{"id":9537,"date":"2024-01-26T16:20:50","date_gmt":"2024-01-26T16:20:50","guid":{"rendered":"https:\/\/topat10.com\/?p=9537"},"modified":"2024-01-26T16:20:50","modified_gmt":"2024-01-26T16:20:50","slug":"interview-the-seeding-director-barnaby-clay-on-desert-folk-horror-and-using-music-video-experience-to-his-advantage","status":"publish","type":"post","link":"https:\/\/topat10.com\/?p=9537","title":{"rendered":"Interview: The Seeding Director Barnaby Clay on Desert Folk Horror and Using Music Video Experience to His Advantage"},"content":{"rendered":"


\n<\/p>\n

\n

The Seeding sees a hiker get lost in the desert, where an encounter with a gang of feral children propelled by haunting legacies traps him in a sadistic battle for survival with a frightening\u00a0endgame.<\/p>\n

Barnaby Clay, the director of The Seeding, talks to ComingSoon\u2019s Neil Bolt about filming in a canyon, the advantages of music video experience, and his horror history.<\/p>\n

Neil Bolt: The desert feels a bit undervalued as a folk horror destination. For you, what made it an exciting area to explore?<\/strong><\/p>\n

Barnaby Clay:<\/strong> I come from England, specifically London, and I moved over to the States about 15 years ago. I\u2019ve always been fascinated with the desert. Coming from England, it\u2019s so far from anything I grew up with. I loved Westerns as a kid, and there\u2019s something about the expanse: it really humanizes you on a certain level because you feel tiny. And also you can feel, quite quickly, extremely vulnerable.<\/p>\n

I was just there recently, doing some writing, and I like going on a walk out there and it doesn\u2019t take long to end up in the middle of nowhere. All it takes is to climb over the wrong pile of rocks, and you\u2019re lost. Out there, if that happens you\u2019re up against it because the idea of being lost or injured, like the character in my film, is a scary prospect. It gets to the vulnerabilities of someone who mostly lives in cities.<\/p>\n

I know what you mean. Where I come from is relatively small compared to California, but it\u2019s a bit coastal, a bit towny, and has some village areas, but when you go out to the forest, it feels gargantuan by comparison. For America, it\u2019s an even larger example. Do you think the expanse of a country like the US and its wilderness give more plausibility to these almost post-apocalyptic pocket worlds existing within a wider one?<\/strong><\/p>\n

It does, absolutely. When I was writing the film, I was trying to keep one foot in reality, stopping to check myself and ask, \u2018\u2019Is this feasible?\u2019\u2019 Then, later on that day, reading news of things such as people locking their kids in a basement, and you go, \u2018\u2019Oh yeah, this is America\u2019\u2019. It is so big, and there is so much that goes on.
All my friends, regardless of where they\u2019re from, when they go into the desert, have experiences where some locals can be a bit threatening. You go to the grocery store out there and get stared at because you\u2019re so clearly not from there. That feeling of stepping off outside your known and suddenly it becomes somebody else\u2019s known. But also, I should say, visually, it\u2019s such a rich canvas to work on. It\u2019s beautiful, and in the canyon we were working in, there were so many interesting textures and shapes. It immediately adds so much. That\u2019s important as well.<\/p>\n

Neil Bolt: How long did it take to find the perfect setting?<\/strong><\/p>\n

It took a while, as in like a year. Obviously, we were still doing other things like casting but within that period, we reached out to scouts and production companies all over the world and one came back with an extinct volcano in Romania, an area in the Canary Islands, North Mexico, Alberta Canada\u2014places where geographically you could have something like this. Obviously, you have to add the practical formalities in, like having somewhere nearby to stay, and how long it takes to get in and out each day. In the end, someone sent me pictures of this place in Southern Utah, and I really liked the feel of the canyon in those pictures.<\/p>\n

<\/figure>\n

What you see in the film isn\u2019t exactly how it was. We did some work in post. It\u2019s essentially a bend in a canyon, but we did some set extension to fill in the cracks and turn it into a pit. You could get in and out of it, but it was still difficult and grueling because there was one off-road route in there which took about 20 minutes. It could barely be classified as a road, and it actually washed away on the week before we shot. Throughout the whole shoot, we were constantly rebuilding this road.<\/p>\n

