August 6, 2025 • 43 mins
Welcome to the show. Today, we're joined by Paul Robinson, a self-taught photographer who began his career in Paris shooting fashion and celebrities. Paul's work, which has been described as blending story and image, has evolved from classic single-frame photography to a focus on abstract, narrative-driven visuals. He's a true creative who has photographed cultural icons like B.B. King. Paul's passion for storytelling and empowering new artists led him to found the NEFTI short film competition, a global initiative to support underrepresented filmmakers in emerging economies. We'll be talking to Paul about his journey, his unique approach to visual art and filmmaking, and the inspiring work he's doing with NEFTI. Stay tuned.
In this episode, we sit down with artist and photographer Paul Robinson to discuss his creative journey and work.
NEFTI
https://nefticompetition.com
Paul Robinson
https://www.linkedin.com/in/paul-robinson-11311328/
In this episode, we sit down with artist and photographer Paul Robinson to discuss his creative journey and work.
- From Fashion to Abstract: Paul shares how he transitioned from traditional fashion and celebrity photography to his current focus on abstract, narrative-driven visuals. He explains that he always loved the drama and storytelling in art, and felt limited by a single frame. This led him to experiment with multiple exposures on film, a process he calls "In Camera". This process involves layering several images onto one frame of film, with some images taking up to a year to complete. You can see this series on his website, paulrobinsonart.com.
- The Art of Collaboration: Paul discusses his approach to working with famous artists, emphasizing the importance of a collaboration between artists where you are "able to see what that person is about in the final image". He cites his long-standing working relationships with actors like Jennifer Tilly and David Arquette as examples of how these collaborations can lead to ongoing creative partnerships.
- Filmmaking and Visual Arts: For Paul, visual arts and filmmaking are very similar, both centered on storytelling. He approaches both by first writing a story to guide his vision. His love for raw, real, and intense drama, often found in French and British films, is a key influence on his storytelling.
- NEFTI Short Film Competition: Paul's desire to "give back in the arts" led him to found the NEFTI competition, which provides underrepresented filmmakers in emerging economies with the financing, mentorship, and a platform to share their voices. He's currently in South Africa at the Durban FilmMart for the seventh NEFTI competition. He recounts a story of a past winner who was featured on the cover of The Hollywood Reporter, highlighting the impact NEFTI has on participants. He also explains that a new initiative for the competition is to make a film in just three days with a skeleton crew. Panavision, a company that also donated equipment to Paul's first short film over 30 years ago, has donated all the camera and grip equipment to the NEFTI filmmakers.
- Creative Advice: Paul's advice to emerging artists is to "have no fear" and to create something every day. He believes that consistent creativity makes you a more prolific and comfortable artist.
NEFTI
https://nefticompetition.com
Paul Robinson
https://www.linkedin.com/in/paul-robinson-11311328/
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
You are listening to the IFH podcast Network.
Speaker 2 (00:06):
For more amazing filmmaking and screenwriting podcasts, just go to
ifhpodcastnetwork dot com.
Speaker 1 (00:14):
Welcome to Filmmaking Conversations with Me, your host Damien Swabey.
Today we're joined by Paul Robinson, a self taught photographer
who began his career in Paris shooting fashion and celebrities.
Paul's work, which has been described as blending's story and image,
has evolved from classic single frame photography to a focus
(00:37):
on abstract, narrative driven visuals. He's a true creative who
has photographed cultural icons like bb King. Paul's passion for
storytelling and empowering new artists led him to found the
Nefty Short Film Competition, a global initiative to support underrepresented
filmmakers in emerging economies. Are we talking to about his journey,
(01:01):
his unique approach to visual art and filmmaking, and the
inspiring work he's doing with Nefty.
Speaker 2 (01:08):
I started out with canons. Well, this is so many
years ago when I was first starting, and and then
I got a Nikon and they're both amazing cameras. But
I think what happens is you like the interface and
just the way the camera works in every way, just
you either. I think it just clicked with Nikon. I mean,
(01:29):
and like one of my friends like only uses Canons
because that worked with her. But I think once you
start with with a brand like that, you know that
when you're shooting with Canon, with cameras that are that good,
especially at that level, I think you tend to stick
with them.
Speaker 1 (01:48):
And you began your career as a self taught fashion
photographer in Paris. What inspired your shift from fashion and
celebrity photography to abstract media and narrative driven visuals.
Speaker 2 (02:02):
I've always loved the drama and the storytelling aspect of
the arts. And you know, when I was geared more
towards single classic, single frame photography, I always try to
incorporate some sort of motion because I don't know, I
just felt like a like, every time I would imagine
(02:23):
something that I was going to shoot, I would see
it as a series of, you know, fleeting moments that
I wanted to capture at least a part of, but
that could tell a story as well. And after after
a while, you know, I just started wanting. I wanted more.
(02:44):
I wanted more than I could actually put in a
single frame, and I wanted to be able to tell
an overall story about the person or or the image
itself without having to use the what was in that
one frame. So I started moving into shooting multiple exposures
(03:08):
on film, and I immediately dove into doing several images
on one frame of film, because what I could do
is I could go around, I could shoot all these
different backgrounds and bring them all into one frame, and
then I would go and the last layer would be
(03:28):
a portrait of someone. So you would get this this
multi dimensional sort of image that basically as a brand
of a portrait. I would say, but because you can
see all the other elements that are involved, it just
it started to make it far more painterly and had
(03:52):
that quality that I was looking for, and that in
some of the images there would be six months in
between layers. I would shoot a layer, rewind the film,
mark which frame it was on, and then six months later,
when I see something that I think would be nice
on top of that, pull it out to that frame,
reshoot it same on same old Some of these images
(04:14):
would take a year by time I actually finished shooting
on the frame on that particular frame of film, and
I would say that series series was really my first
departure from single frame, from the single frame image and
it continued from there.
Speaker 1 (04:33):
Wow, that's exciting. Multiple exposures. Okay, So the series that
you've mentioned, is that something we can see somewhere.
Speaker 2 (04:41):
Yes, it's called in Camera and it's on my website
which is Paul Robinson art dot com. And that is
one hundred percent shot on film, inside the camera. It's
all in camera, one hundred percent. Nothing is done in
the developer or in post or anything like that. It's
(05:01):
all camera.
Speaker 1 (05:04):
Definitely put that in the show notes so we can
all take a look at that series on your website.
Speaker 2 (05:09):
But like, because like I say, that is the first,
the first departure from from like classic photography.
Speaker 1 (05:17):
And your experience. You've had so much experience when I
was reading about you, for course, what has any done?
For example, You've photographed cultural icons like BB King, You're
studying storytelling approach in visuals and film related work. What
does that mean to you?
