhibition (2013) Shoot the Piano Player (1960), Martyrs (2008) Jubilee (1978), The Manson Family (1997), Blow Up (1966), Lords of Chaos (2018), Bloodsucking Freaks (1976) The Final Programme (1973) Performance (1970) and Blue Rita (1977).
What’s a challenge you’ve faced as a filmmaker/actor, and how did you overcome it?
Learning through the years has been both a challenge and an enlightened experience, overcoming the obstacles that come with beginning to work in film seriously. As I write, direct, produce, cast, and compose the music for all my films, each of those elements comes with their own specific challenges. Every film is a whole new experience and a clean sheet again, which I fill with creativity. Even though I’m a musician before being a filmmaker, the composing is a challenge each time, as I always up my ambitious levels with every film, so my own creativity is both tested and pushed forward into someplace new. Once on set, it’s mostly working out solutions to problems.
Can you describe a moment on set that has left a lasting impression on you?
There have been many, but the point where you feel it all coming together is the best feeling. Many lasting impression moments on Lizziehead, but it’s difficult mentioning them without giving stuff away to people reading this who have not yet seen the film. But that film was a joy to make. Of course, like any film, it had its ups and downs, but you battle through this to make a great film. It was hard work, and everyone put in so much, just the same as the film I’m working on now. Again, everyone is putting in 110%.
If you had the chance to make a film about your own life, what genre would it be, and who would play you?
That’s a great question, and it would be horror! Haha, no, it would be dark drama, I think, quite gritty, like a Mike Leigh or Ken Loach film can be sometimes. Oddly enough, there is a film in the pipeline that’s indirectly associated with your question. Who would play me? That’s a very tough one, and I have no idea, I’m afraid. My friend Ellie said “Jeremy Allen White,” so I’ll go with her judgment on that one.
What are your top three favorite movies of all time, and what makes them so special to you?
Saturday Night and Sunday Morning (1960)
This is everything to me: grittiness, romance, nihilism, comedy, violence, trust and distrust, all wrapped up in one unbelievable film. “Albert Finney” is brilliant as “Arthur Seaton,” and the beautiful “Shirley Anne Field” shines like no other as “Doreen.” This film holds so many memories for me since the first time I saw it back in 1991. “Freddie Francis’ cinematography in this, like everything he did, is masterful and so effective. If ever there was an evocative piece of cinema that fuses risky romance in the doldrums, it’s this film. The screenplay by Alan Sillitoe is stunningly beautiful, as well as being nihilistic and defiant.
The Elephant Man (1980)
“David Lynch’s” masterpiece. This has an atmosphere unlike any other film. The decision to make it in monochrome was a super wise one, as in color it would have lost all that dark and murky character it has. “John Hurt” is beyond excellent as “John Merrick,” and he is among a huge star-studded, world-class acting cast, including “Anthony Hopkins,” who plays the part of “Dr. Frederick Treaves” better than any other actor could. John Gielgud, Anne Bancroft, Freddie Jones, Wendy Hiller, and Michael Elphick all completely shine in their roles. The cinematography, again from the master “Freddie Francis” (who worked on another brilliant film, The Innocents), is some of the most inspiring in the history of cinema.
Blow Up (1966)
Along with the phenomenal Performance (1970), this is the ultimate quintessential film of its era. Directed by the legendary Italian maestro “Michelangelo Antonioni” and starring the magnetic “David Hemmings” as photographer “Thomas” (and his role is very like that of real-life photography legend “David Bailey”) in this brilliant psychological mystery. The so-called swinging London is in full effect in this film, and the cinematography by “Carlo Di Palma” is nothing short of stunning. “Vanessa Redgrave,” “Jane Birkin,” “Peter Bowles,” “Sarah Miles,” and “Veruschka Von Lehndorff” are all superb and very memorable in this. The whole feeling of this film, from start to finish, is fantastic, and there really is nothing quite like it.
If you could share one life lesson with our readers, what would it be?
When making your own films without backing from others, be very careful financially, as it can be a serious shock to a newcomer who wants to make a professional film. Also, make sure you have as much attention to detail as you possibly can, as some forgotten things can escape and land on the final film, like the infamous continuity problems. Be very mindful in every single aspect of your planning. Hire great actors, as your film is only as good as the people playing the roles; bad acting will stand out a mile. Music is very important too, so hire a good composer and convey exactly what you require. Don’t oversaturate your film with music; make sure it has its perfect and, most importantly, most effective place. A good sound recordist is essential, as is a good editor. The camera person should be experienced, other than a first-timer. Delegation, confidence, leadership, and calmness all make up essential elements that go towards making the film process work far better. Don’t overspend on props unless you really need to, and seek out cheaper alternatives that you can make work. Be ambitious with less, not more.
If you want to know more about filmmaker M W Daniels, take a look here!
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