Razzle Dazzle
Director Darren Ashton’s dazzling new feature – Razzle Dazzle
Australian director DARREN ASHTONs low-budget feature Razzle Dazzle was warmly received at the
Berlin International Film Festival in February, and will open across Australia on 15 March - a triumph
for a film made for $2 million and shot on HD in less than 25 days. Darren spoke to the AFC
IndiVision Lab Director Megan Simpson Huberman.
Did you develop the project with a low budget in mind?
It was a conscious decision to make Razzle as a low-budget film right from the outset. The film was based
on a short story by Carolyn Wilson. I sat with Carolyn for a week or so and we developed a 25-page
treatment. At all times we had low budget in mind. We kept bringing the story back to key locations - the less
you need to move the better. We set over half the movie in a single location, Mr Jonathon's Dance Studio.
Once we set the lighting there, Garry [Phillips, DOP] only had to do minor tweaks.
What were the key decisions that allowed you to make this project - a musical with crowd scenes,
dance numbers and kids - within the available budget?
We had a cast of over 40 and on a lot of days we had 20 actors on set all participating in the scenes. There
were two reasons we were able to bring this film in on budget: the production style and 'clever' producing.
Production style
Right from the treatment stage I had decided on a mocumentary format. I enjoyed making the short film The
Extra and I knew I could shoot fast and maintain the integrity of the comedy. So when it came to Razzle I
knew I needed a cast that could play a scene live from the moment action was called until cut I seldom
did camera rehearsals, and although this occasionally drove Garry a bit mad it worked brilliantly. The actors
would run with a scene for the first time as we were shooting it. I also had two cameras covering the action
at all times. In fact the hardest thing was not to revert to traditional filmmaking coverage, which is tempting
when something isn't quite working the way you want it to. Ironically we never used any of the conventional
coverage.
As opposed to Thunderstruck [Ashton 2003 feature], I backed off as much as possible from contriving
camera and performance. For example, the children never read a script or knew what we were doing from
moment to moment. When Ben [Miller, actor] tells them to do something in a scene they;re really doing it.
Although some sections were choreographed, the general interaction of the children with the key cast
happens for real. In effect they were directed within a scene by the other cast. When the children had lines I
would literally tell them what to say the moment before we would shoot. I did spend a lot of time in
rehearsals though, helping them create their characters.
On a practical level I had a brilliant 1st AD, Karan Monkhouse, who ran the set magnificently. Karan knew
how we needed to work in order to shoot five or six minutes a day and she also had one of the best onset
relationships with children I've ever seen. I also like to surrender to the 1st AD in terms of the practical
elements of the production process. On a low-budget film the director doesn't;t have time and can't afford to
worry about where they have to be or what;s next.
Clever producing
Actually clever; might not be the right term. I'm sure Jodi and Andrena [Matterson and Finlay, producers]
would call it something else - maybe crazy! Firstly we had a lot of enthusiastic private investors who had an
emotional attachment to the film, most of whom were seconded by Andrena, and they provided a network of
people that got behind the film. Belief in the project is really important to get the momentum going on a low-
budget feature. Another important factor, which is as much a statement of belief in the project as a financial
gesture, was that Jodi, Andrena and I reinvested 80 per cent of our modest fees back into the film. This is
not simply a grand gesture - it demonstrated to cast and crew that we were committed to the film on all
levels. This is especially important when you\;re asking crew to work for award minimums. Is for the film not
for the bank account! We also had a Favoured Nations approach to the cast; all the actors were on a level
playing field.
On a practical level, John L Simpson, our associate producer, recruited over 60 interns or volunteers, many
of whom worked in very important roles, such as 3rd ADs and PAs, wardrobe assistants and in the camera
department. Without that free labour we wouldnt;t have been able to complete the film. Because we
developed the film from treatment through to production as a low-budget film it was always tailored to be
made a specific way, so I really never felt I was compromised.
What was the shooting format?