Speaker 2 (05:35):
Once you start to and each understand, once you start
to understand each other artistically and it becomes more of
a more of a collaboration between artists, you find that
you're really able to see what that person is about
in the final image or in the final product, and
(05:59):
it becomes something that you both enjoy doing. And when
you're working with icons or very famous artists, be it actors, musicians,
or any other type of famous artists, you know a
lot of times artists like that can be guarded, and
(06:19):
so it's very important to make them feel comfortable very quickly.
And the way to do that I've found for me
is to have a very very clear vision of what
I'm trying to accomplish in this shoot. Because if you're
an artist and they're an artist, like the one thing
that makes you one of the one of the things
I will say that makes you click is when you
(06:41):
understand each other artistically, and once that starts to happen,
I mean, I feel like art is very much about
telling a story and being able and to be a
good storyteller. And once you can make that connection with
an artist, especially someone who's an established, famous artist. And
(07:05):
when I say that, I mean established that usually that
means they've been doing it for a long time and
they are very good at what they do basically, so
and there's always something to learn from people like that.
And what I find is once I'm able to tap
into the type of storyteller they are. It just makes
(07:28):
me a better storyteller and gives me a better ability
to have the final product come out the way I
had it in my head.
Speaker 1 (07:41):
Can you give us an example of when you worked
with a famous actor and that relationship blossomed into some
beautiful photographs?
Speaker 2 (07:49):
Yes, well a few actor wise, yes, I don't know.
It's like for me for like. So when I say famous,
I mean, do you I'm not sure if you know
who Jennifer Tilly is.
Speaker 1 (08:03):
Jennifer Tilly's Vin's the best.
Speaker 2 (08:06):
She was nominated for an Oscar for Bullets over Broadway.
And I've worked with her. She's done hundreds and hundreds
of films, but I've worked with her for over thirty years.
David Arquette, you know, David and I used to shoot
all the time together. And what happens is you shoot
(08:27):
once and if you click, then all of a sudden,
it's not about shooting anymore. Now it's like, oh, let's
write this thing together. Oh let's let's see. Anytime you
have an idea, you just call each other because you
feel like creating and I and that to me was
one of the best things about growing up in la
is because you know, you are surrounded by people I
shot Ella Fitzgerald the last recording session, you know, the year,
(08:52):
surrounded by people who are in the arts, and a
lot of times with the people who are more or
in your age range or even a little younger, they
just want to create all the time. They don't care,
they just want to create. And that I am very
much that person to this day that when I wake
up in the morning, I just want to create something.
(09:14):
And a lot of times it's not even something. I
don't even know what it is yet, I just know
that I want to do something. And then you know,
you have images in your head and you figure out
how to get them out of your head basically.
Speaker 1 (09:25):
But you've described your work as blending story and image.
How do you define narrative in your visual art and
how does it relate to filmmaking?
Speaker 2 (09:34):
So you know, for me, I find visual arts and
filmmaking to be very similar on so many levels. But
the number one level for me, I think, is about
storytelling and especially if whatever whichever type of art it is,
(09:57):
if you're telling that story with a human element in it,
which I almost always do then the storytelling becomes very
very particular and very similar. And I've been writing and
directing for most of my career. Even though visual arts
(10:19):
was my main focus, I still had written, you know,
was writing scripts, shooting short films. She shot a lot
of music videos, commercials, and and for me, I come
up like I approach both visual arts and filmmaking in
the same way. I start with the story. I write
(10:41):
the story. Whatever's in my head comes out as a story.
Even if it's just going to be a you know,
single image of visual arts, I still create it by
writing out the story that's in my head. And it's
a same for me with film, because it's so important
(11:03):
to know where you're going in the beginning. I mean, obviously,
you know, very often in certain situations, you start the
project and it just starts to become something else. But
it's very important to know, you know your goals and
be in the basic story. And I think that's for
(11:27):
me that it's very similar with visual arts as it
is with film goals.
Speaker 1 (11:34):
I mean, one of your goals was and is to
have a global vision and empower new filmmakers, and you
found it nefty. The short film competition to support underrepresented
filmmakers in emerging economies. What sparked that initiative and what
kind of impact do you see?
Speaker 2 (11:53):
Well, that's interesting you're talking about that right now because
I'm in South Africa at Durban Film Art creating a
new NEFTI right now. And you know, a new It's
not I'm not creating. I mean when I say that,
I should say, you know, I'm here filming a new
NEFTI competition. And when I first started it, a friend
(12:15):
of mine has a foundation called i EFTA and they
help filmmakers in emerging economies, and I was talking to
him about it, and you know, I was just really thinking.
I was thinking, you know, I always wanted to figure
out a way to give back in the arts because
I've always felt that, Excuse me that, I've always felt
(12:38):
that I had so many people who supported me in
my journey and still do, and growing up in LA
I had a lot of opportunities that most people just
don't have, especially in emerging economies and places where the
business doesn't exist, you know, so don't have the support
(13:02):
and the mentors and people like that, and you really
sort of have to teach yourself and figure your way
through and very often your voice is never heard because
you have no way to get it out there. And
so I wanted to figure out a way to bring
a little bit of that to some of these countries
and to some of these filmmakers, to give them an
(13:23):
opportunity to grow and learn and put them on a
world stage so that people have the opportunity to see
their films, people have an opportunity to hear their voice.
And it's been unbelievable. I mean, the impact has been
(13:45):
so crazy, especially you know, one of the filmmakers who
won the competition one year. This is I think this
is my seventh competition that we're doing this weekend, and
the one of the filmmakers who won, I think he
won the third competition and I screened at it at
(14:05):
the Berlin Alley and the Hollywood Reporter put him on
the cover the next day because he wont which is
how do you even know? So because the next morning,
I guess he woke up before I hadn't seen any press,
any of the press or anything yet, and he called
me in. He was freaking out. He's like, what's happening?
(14:25):
And I said what? And then I looked and it's
just such an amazing thing. And and it's that's just
one small thing. I mean that the filmmakers are so
grateful and works so hard and and frankly very often
(14:49):
can't even believe that somebody's helping them. Ye and you know,
and one of the unique things about the Nafty Competition,
which is what I wanted to do, is I give
the filmmaker the money to make their films to then
be able to compete with which whereas you know, most competitions,
(15:09):
you have to up to you to get that film
for that film in that you want to compete with.
But in this situation, we actually give them the money
and and help them and mentor them. I spend you know,
for the thirty days that they are that they have
to create their films. I mentor them. They have to
(15:32):
call in with me a minimum of once a once
a week, tell me how it's going. I help them
figure their way out of you know, obstacles and around
obstacles and overhurdles and things like that. And the feeling
is amazing, you know. They they are so like I said,
they're so grateful. And what's even more satisfying than them
(15:58):
being grateful and thankful and everything like that is actually
seeing what they've created and how they've overcome these hurdles
and created this film, and then where they've gone on
from there, you know, and I stay in touch with them.
