Filmmaker Brent Bonacorso has written, directed and created visual effects for The Narrow World, which examines the sudden appearance of a giant alien creature in Los Angeles and the conflicting theories on why it’s there, what its motivations are, and why it seems to ignore all attempts at human interaction. It’s told through the eyes of three people with differing ideas of its true significance. Bonacorso shot on a Red camera with Panavision Primo lenses, along with a bit of Blackmagic Pocket Cinema Camera for random B-roll.
Let’s find out more…
Where did the idea for The Narrow World come from?
I was intrigued by the idea of subverting the traditional alien invasion story and using that as a way to explore how we interpret the world around us, and how our subconscious mind invisibly directs our behavior. The creature in this film becomes a blank canvas onto which the human characters project their innate desires and beliefs — its mysterious nature revealing more about the characters than the actual creature itself.
As with most ideas, it came to me in a flash, a single image that defined the concept. I was riding my bike along the beach in Venice, and suddenly in my head saw a giant Kaiju as big as a skyscraper sitting on the sand, gazing out at the sea. Not directly threatening, not exactly friendly either, with a mutual understanding with all the tiny humans around it — we don’t really understand each other at all, and probably never will. Suddenly, I knew why he was here, and what it all meant. I quickly sketched the image and the story followed.
What was the process like bringing the film to life as an independent project?
After I wrote the script, I shot principal photography with producer Thom Fennessey in two stages – first with the actor who plays Raymond Davis (Karim Saleh) and then with the actress playing Emily Field (Julia Cavanaugh).
I called in a lot of favors from my friends and connections here in LA and abroad — the highlight was getting some amazing Primo lenses and equipment from Panavision to use because they love Magdalena Górka’s (the cinematographer) work. Altogether it was about four days of principal photography, a good bit of it guerrilla style, and then shooting lots of B-roll all over the city.
Kacper Sawicki, head of Papaya Films which represents me for commercial work in Europe, got on board during post production to help bring The Narrow World to completion. Friends of mine in Paris and Luxembourg designed and textured the creature, and I did the lighting and animation in Maxon Cinema 4D and compositing in Adobe After Effects.
Our editor was the genius Jack Pyland (who cut on Adobe Premiere), based in Dallas. Sound design and color grading (via Digital Vision’s Nucoda) were completed by Polish companies Głośno and Lunapark, respectively. Our composer was Cedie Janson from Australia. So even though this was an indie project, it became an amazing global collaborative effort.
Of course, with any no-budget project like this, patience is key — lack of funds is offset by lots of time, which is free, if sometimes frustrating. Stick with it — directing is a generally a war of attrition, and it’s won by the tenacious.
As a director, how did you pull off so much of the VFX work yourself, and what lessons do you have for other directors?
I realized early on in my career as a director that the more you understand about post, and the more you can do yourself, the more you can control the scope of the project from start to finish. If you truly understand the technology and what is possible with what kind of budget and what kind of manpower, it removes a lot of barriers.
I taught myself After Effects and Cinema 4D in graphic design school, and later I figured out how to make those tools work for me in visual effects and to stretch the boundaries of the short films I was making. It has proved invaluable in my career — in the early stages I did most of the visual effects in my work myself. Later on, when I began having VFX companies do the work, my knowledge and understanding of the process enabled me to communicate very efficiently with the artists on my projects.
What other projects do you have on the horizon?
In addition to my usual commercial work, I’m very excited about my first feature project coming up this year through Awesomeness Films and DreamWorks — You Get Me, starring Bella Thorne and Halston Sage.