We shot HD and it was perfect for the film. Originally we intended to shoot Mini HDV but the post path was
unproven and it was too big a risk on a film such as this. I love HD. You have 30 minute tapes and you just
roll. HD was also terrific for the way I wanted to play the scenes, where a scene would unfold and we would
capture the action documentary-style. It was a really rewarding way to work.
Let's talk about the actors. What was your rehearsal process and period?
Firstly, we did a lot of one-on- one rehearsals or sessions. Because we were using interviews in the film I
interviewed the actors in character and recorded them on DV. I asked a lot of questions that related to their
backstory and their place in the world of the film. We looked at documentaries and people in an
interview/doco environment to get an idea of where to pitch the performance tone. We also talked a lot about
the characters and the scenes. I also had very experienced adult actors, much more experienced than me,
so I listened to what they had to say about their characters or how they felt about a scene. The one mistake I
made was that we did too much talking. I should have gotten the cast up on the floor sooner. We had two
weeks of rehearsal, which in real terms is about six days and I didn;t get the actors into scenes until three or
four days out from the shoot. Initially I thought I'd like to go into everything from a fresh perspective, almost
unrehearsed, but once we got on the floor a lot of things came out about the dynamics of the core ensemble
that helped make the film better. Which is why you rehearse of course!
The children were a different kettle of fish. I gave them character books with a brief explanation on how to
use it and a page of briefing notes on their characters. They then filled in their character books the way any
actor might fill in the gaps when developing a character. I also gave them identity bracelets with their
character names, which they wore for the entire rehearsal and shoot. On set I always referred to them by
their character names. As a result I seldom had to direct the children. For example, Leanne, played by
Lauren Elton, has a skin condition that requires her to scratch her head. I never had to remind her during
four weeks of shooting. She developed an attitude toward it by working through her character book and the
result was amazing. All the Jazzketeers did the same thing. It pays off, as your shoot runs ten times more
smoothly if everyone comes to the set ready to go. I seldom did more than two takes. I also set up sessions
for the key cast and their;children; to spend time together to get to know each other.
What was your shooting schedule and how did you achieve it?
We had 20 days of principal photography, of which all but two were 10-hour days. I wasn;t allowed a second
of overtime. Not because the producers wouldn't let me but because the completion bond guarantor might
step in the minute it looked like anything might go off track. That's how close to the wind you sail with a low-
budget film. We also had five days of pick-ups or second unit days. This blew out to 15 but Andrena raised
additional money to allow us to shoot the extra days!
The main reason we achieved the schedule is good planning and a great attitude. Simple things like a scene
that was scripted as night would be changed to a day scene if I thought it didn't matter, and 90 per cent of
the time it didnt. There was only one scene that I changed to day that I wish I hadn't. As a result it isn;t in the
film, so in effect we needn't have shot it. But you don;t know that at the time. Two cameras on all days and
up to four on the huge performance days was definitely a major factor. I also had an AFC-funded
attachment, Myles Conti, who was invaluable. He directed a lot of second unit style pick-ups and set up a lot
of stuff for me in advance - he was a lifesaver.
What were the advantages and disadvantages in the way you worked?
Advantages were it was fast, fun and unrelenting. Disadvantages were that it was fast and unrelenting.
Sometimes you;re not sure you've actually gotten a scene and you're moving on. But with a low-budget film
there';s no turning back, you don';t have time to take any prisoners and that can be incredibly exciting.
Did the choices involved in working low budget inspire you? Would you make a film this way again?
Absolutely. I love the ;just go out and do it; feeling you get from low budget. Even on a film with a big cast
and big dance numbers there is a sense of intimacy you get that comes from low budget. Jodi and I are
planning another low-budget film at the moment, which is purely based on the experience of Razzle,
although it won';t have as big a cast. No toys, no big set-ups, just a very intimate character-based film.
Razzle Dazzle opened on 15 March, 2007 around Australia on 93 screens, including eight on the
AFC;s Regional Digital Screen Network.