I talk to them. You know, one of the filmmakers
(16:19):
who won, she won like four years ago. She's here.
I see her all the time. Sometimes I take them
to some of the festivals with me to introduce them
to people. And right now we're doing I'm doing a
completely different style of NEFTY for this year's DFM. And
(16:44):
usually all the Nefties up until now, I've been the
same where you have the thirty days to make your
film and all these different rules, and this one I'm
making them create. They only have three days to do
their film from start to finish, you know, into editing,
including posts, including everything. And one of the rules I
threw in there is that one of the pivotal scenes
(17:05):
has to be shot at DFM. So just to throw
a little more, a little more make it easier for
him difficult, yes, yes, make you seem more challenging. And
it's fantastic, you know. Panavision has donated all the equipment
for the filmmakers, all the all the cameras and grip
(17:29):
and they've just Panavision is such an amazing company. I
mean they when I did my first short film over
thirty years ago, I didn't have money or anything to
make this film. They donated all the cameras to me.
So when I think about the fact that over thirty
(17:50):
years later, they're still doing that exact same thing, helping
filmmakers who don't have the means to realize their dreams
or realize their film, and there they are, I mean,
just doing the same thing. I asked them if they
would help. It wasn't even a question.
Speaker 1 (18:06):
You know, Osh, that is amazing. Panavisions sound very kind.
Similar to Black Magic. Da Vinci resolved that company. They
do some of the similar things that Panavision do. And
it's important for people to be able to make projects
in emerging countries, as you will know, and as you
have said, but where does it come from? What you're
(18:28):
doing is incredibly generous kind. They must take up so
much of your time. What inspired you or what inside
you make you want to do something like nefty?
Speaker 2 (18:39):
I think, well, it's somewhere, and it does. It takes
it takes a lot of time, but I think that's
one of the things that I really enjoy about it
is that I learn a lot from these filmmakers, and
I learn a lot from their resilience and and just
(19:02):
just watching the way they work, because it's so easy
when you've done all this and you've had this career
and it's still going, but it's on a totally different level.
It's it's I feel like it's such an important thing
to stay grounded and in the new generation of these filmmakers,
(19:23):
in the new generation of people, and and and selfishly,
you get so much reward just internally, I just it
just feels good to to help, you know, to help
them out and to be a part of their lives
and to have them look up to you, and and
(19:44):
you feel like you're actually making a difference, which is
which I think is really important to keeping to keeping
people active in helping other people. I think, you know,
there's definitely a point where it's important to know that
(20:08):
you're making a difference, because if you don't know that
and you're trying to help people but you're not seeing
the growth or you're not seeing the difference that it's making,
it can always, you know, make you feel like well,
what's the point why am I doing this? So Fortunately,
with NEFTI it is growing, It's grown very rapidly. It's
(20:32):
it's it's something that I find to be extremely satisfying.
It's you know, it's obviously not not my day job,
because I have NEFT and my career in my heart,
all these different things. But I feel like if I
weren't so busy, I wouldn't do anything.
Speaker 1 (20:53):
So is there any particular voice or storytelling style that
you're drawn into.
Speaker 2 (21:00):
For me? It's drama for me. It's definitely drama for me.
It's it's drama that is unique, yeah, raw and real,
not necessarily the big studio drama because very often, you know,
when you when you have to answer for zillions and
(21:23):
zillions of dollars you need, kind of often you lose
track of the art of it all and you start
to go so heavily into the commercial aspect of it all,
and I think you very often the story and the
drama of the story is lost. So I am more
of a intense sort of drama. I love dialogue. Don't
(21:49):
get me wrong, I love action too, but I love
dialogue and I love the human the story, the element,
the human element of stories, you know, something you find
very often in French films, you know, I find in
French films I also find in British British as well,
(22:10):
but also British crime dramas and stories like that, because
I watch a lot of that you just feel they're
so raw and real, you know, and they're just so
they're so emotional. Things that happen that just completely cuts
you off guard and that are devastating in some of
these productions. And I I that. So I would say
(22:32):
that's sort of what moves me in storing storytelling is
really some you know, some something that's that I'm when
I'm watching it, I feel like this is real, It's
it's gritty, in acting is phenomenal, you know, and and
that so that for me, it's that it's it's drama
(22:54):
and and most often that it's fiction.
Speaker 1 (22:58):
You mentioned Hollywood, just their big studio productions. The comment
for us to say the recent Nefty panel included Hollywood
names like Visia A. Fox and Bruce Cohen. What does
it mean to bring these worlds, grassroots creatives and industry
veterans into the same conversation?
Speaker 2 (23:18):
Vib K Fox, She's an actress of producer director. She
kind of does it all. And the Cohen who was
won the Oscar for producing American Beauty but has also
done many other films Milk, Silver Linings, Playbook, he just
did Rusting, Wow, and he's so another amazing producer artists
(23:47):
and Reson. And then Ted Galliato who is the future
post production president of twentieth Century Fox and now twenty
six Fox Disney and so he's done just millions and
millions of films. And the reason I chose these three
is because they all bring something different to the table.
(24:10):
But the one thing they all bring to the table
is experience. And so when I go out to these filmmakers,
I tell them who they have to pitch to. That
is just they're just over the moon, like they can't
even believe that they're actually pitching to these to these people.
And you can see it. Well they tell you anyway,
(24:30):
but you can really see it. And because the way
the NFTY competition works is, you know, hundreds of people apply,
I narrow it down to my ten favorites off of
their synopsis. Ten have to pitch their idea to that
panel of judges, and the judges are very strict like
(24:53):
they you know, you have to be so prepared, you
have to have visuals, you have to do all these
different things. And those judges narrowed down to three, and
those are the three that I then financed to make
their films and then they compete for the Grand prize.
And so having those three judges, especially in the beginning,
(25:19):
it really brought legitimacy to the competition, because when I
first started, nifty was nothing, you know, I just that's
going out and asking my friends to help. And if
anyone had a network that I could get that where
I could find filmmakers and that kind of thing. You know,
I really needed that kind of legitimacy to get partners
(25:43):
to attach and and and different parts of the competition
in order to make them work. And and so now
it's a situation where, you know, I can't even imagine
doing Nefty without them. Every time we talk about you know,
the judges, pitches, the judges, you know, when they choose
(26:05):
to win, or all this kind of stuff, we're all
And now also I love watching the dynamic between the
two of them or the three of them. Sorry to
watching the dynamic between three of them, because not everyone's
on the same page at first, but then they try it,
then they like explaining the point of view, and then
you see someone else changing their mind and all this
kind of stuff. So it's it's it's really a fun
(26:26):
experience for me having them be a part of it.