Just being out there, I think everyone involved sort of felt trapped in that canyon because of how far out it was. We were in it for 19 days. I remember one day we went up top to do some shooting on the ridge. It was like a breath of fresh air. We were like, \u2018\u2019Oh, thank God, we\u2019re out! Out of the Canyon for a day!\u2019\u2019. It felt so different. There was a horizon; it was warmer. It was a relief, a respite from being in that canyon for a while.<\/p>\n

Still a good choice for a location, though, right?<\/strong><\/p>\n

Oh absolutely. It\u2019s a beautiful place, but hard for me in a situation where problems on a film set come up, which is daily, hourly, every minute. There\u2019s not much time to admire the natural beauty of it. Every now and then, I\u2019d have this moment where I was waiting for a shot to be set up, and I\u2019d have a moment to myself in the corner, have a breather, and I\u2019d look up and go \u2018\u2019Wow, this is such a beautiful place to be in\u2019\u2019.<\/p>\n

So, keeping close to the difficulties of a shoot, a bit of a two-headed question here. You have a rich history in directing music videos. Firstly, do you feel that gives you an advantage over other directors when pairing music and mood?<\/strong><\/p>\n

I mean, yeah. Two advantages. The first advantage is by spending years making music videos, you get very good at working under pressure, getting as much done in a day as possible, and working with very few resources. It\u2019s the best training for that you could possibly imagine. Especially as over the years, the budgets have shrunk down, but everyone is still expecting the same level of artistry so you\u2019re having to deliver, still. So you get really savvy with your time and resources, being constructive on that front.
Music, I mean for me it\u2019s so important. Even while writing the film, I had music on in the background the whole time. I was listening to the soundtrack to Under the Skin, one piece of music from Stalker, the Tvarkosky film, the main motif. It\u2019s a really interesting piece of music, and it really transports you to a place. Coming from music videos, that\u2019s so much of what you do. You sit and listen to music over and over and let it take you somewhere and come up with an idea around it. That certainly got infused into my way of working in narrative as well, If I\u2019m feeling stuck, or needing inspiration, having some music and letting that lead can help.<\/p>\n

Secondly, you also have a lot of experience with short-form films. Were there any challenges transitioning your knowledge to something longer?<\/strong><\/p>\n

The biggest challenge for me, that while I did make a feature-length documentary, this was my first feature-length narrative film, and I was also the writer. I\u2019ve done a lot of short films this way and had it generally under control, but we realized at the end of day one that we were up against a lot and quickly falling behind. We weren\u2019t making our days. I was doing a lot of rewriting when I was there, and I wasn\u2019t really prepared for that. Your inclination is, \u2018\u2019This isn\u2019t working; I need the writer to sort this out while I direct the film,\u2019\u2019 but of course, you\u2019re the writer, and you\u2019ve gotta fucking do it, and you got to come up with a solution.<\/p>\n

<\/figure>\n

Every Sunday was an off day as we did six-day weeks, and everyone else would do stuff like go off hiking out in this beautiful part of the country, doing really nice things. Meanwhile, I sat in my motel room trying to compress ten scenes into four. So that was one of the biggest surprises and challenges for me, being a writer-director and trying to find the time to make that work under immense duress.<\/p>\n

So, onto the film itself, I\u2019ve heard you mention films like Wake in Fright as inspiration for the Seeding The abrasive, confrontational nature of the youths and the unnervingly kindly nature of Alina dovetail in a manner that felt reminiscent of that. The protagonist, Wyndham, is left confused by it all and there\u2019s a sense of an ulterior motive to the kindness. Was that the intention?<\/strong><\/p>\n

Yeah, of course, you wanna create a trajectory for these characters. On the one hand you want to follow what\u2019s going on, but on the other you\u2019re not entirely sure where they\u2019re coming from or what their motives are, maybe even suggest they don\u2019t even know themselves at certain points. I like films that just drop you in with a character without backstory and you just follow them to find out what\u2019s happening. You learn a lot through his actions. I didn\u2019t want to create someone who is a likable hero, but more complicated than that. Someone who doesn\u2019t always react in the best way.
And with her, she has a motive that is quite simple, but it doesn\u2019t make it any easier for her. There are times when both of them question what they are doing, and there are moments toward the end of the second act where maybe you could kind of see these guys hitting it off and living happily ever after, but no, that\u2019s not the way it goes.\u00a0<\/p>\n