Australian director DARREN ASHTONs low-budget feature Razzle Dazzle was warmly received at the
Berlin International Film Festival in February, and will open across Australia on 15 March - a triumph
for a film made for $2 million and shot on HD in less than 25 days. Darren spoke to the AFC
IndiVision Lab Director Megan Simpson Huberman.
Did you develop the project with a low budget in mind?
It was a conscious decision to make Razzle as a low-budget film right from the outset. The film was based
on a short story by Carolyn Wilson. I sat with Carolyn for a week or so and we developed a 25-page
treatment. At all times we had low budget in mind. We kept bringing the story back to key locations - the less
you need to move the better. We set over half the movie in a single location, Mr Jonathon's Dance Studio.
Once we set the lighting there, Garry [Phillips, DOP] only had to do minor tweaks.
What were the key decisions that allowed you to make this project - a musical with crowd scenes,
dance numbers and kids - within the available budget?
We had a cast of over 40 and on a lot of days we had 20 actors on set all participating in the scenes. There
were two reasons we were able to bring this film in on budget: the production style and 'clever' producing.
Production style
Right from the treatment stage I had decided on a mocumentary format. I enjoyed making the short film The
Extra and I knew I could shoot fast and maintain the integrity of the comedy. So when it came to Razzle I
knew I needed a cast that could play a scene live from the moment action was called until cut I seldom
did camera rehearsals, and although this occasionally drove Garry a bit mad it worked brilliantly. The actors
would run with a scene for the first time as we were shooting it. I also had two cameras covering the action
at all times. In fact the hardest thing was not to revert to traditional filmmaking coverage, which is tempting
when something isn't quite working the way you want it to. Ironically we never used any of the conventional
coverage.
As opposed to Thunderstruck [Ashton 2003 feature], I backed off as much as possible from contriving
camera and performance. For example, the children never read a script or knew what we were doing from
moment to moment. When Ben [Miller, actor] tells them to do something in a scene they;re really doing it.
Although some sections were choreographed, the general interaction of the children with the key cast
happens for real. In effect they were directed within a scene by the other cast. When the children had lines I
would literally tell them what to say the moment before we would shoot. I did spend a lot of time in
rehearsals though, helping them create their characters.
On a practical level I had a brilliant 1st AD, Karan Monkhouse, who ran the set magnificently. Karan knew
how we needed to work in order to shoot five or six minutes a day and she also had one of the best onset
relationships with children I've ever seen. I also like to surrender to the 1st AD in terms of the practical
elements of the production process. On a low-budget film the director doesn't;t have time and can't afford to
worry about where they have to be or what;s next.
Clever producing
Actually clever; might not be the right term. I'm sure Jodi and Andrena [Matterson and Finlay, producers]
would call it something else - maybe crazy! Firstly we had a lot of enthusiastic private investors who had an
emotional attachment to the film, most of whom were seconded by Andrena, and they provided a network of
people that got behind the film. Belief in the project is really important to get the momentum going on a low-
budget feature. Another important factor, which is as much a statement of belief in the project as a financial
gesture, was that Jodi, Andrena and I reinvested 80 per cent of our modest fees back into the film. This is
not simply a grand gesture - it demonstrated to cast and crew that we were committed to the film on all
levels. This is especially important when you\;re asking crew to work for award minimums. Is for the film not
for the bank account! We also had a Favoured Nations approach to the cast; all the actors were on a level
playing field.
On a practical level, John L Simpson, our associate producer, recruited over 60 interns or volunteers, many
of whom worked in very important roles, such as 3rd ADs and PAs, wardrobe assistants and in the camera
department. Without that free labour we wouldnt;t have been able to complete the film. Because we
developed the film from treatment through to production as a low-budget film it was always tailored to be
made a specific way, so I really never felt I was compromised.
What was the shooting format?