We're all very close friends, So yeah, I think that's
that's why I thought. I think having their voice attached
to NEFTY is really something special and something that helps
the competition continue.
Speaker 1 (26:47):
So how do you see NEFTY evolve in the next
few years. Would it be new initiatives or programs to
expand them, would it be would it be feature filmed
as whether short films or what will be happening?
Speaker 2 (27:01):
Well, I think the first step and I'm not saying
that this is going to be the direction of NEFTY,
it just is the direction for this particular NEFTY in DFM,
where it's the whole theme is the art of gorilla filmmaking,
you know, because I find like NEFTI is all about education.
Really for me, it's all about helping filmmakers acquire skills
(27:24):
they may not have had the opportunity to acquire in
the past. So to me, for example, that's why pitching
is such a huge part of NEFTI because pitching is
one of the most important things about being a filmmaker,
and in many situations, including NEFTI, it decides whether your
(27:45):
film gets made. This gorilla filmmaking, I think it's so
important pivot on a dime. If things aren't going right,
mean you need to still be able to figure out
your way forward and finish your film. You can't get
so freaked out that something didn't go right. You have
to be able to think on your toes. You have
(28:06):
to be able to make things work quickly. It teaches
you to work closer with your team and with your
crew and everyone else. And so that's why I came
up with the idea to do this particular nifty like this,
just to bring a new exciting element to it for
this particular one. Also, DFM is such a good partners
(28:30):
partner of ours that I wanted to incorporate them as
well in this. And it seems like, you know, it
starts tomorrow, so the filmmakers we you know, we just
had all the sort of the tech check with Panavision
and everything upstairs, and now the filmmakers are starting I
(28:52):
think at five in the morning tomorrow. Oh yeah, yeah,
exactly from us a multiple location, and so you know,
it's like, yeah, but you know, it's funny. I just
I was just talking to all three of them, and
I think they really have it together. Like I think
(29:13):
they really figured it out, which is only surprising in
the fact that they only found out that they were
chosen last week. So yeah, so it's it's one of
those things that you know, hopefully all of this will
continue tomorrow and they'll still be on the ball and
(29:34):
everything like that. The good news is, you know, we
have some pretty well here and all ready to help
if there are you know, any emergencies or anything like that,
or somebody they can't figure their way out of a situation.
I'm here and several other people are here too for
(29:56):
that reason to help them succeed, because you know, there
is only one winner in terms of prize. But I
feel like, look, you've already been chosen, so you're already
a winner because you're creating money and not money like
like as winningly, but you're getting financing to create this
(30:18):
film that you'll be able to then use for anything
you want to promote your career. You know, you'll be
able to have this reel, you know what I mean,
and the skill of it all. So I'm excited to
see how it goes. And at the end of the day,
(30:38):
you know, you really really want them to succeed. What's
important to me also, sorry, when I'm in Africa is
Africa's is you know, a massive continent and there are
so many countries and so much talent, And what I
wanted to try and stay away from is just because
this festival is in South Africa, is only having South
(31:01):
African filmmakers, and you know, because also the festival is
very diverse across the continent as well, so it's you
really you know, I had a lot of filmmakers apply
and some of the filmmakers I've had amazing filmmakers in
the past from many different countries in Africa. So I
(31:24):
was hoping that this time I somehow would just end
up being three filmmakers from three different countries. But it
didn't work out that way. Because you have to choose
who's the best and or who's I shouldn't even say
who's best, I should say you have to choose who
got their point across the best in their application and
(31:50):
who what is the likelihood that they're going to be
able to pull this off because some of I mean, honestly,
I would say with this nefty in the app locations, MH.
Probably the most amazing story themes and that I've that
I've seen since we started n f D. And some
(32:12):
of these were so intense and so involved that I
was just I was thinking to myself, I'm there's just
no way. Yeah, there's no way they're gonna be able
to pull this up. But even even then, there's I
have chosen people like that if they stuck to the theme,
(32:33):
because the theme this year is bridges not borders, and
so I really wanted to make sure the.
Speaker 1 (32:41):
Stories followed that I see. And these young filmmakers have
only got three days, which is an incredible, incredible hard
challenge which I'll learn a lot from them. I'm sure
what type of cruis are involved? Is it small crews?
Are the director self shooting.
Speaker 2 (33:00):
Very weird talking skeleton crews, like you know, some of
them have two people, some of them have some of
them it's the director and the and the DP, you know,
and it's like and then you know, depending on in
who the actors, Like, I think with one of them,
(33:21):
he's going to act as well. Uh. And I've seen
like like with one of our filmmakers that won, he acted, produce, wrote, shot,
they did everything. So it's there. I try and encourage
that not to happen because I think collaboration and crew
(33:44):
and uh, and those relationships are extremely important and with
filmmaking and especially important for your future because you know,
having that community around you not only helps you grow,
but it also gives you somewhere to go. If you
(34:05):
want to create something, you have the people around you
to do that. So I try and have them not
be the jack of all trades, you know what I mean.
I try and have them no, you know, go work
with somebody, Go to grow your community. And and because
it's it's, it'll be, it'll help you in your future certainly.
Speaker 1 (34:26):
Will you mentioned bridges not borders, and many of your
works explore identity, environment and layer in perception. How do
you use these themes or how do these themes show
up in the filmmaker's nefty supports?
Speaker 2 (34:45):
I would say because because of those aspects of filmmaking
are so important to me, I suppose that that's sort
of the type of filmmaker I'm looking for when I'm
looking for filmmakers. If Nefty, I'm always open to being
(35:09):
steered in another direction if a filmmaker. I've had filmmakers
before who who when I with my idea and theme
that I had in mind for that particular Nefty. I've
had filmmakers who have just come up with something so
incredible and I'm like, you know what, let me open
this up, like it's a shame to not you know,
(35:33):
allow that voice to come through, you know what I mean.
So I think that's probably how the way, that's probably
how the way I approach stories and film comes out
in these Nefty filmmakers, but definitely in their own unique way.
Speaker 1 (35:58):
And once these films are made, is it possible for
someone like myself in the UK to see them?
Speaker 2 (36:04):
Yes. So there's all the films that are on the website,
I want to say they are. Yes, all the filmmakers are,
all the films are on the website, which is nefticompetition
dot com. But we also are setting up a few
other platforms where you can see the films, you can
(36:28):
see behind the scenes, you can see interviews with the filmmakers,
and trying to make NEFTY an overall experience for the
viewer for other filmmakers who want to apply. Another big
thing that I've learned is like, you know, people are
afraid to apply because they don't think they're good enough,
(36:50):
because they don't think they'll win, because they don't think
they'll get chosen. And I'm telling you there have been
situations where we chose a filmmaker and he will is
comletely blindsided. He thought there is absolutely no way on
this planet that they're going to choose me, and he
was amazing. But people need encouragement. Are you doing this
(37:16):
site right now and trying to figure out different ways
to promote nafty with the information that people are looking for.