One of the reasons I liked Kate Lyn Sheil as an actress for this is that she has this mysterious presence. Even in real life, you\u2019re like, \u2018\u2019What is she thinking in there?\u2019\u2019<\/p>\n

That sort of person you think could turn on a dime<\/strong>.<\/p>\n

Yeah, and that\u2019s so interesting to start with that, you just don\u2019t know what\u2019s going on behind those eyes.<\/p>\n

Yes. There also seems to be something insectile about how Wyndham is led and subjected to his fate. The way these strange relationships work in the film is reminiscent of some insect colonies, and things like that. A mishmash of different things in the insect world.<\/strong><\/p>\n

You\u2019re actually really spot on, that\u2019s very much in there. Not that it\u2019s hidden, but it was intentional yeah. The whole idea of this takes from colonies and microworlds like the microworld of this canyon. I was thinking of termite colonies and how the basic idea is to propagate and survive. It\u2019s something that fascinates me, it\u2019s the cycle of everything, you know? I always said with this film that I wanted to talk about big things in a very small way like a fable does.<\/p>\n

So yes, that was there, insect colonies and how they are simple yet still complicated. The motives are simple.<\/p>\n

And it\u2019s also open to wider interpretation, like the pit is like the womb of the ecosystem.<\/strong><\/p>\n

Yeah, completely. I wanted the canyon to represent that. I liked that idea because it\u2019s supposed to be a feminine space there, her space. When I saw the pictures of Utah, there was this red coloring that felt right for that.<\/p>\n

This has been a long-gestating project for you. Was it an encouraging experience? Is horror in your directorial future?<\/strong><\/p>\n

When I came back, I was like, \u2018\u2019Ugh, why did I do that? I\u2019m never gonna do that again!\u2019\u2019 But, of course, that didn\u2019t last that long. So yes, it was encouraging. Ultimately, it\u2019s always encouraging to finish anything like that. I have maximum respect for anyone who finishes any film, even if it ends up being garbage. It\u2019s such an achievement.<\/p>\n

On horror, It wasn\u2019t like I made a calculated decision to do it, well, maybe I did because horror is generally easily sellable.<\/p>\n

And flexible, I find, too.<\/strong><\/p>\n

<\/figure>\n

Exactly. I come from that world, as in when I was 14-15 I dived head first into it and didn\u2019t really come out of it until I was in my early 20s when I started branching out to a bit more, but it was really integral. It\u2019s what brought me into cinema and it holds such a special place in my heart. I love horror. Also, it\u2019s encouraging because I wasn\u2019t necessarily planning on making a horror movie, but when I was making my documentary, that was around the time The Witch, It Follows, and Hereditary came out. Before that, for the longest time, I didn\u2019t find inspiration in horror, but all of a sudden, these kinds of films kept popping up, which were the kind of horror that got me excited, and I was like, \u2018\u2019I could do that\u2019\u2019.<\/p>\n

I\u2019m actually writing something in the horror genre now that\u2019s very different. It\u2019s city-based, in New York. It\u2019s my Upper East Side body horror. It\u2019s Cronenberg meets Polanski.<\/p>\n

That does sound intriguing.<\/strong><\/p>\n

Yeah, so that\u2019s where I\u2019m at right now. I\u2019d happily make horror films for a long time, and maybe something else.<\/p>\n

Just for fun!<\/strong><\/p>\n

Haha, yes. Ultimately, you gotta go with what inspires you at the time, so it\u2019s whatever that is.<\/p>\n

The Seeding is out now on digital platforms.<\/em><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

The Seeding sees a hiker get lost in the desert, where an encounter with a gang of feral children propelled by haunting legacies traps him in a sadistic battle for survival with a frightening\u00a0endgame. Barnaby Clay, the director of The Seeding, talks to ComingSoon\u2019s Neil Bolt about filming in a canyon, the advantages of music […]<\/p>\n","protected":false},"author":127,"featured_media":9538,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[550],"tags":[],"class_list":["post-9537","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movie"],"yoast_head":"\nInterview: The Seeding Director Barnaby Clay on Desert Folk Horror and Using Music Video Experience to His Advantage | Unlock Informed Choices with Us<\/title>\n<meta name=\"description\" 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