We shot HD and it was perfect for the film. Originally we intended to shoot Mini HDV but the post path was
unproven and it was too big a risk on a film such as this. I love HD. You have 30 minute tapes and you just
roll. HD was also terrific for the way I wanted to play the scenes, where a scene would unfold and we would
capture the action documentary-style. It was a really rewarding way to work.
Let's talk about the actors. What was your rehearsal process and period?
Firstly, we did a lot of one-on- one rehearsals or sessions. Because we were using interviews in the film I
interviewed the actors in character and recorded them on DV. I asked a lot of questions that related to their
backstory and their place in the world of the film. We looked at documentaries and people in an
interview/doco environment to get an idea of where to pitch the performance tone. We also talked a lot about
the characters and the scenes. I also had very experienced adult actors, much more experienced than me,
so I listened to what they had to say about their characters or how they felt about a scene. The one mistake I
made was that we did too much talking. I should have gotten the cast up on the floor sooner. We had two
weeks of rehearsal, which in real terms is about six days and I didn;t get the actors into scenes until three or
four days out from the shoot. Initially I thought I'd like to go into everything from a fresh perspective, almost
unrehearsed, but once we got on the floor a lot of things came out about the dynamics of the core ensemble
that helped make the film better. Which is why you rehearse of course!
The children were a different kettle of fish. I gave them character books with a brief explanation on how to
use it and a page of briefing notes on their characters. They then filled in their character books the way any
actor might fill in the gaps when developing a character. I also gave them identity bracelets with their
character names, which they wore for the entire rehearsal and shoot. On set I always referred to them by
their character names. As a result I seldom had to direct the children. For example, Leanne, played by
Lauren Elton, has a skin condition that requires her to scratch her head. I never had to remind her during
four weeks of shooting. She developed an attitude toward it by working through her character book and the
result was amazing. All the Jazzketeers did the same thing. It pays off, as your shoot runs ten times more
smoothly if everyone comes to the set ready to go. I seldom did more than two takes. I also set up sessions
for the key cast and their;children; to spend time together to get to know each other.
What was your shooting schedule and how did you achieve it?
We had 20 days of principal photography, of which all but two were 10-hour days. I wasn;t allowed a second
of overtime. Not because the producers wouldn't let me but because the completion bond guarantor might
step in the minute it looked like anything might go off track. That's how close to the wind you sail with a low-
budget film. We also had five days of pick-ups or second unit days. This blew out to 15 but Andrena raised
additional money to allow us to shoot the extra days!
The main reason we achieved the schedule is good planning and a great attitude. Simple things like a scene
that was scripted as night would be changed to a day scene if I thought it didn't matter, and 90 per cent of
the time it didnt. There was only one scene that I changed to day that I wish I hadn't. As a result it isn;t in the
film, so in effect we needn't have shot it. But you don;t know that at the time. Two cameras on all days and
up to four on the huge performance days was definitely a major factor. I also had an AFC-funded
attachment, Myles Conti, who was invaluable. He directed a lot of second unit style pick-ups and set up a lot
of stuff for me in advance - he was a lifesaver.
What were the advantages and disadvantages in the way you worked?
Advantages were it was fast, fun and unrelenting. Disadvantages were that it was fast and unrelenting.
Sometimes you;re not sure you've actually gotten a scene and you're moving on. But with a low-budget film
there';s no turning back, you don';t have time to take any prisoners and that can be incredibly exciting.
Did the choices involved in working low budget inspire you? Would you make a film this way again?
Absolutely. I love the ;just go out and do it; feeling you get from low budget. Even on a film with a big cast
and big dance numbers there is a sense of intimacy you get that comes from low budget. Jodi and I are
planning another low-budget film at the moment, which is purely based on the experience of Razzle,
although it won';t have as big a cast. No toys, no big set-ups, just a very intimate character-based film.
Razzle Dazzle opened on 15 March, 2007 around Australia on 93 screens, including eight on the
AFC;s Regional Digital Screen Network.