So filmmakers can go on that site, they can see
behind the scenes, they can see how it works, they
can see the rules, interviews, and feel so much closer
to the project so that it's not such a huge
(37:41):
trauma to reply.
Speaker 1 (37:44):
You know, yesterday you were in London. You said today
you're in South Africa. I think you're based in LA.
Speaker 2 (37:51):
I could be wrong.
Speaker 1 (37:52):
You are based in LA and you visited places like
Hong Kong. Also, all of this, all of this traveling
you do is great. So how do you how do
these cultural context in different places shape you up.
Speaker 2 (38:05):
I think my art, and like with most artists, in
mine in particular, because I do travel so much and
my experiences are such a large part of my art,
they visually you go through most of my work, there's
an element of travel involved in it. In the city
(38:28):
cities are what actually inspire me very very much. So
I just get when I'm in a city, this is
a situation. I always feel very inspired and very creative,
and so much of my work there's an element of
a particular city Paris is throughout, but there it's very
(38:51):
very city based, people based, because like I said earlier,
you know, the human element is extremely important to me.
And I would say that's that's how my art is influenced.
By traveling so much and being a part of different cultures.
(39:11):
I wouldn't say that I create things for a culture.
Like when I have executions in all these cities, usually
create something that I think is going to make them
understand my art better. I do create things that have
(39:32):
an element of that city. And then, for example, when
I exhibit in London, and since because I'm there so much,
there usually is some element of London in there. But
when I first started going to Hong Kong to exhibit.
I hadn't shot there before, so I made a trip
(39:54):
to go shoot there and have some material to intertwine
into my work, my existing style, everything like that. But
that just had an element of Hong Kong in it,
and that that was just to as more of an
ode to the city than it was to get people
in that particular city to like my art.
Speaker 1 (40:19):
And Paris aside in your opinion, what is the best
city to maybe live in, stay in for a period
of time and be your most creative I would have to.
Speaker 2 (40:28):
Say London, And then because la is my favorite place
in the world, so but that doesn't count. And then
Paris doesn't count because I already lived there, lived there
in the past, and I've shot so much of my
art has an element of Paris, so we'll put that
aside as well. So I yeah, I would have to
say London, Honting. There's so much there, you know.
Speaker 1 (40:54):
And lastly, what advice would you give to emerging filmmakers
or storytellers trying to find a voice in today's false
move and creative landscape.
Speaker 2 (41:03):
I think a number one. I would tell them, have
no fear, Have no fear create everything that comes into
your head and create it all the time, because your
creativity is one of the things that you have absolute
control over. You can create, you can work, you can
(41:23):
wake up every single morning and create something. It'll make
you a better artist. Yeah, it will make you more prolific,
It'll make you understand your craft better, and it'll make
you It'll make you a more comfortable artist. And when
I say comfortable, it's it makes you more comfortable in
your own skin as an artist. Very many artists are like, oh,
(41:46):
I'm not an artist. Oh, I'm not an artist. You
know that kind of thing, your own worst enemy. Yeah,
you know something that is very common in artists, especially
in the beginning of your career. Artists really need encouragement
and and then you know, and hopefully they have the
(42:09):
drive and the passion to make it a reality. But
if you fear creating something, then you're just putting a
roadblock in front of you. And there is no fear
to create to there there there shouldn't be any fear.
It's you, you don't like it, throw it away, you know,
(42:31):
and then do something else and then try again and
again and again. But you know, you shouldn't have the
fear of putting the pin to paper, putting the brush
to the canvas, picking up the camera, and just just
playing around and trying to get whatever images are in
your head out of your head and onto paper canvas something,
(42:54):
you know. And I think that's just that's that's what
I would tell. That's what I would tell young up
and coming artists or artists in general who can't or
feel like they can't find their pat And that's how
I try and live my life as an artist.
Speaker 1 (43:13):
Great advice from a talented, great man. Thank you so
much for coming on, Paul. I really appreciate you taking
time to speak to me, and I can't wait to
look at the Nefty website and some more of those
films as well as your website and all of your work.
Speaker 2 (43:26):
Thank you so much, Damien, it's really great talking to you.
You are listening to the IFH podcast Network.
Speaker 2 (00:06):
For more amazing filmmaking and screenwriting podcasts, just go to
ifhpodcastnetwork dot com.
Speaker 1 (00:14):
Welcome to Filmmaking Conversations with Me, your host Damien Swabey.
Today we're joined by Paul Robinson, a self taught photographer
who began his career in Paris shooting fashion and celebrities.
Paul's work, which has been described as blending's story and image,
has evolved from classic single frame photography to a focus
(00:37):
on abstract, narrative driven visuals. He's a true creative who
has photographed cultural icons like bb King. Paul's passion for
storytelling and empowering new artists led him to found the
Nefty Short Film Competition, a global initiative to support underrepresented
filmmakers in emerging economies. Are we talking to about his journey,
(01:01):
his unique approach to visual art and filmmaking, and the
inspiring work he's doing with Nefty.
Speaker 2 (01:08):
I started out with canons. Well, this is so many
years ago when I was first starting, and and then
I got a Nikon and they're both amazing cameras. But
I think what happens is you like the interface and
just the way the camera works in every way, just
you either. I think it just clicked with Nikon. I mean,
(01:29):
and like one of my friends like only uses Canons
because that worked with her. But I think once you
start with with a brand like that, you know that
when you're shooting with Canon, with cameras that are that good,
especially at that level, I think you tend to stick
with them.
Speaker 1 (01:48):
And you began your career as a self taught fashion
photographer in Paris. What inspired your shift from fashion and
celebrity photography to abstract media and narrative driven visuals.
Speaker 2 (02:02):
I've always loved the drama and the storytelling aspect of
the arts. And you know, when I was geared more
towards single classic, single frame photography, I always try to
incorporate some sort of motion because I don't know, I
just felt like a like, every time I would imagine
(02:23):
something that I was going to shoot, I would see
it as a series of, you know, fleeting moments that
I wanted to capture at least a part of, but
that could tell a story as well. And after after
a while, you know, I just started wanting. I wanted more.
(02:44):
I wanted more than I could actually put in a
single frame, and I wanted to be able to tell
an overall story about the person or or the image
itself without having to use the what was in that
one frame. So I started moving into shooting multiple exposures
(03:08):
on film, and I immediately dove into doing several images
on one frame of film, because what I could do
is I could go around, I could shoot all these
different backgrounds and bring them all into one frame, and
then I would go and the last layer would be
(03:28):
a portrait of someone. So you would get this this
multi dimensional sort of image that basically as a brand
of a portrait. I would say, but because you can
see all the other elements that are involved, it just
it started to make it far more painterly and had
(03:52):
that quality that I was looking for, and that in
some of the images there would be six months in
between layers. I would shoot a layer, rewind the film,
mark which frame it was on, and then six months later,
when I see something that I think would be nice
on top of that, pull it out to that frame,
reshoot it same on same old Some of these images
(04:14):
would take a year by time I actually finished shooting
on the frame on that particular frame of film, and
I would say that series series was really my first
departure from single frame, from the single frame image and
it continued from there.
Speaker 1 (04:33):
Wow, that's exciting. Multiple exposures. Okay, So the series that
you've mentioned, is that something we can see somewhere.
Speaker 2 (04:41):
Yes, it's called in Camera and it's on my website
which is Paul Robinson art dot com. And that is
one hundred percent shot on film, inside the camera. It's
all in camera, one hundred percent. Nothing is done in
the developer or in post or anything like that. It's
(05:01):
all camera.
Speaker 1 (05:04):
Definitely put that in the show notes so we can
all take a look at that series on your website.
Speaker 2 (05:09):
But like, because like I say, that is the first,
the first departure from from like classic photography.
Speaker 1 (05:17):
And your experience. You've had so much experience when I
was reading about you, for course, what has any done?
For example, You've photographed cultural icons like BB King, You're
studying storytelling approach in visuals and film related work. What
does that mean to you?
Speaker 2 (05:35):
Once you start to and each understand, once you start
to understand each other artistically and it becomes more of
a more of a collaboration between artists, you find that
you're really able to see what that person is about
in the final image or in the final product, and
(05:59):
it becomes something that you both enjoy doing. And when
you're working with icons or very famous artists, be it actors, musicians,
or any other type of famous artists, you know a
lot of times artists like that can be guarded, and
(06:19):
so it's very important to make them feel comfortable very quickly.
And the way to do that I've found for me
is to have a very very clear vision of what
I'm trying to accomplish in this shoot. Because if you're
an artist and they're an artist, like the one thing
that makes you one of the one of the things
I will say that makes you click is when you
(06:41):
understand each other artistically, and once that starts to happen,
I mean, I feel like art is very much about
telling a story and being able and to be a
good storyteller. And once you can make that connection with
an artist, especially someone who's an established, famous artist. And
(07:05):
when I say that, I mean established that usually that
means they've been doing it for a long time and
they are very good at what they do basically, so
and there's always something to learn from people like that.
And what I find is once I'm able to tap
into the type of storyteller they are. It just makes
(07:28):
me a better storyteller and gives me a better ability
to have the final product come out the way I
had it in my head.
Speaker 1 (07:41):
Can you give us an example of when you worked
with a famous actor and that relationship blossomed into some
beautiful photographs?
Speaker 2 (07:49):
Yes, well a few actor wise, yes, I don't know.
It's like for me for like. So when I say famous,
I mean, do you I'm not sure if you know
who Jennifer Tilly is.
Speaker 1 (08:03):
Jennifer Tilly's Vin's the best.
Speaker 2 (08:06):
She was nominated for an Oscar for Bullets over Broadway.
And I've worked with her. She's done hundreds and hundreds
of films, but I've worked with her for over thirty years.
David Arquette, you know, David and I used to shoot
all the time together. And what happens is you shoot
(08:27):
once and if you click, then all of a sudden,
it's not about shooting anymore. Now it's like, oh, let's
write this thing together. Oh let's let's see. Anytime you
have an idea, you just call each other because you
feel like creating and I and that to me was
one of the best things about growing up in la
is because you know, you are surrounded by people I
shot Ella Fitzgerald the last recording session, you know, the year,
(08:52):
surrounded by people who are in the arts, and a
lot of times with the people who are more or
in your age range or even a little younger, they
just want to create all the time. They don't care,
they just want to create. And that I am very
much that person to this day that when I wake
up in the morning, I just want to create something.
(09:14):
And a lot of times it's not even something. I
don't even know what it is yet, I just know
that I want to do something. And then you know,
you have images in your head and you figure out
how to get them out of your head basically.
Speaker 1 (09:25):
But you've described your work as blending story and image.
How do you define narrative in your visual art and
how does it relate to filmmaking?
Speaker 2 (09:34):
So you know, for me, I find visual arts and
filmmaking to be very similar on so many levels. But
the number one level for me, I think, is about
storytelling and especially if whatever whichever type of art it is,
(09:57):
if you're telling that story with a human element in it,
which I almost always do then the storytelling becomes very
very particular and very similar. And I've been writing and
directing for most of my career. Even though visual arts
(10:19):
was my main focus, I still had written, you know,
was writing scripts, shooting short films. She shot a lot
of music videos, commercials, and and for me, I come
up like I approach both visual arts and filmmaking in
the same way. I start with the story. I write
(10:41):
the story. Whatever's in my head comes out as a story.
Even if it's just going to be a you know,
single image of visual arts, I still create it by
writing out the story that's in my head. And it's
a same for me with film, because it's so important
(11:03):
to know where you're going in the beginning. I mean, obviously,
you know, very often in certain situations, you start the
project and it just starts to become something else. But
it's very important to know, you know your goals and
be in the basic story. And I think that's for
(11:27):
me that it's very similar with visual arts as it
is with film goals.
Speaker 1 (11:34):
I mean, one of your goals was and is to
have a global vision and empower new filmmakers, and you
found it nefty. The short film competition to support underrepresented
filmmakers in emerging economies. What sparked that initiative and what
kind of impact do you see?
Speaker 2 (11:53):
Well, that's interesting you're talking about that right now because
I'm in South Africa at Durban Film Art creating a
new NEFTI right now. And you know, a new It's
not I'm not creating. I mean when I say that,
I should say, you know, I'm here filming a new
NEFTI competition. And when I first started it, a friend
(12:15):
of mine has a foundation called i EFTA and they
help filmmakers in emerging economies, and I was talking to
him about it, and you know, I was just really thinking.
I was thinking, you know, I always wanted to figure
out a way to give back in the arts because
I've always felt that, Excuse me that, I've always felt
(12:38):
that I had so many people who supported me in
my journey and still do, and growing up in LA
I had a lot of opportunities that most people just
don't have, especially in emerging economies and places where the
business doesn't exist, you know, so don't have the support
(13:02):
and the mentors and people like that, and you really
sort of have to teach yourself and figure your way
through and very often your voice is never heard because
you have no way to get it out there. And
so I wanted to figure out a way to bring
a little bit of that to some of these countries
and to some of these filmmakers, to give them an
(13:23):
opportunity to grow and learn and put them on a
world stage so that people have the opportunity to see
their films, people have an opportunity to hear their voice.
And it's been unbelievable. I mean, the impact has been
(13:45):
so crazy, especially you know, one of the filmmakers who
won the competition one year. This is I think this
is my seventh competition that we're doing this weekend, and
the one of the filmmakers who won, I think he
won the third competition and I screened at it at
(14:05):
the Berlin Alley and the Hollywood Reporter put him on
the cover the next day because he wont which is
how do you even know? So because the next morning,
I guess he woke up before I hadn't seen any press,
any of the press or anything yet, and he called
me in. He was freaking out. He's like, what's happening?
(14:25):
And I said what? And then I looked and it's
just such an amazing thing. And and it's that's just
one small thing. I mean that the filmmakers are so
grateful and works so hard and and frankly very often
(14:49):
can't even believe that somebody's helping them. Ye and you know,
and one of the unique things about the Nafty Competition,
which is what I wanted to do, is I give
the filmmaker the money to make their films to then
be able to compete with which whereas you know, most competitions,
(15:09):
you have to up to you to get that film
for that film in that you want to compete with.
But in this situation, we actually give them the money
and and help them and mentor them. I spend you know,
for the thirty days that they are that they have
to create their films. I mentor them. They have to
(15:32):
call in with me a minimum of once a once
a week, tell me how it's going. I help them
figure their way out of you know, obstacles and around
obstacles and overhurdles and things like that. And the feeling
is amazing, you know. They they are so like I said,
they're so grateful. And what's even more satisfying than them
(15:58):
being grateful and thankful and everything like that is actually
seeing what they've created and how they've overcome these hurdles
and created this film, and then where they've gone on
from there, you know, and I stay in touch with them.
I talk to them. You know, one of the filmmakers
(16:19):
who won, she won like four years ago. She's here.
I see her all the time. Sometimes I take them
to some of the festivals with me to introduce them
to people. And right now we're doing I'm doing a
completely different style of NEFTY for this year's DFM. And
(16:44):
usually all the Nefties up until now, I've been the
same where you have the thirty days to make your
film and all these different rules, and this one I'm
making them create. They only have three days to do
their film from start to finish, you know, into editing,
including posts, including everything. And one of the rules I
threw in there is that one of the pivotal scenes
(17:05):
has to be shot at DFM. So just to throw
a little more, a little more make it easier for
him difficult, yes, yes, make you seem more challenging. And
it's fantastic, you know. Panavision has donated all the equipment
for the filmmakers, all the all the cameras and grip
(17:29):
and they've just Panavision is such an amazing company. I
mean they when I did my first short film over
thirty years ago, I didn't have money or anything to
make this film. They donated all the cameras to me.
So when I think about the fact that over thirty
(17:50):
years later, they're still doing that exact same thing, helping
filmmakers who don't have the means to realize their dreams
or realize their film, and there they are, I mean,
just doing the same thing. I asked them if they
would help. It wasn't even a question.
Speaker 1 (18:06):
You know, Osh, that is amazing. Panavisions sound very kind.
Similar to Black Magic. Da Vinci resolved that company. They
do some of the similar things that Panavision do. And
it's important for people to be able to make projects
in emerging countries, as you will know, and as you
have said, but where does it come from? What you're
(18:28):
doing is incredibly generous kind. They must take up so
much of your time. What inspired you or what inside
you make you want to do something like nefty?
Speaker 2 (18:39):
I think, well, it's somewhere, and it does. It takes
it takes a lot of time, but I think that's
one of the things that I really enjoy about it
is that I learn a lot from these filmmakers, and
I learn a lot from their resilience and and just
(19:02):
just watching the way they work, because it's so easy
when you've done all this and you've had this career
and it's still going, but it's on a totally different level.
It's it's I feel like it's such an important thing
to stay grounded and in the new generation of these filmmakers,
(19:23):
in the new generation of people, and and and selfishly,
you get so much reward just internally, I just it
just feels good to to help, you know, to help
them out and to be a part of their lives
and to have them look up to you, and and
(19:44):
you feel like you're actually making a difference, which is
which I think is really important to keeping to keeping
people active in helping other people. I think, you know,
there's definitely a point where it's important to know that
(20:08):
you're making a difference, because if you don't know that
and you're trying to help people but you're not seeing
the growth or you're not seeing the difference that it's making,
it can always, you know, make you feel like well,
what's the point why am I doing this? So Fortunately,
with NEFTI it is growing, It's grown very rapidly. It's
(20:32):
it's it's something that I find to be extremely satisfying.
It's you know, it's obviously not not my day job,
because I have NEFT and my career in my heart,
all these different things. But I feel like if I
weren't so busy, I wouldn't do anything.
Speaker 1 (20:53):
So is there any particular voice or storytelling style that
you're drawn into.
Speaker 2 (21:00):
For me? It's drama for me. It's definitely drama for me.
It's it's drama that is unique, yeah, raw and real,
not necessarily the big studio drama because very often, you know,
when you when you have to answer for zillions and
(21:23):
zillions of dollars you need, kind of often you lose
track of the art of it all and you start
to go so heavily into the commercial aspect of it all,
and I think you very often the story and the
drama of the story is lost. So I am more
of a intense sort of drama. I love dialogue. Don't
(21:49):
get me wrong, I love action too, but I love
dialogue and I love the human the story, the element,
the human element of stories, you know, something you find
very often in French films, you know, I find in
French films I also find in British British as well,
(22:10):
but also British crime dramas and stories like that, because
I watch a lot of that you just feel they're
so raw and real, you know, and they're just so
they're so emotional. Things that happen that just completely cuts
you off guard and that are devastating in some of
these productions. And I I that. So I would say
(22:32):
that's sort of what moves me in storing storytelling is
really some you know, some something that's that I'm when
I'm watching it, I feel like this is real, It's
it's gritty, in acting is phenomenal, you know, and and
that so that for me, it's that it's it's drama
(22:54):
and and most often that it's fiction.
Speaker 1 (22:58):
You mentioned Hollywood, just their big studio productions. The comment
for us to say the recent Nefty panel included Hollywood
names like Visia A. Fox and Bruce Cohen. What does
it mean to bring these worlds, grassroots creatives and industry
veterans into the same conversation?
Speaker 2 (23:18):
Vib K Fox, She's an actress of producer director. She
kind of does it all. And the Cohen who was
won the Oscar for producing American Beauty but has also
done many other films Milk, Silver Linings, Playbook, he just
did Rusting, Wow, and he's so another amazing producer artists
(23:47):
and Reson. And then Ted Galliato who is the future
post production president of twentieth Century Fox and now twenty
six Fox Disney and so he's done just millions and
millions of films. And the reason I chose these three
is because they all bring something different to the table.
(24:10):
But the one thing they all bring to the table
is experience. And so when I go out to these filmmakers,
I tell them who they have to pitch to. That
is just they're just over the moon, like they can't
even believe that they're actually pitching to these to these people.
And you can see it. Well they tell you anyway,
(24:30):
but you can really see it. And because the way
the NFTY competition works is, you know, hundreds of people apply,
I narrow it down to my ten favorites off of
their synopsis. Ten have to pitch their idea to that
panel of judges, and the judges are very strict like
(24:53):
they you know, you have to be so prepared, you
have to have visuals, you have to do all these
different things. And those judges narrowed down to three, and
those are the three that I then financed to make
their films and then they compete for the Grand prize.
And so having those three judges, especially in the beginning,
(25:19):
it really brought legitimacy to the competition, because when I
first started, nifty was nothing, you know, I just that's
going out and asking my friends to help. And if
anyone had a network that I could get that where
I could find filmmakers and that kind of thing. You know,
I really needed that kind of legitimacy to get partners
(25:43):
to attach and and and different parts of the competition
in order to make them work. And and so now
it's a situation where, you know, I can't even imagine
doing Nefty without them. Every time we talk about you know,
the judges, pitches, the judges, you know, when they choose
(26:05):
to win, or all this kind of stuff, we're all
And now also I love watching the dynamic between the
two of them or the three of them. Sorry to
watching the dynamic between three of them, because not everyone's
on the same page at first, but then they try it,
then they like explaining the point of view, and then
you see someone else changing their mind and all this
kind of stuff. So it's it's it's really a fun
(26:26):
experience for me having them be a part of it.
We're all very close friends, So yeah, I think that's
that's why I thought. I think having their voice attached
to NEFTY is really something special and something that helps
the competition continue.
Speaker 1 (26:47):
So how do you see NEFTY evolve in the next
few years. Would it be new initiatives or programs to
expand them, would it be would it be feature filmed
as whether short films or what will be happening?
Speaker 2 (27:01):
Well, I think the first step and I'm not saying
that this is going to be the direction of NEFTY,
it just is the direction for this particular NEFTY in DFM,
where it's the whole theme is the art of gorilla filmmaking,
you know, because I find like NEFTI is all about education.
Really for me, it's all about helping filmmakers acquire skills
(27:24):
they may not have had the opportunity to acquire in
the past. So to me, for example, that's why pitching
is such a huge part of NEFTI because pitching is
one of the most important things about being a filmmaker,
and in many situations, including NEFTI, it decides whether your
(27:45):
film gets made. This gorilla filmmaking, I think it's so
important pivot on a dime. If things aren't going right,
mean you need to still be able to figure out
your way forward and finish your film. You can't get
so freaked out that something didn't go right. You have
to be able to think on your toes. You have
(28:06):
to be able to make things work quickly. It teaches
you to work closer with your team and with your
crew and everyone else. And so that's why I came
up with the idea to do this particular nifty like this,
just to bring a new exciting element to it for
this particular one. Also, DFM is such a good partners
(28:30):
partner of ours that I wanted to incorporate them as
well in this. And it seems like, you know, it
starts tomorrow, so the filmmakers we you know, we just
had all the sort of the tech check with Panavision
and everything upstairs, and now the filmmakers are starting I
(28:52):
think at five in the morning tomorrow. Oh yeah, yeah,
exactly from us a multiple location, and so you know,
it's like, yeah, but you know, it's funny. I just
I was just talking to all three of them, and
I think they really have it together. Like I think
(29:13):
they really figured it out, which is only surprising in
the fact that they only found out that they were
chosen last week. So yeah, so it's it's one of
those things that you know, hopefully all of this will
continue tomorrow and they'll still be on the ball and
(29:34):
everything like that. The good news is, you know, we
have some pretty well here and all ready to help
if there are you know, any emergencies or anything like that,
or somebody they can't figure their way out of a situation.
I'm here and several other people are here too for
(29:56):
that reason to help them succeed, because you know, there
is only one winner in terms of prize. But I
feel like, look, you've already been chosen, so you're already
a winner because you're creating money and not money like
like as winningly, but you're getting financing to create this
(30:18):
film that you'll be able to then use for anything
you want to promote your career. You know, you'll be
able to have this reel, you know what I mean,
and the skill of it all. So I'm excited to
see how it goes. And at the end of the day,
(30:38):
you know, you really really want them to succeed. What's
important to me also, sorry, when I'm in Africa is
Africa's is you know, a massive continent and there are
so many countries and so much talent, And what I
wanted to try and stay away from is just because
this festival is in South Africa, is only having South
(31:01):
African filmmakers, and you know, because also the festival is
very diverse across the continent as well, so it's you
really you know, I had a lot of filmmakers apply
and some of the filmmakers I've had amazing filmmakers in
the past from many different countries in Africa. So I
(31:24):
was hoping that this time I somehow would just end
up being three filmmakers from three different countries. But it
didn't work out that way. Because you have to choose
who's the best and or who's I shouldn't even say
who's best, I should say you have to choose who
got their point across the best in their application and
(31:50):
who what is the likelihood that they're going to be
able to pull this off because some of I mean, honestly,
I would say with this nefty in the app locations, MH.
Probably the most amazing story themes and that I've that
I've seen since we started n f D. And some
(32:12):
of these were so intense and so involved that I
was just I was thinking to myself, I'm there's just
no way. Yeah, there's no way they're gonna be able
to pull this up. But even even then, there's I
have chosen people like that if they stuck to the theme,
(32:33):
because the theme this year is bridges not borders, and
so I really wanted to make sure the.
Speaker 1 (32:41):
Stories followed that I see. And these young filmmakers have
only got three days, which is an incredible, incredible hard
challenge which I'll learn a lot from them. I'm sure
what type of cruis are involved? Is it small crews?
Are the director self shooting.
Speaker 2 (33:00):
Very weird talking skeleton crews, like you know, some of
them have two people, some of them have some of
them it's the director and the and the DP, you know,
and it's like and then you know, depending on in
who the actors, Like, I think with one of them,
(33:21):
he's going to act as well. Uh. And I've seen
like like with one of our filmmakers that won, he acted, produce, wrote, shot,
they did everything. So it's there. I try and encourage
that not to happen because I think collaboration and crew
(33:44):
and uh, and those relationships are extremely important and with
filmmaking and especially important for your future because you know,
having that community around you not only helps you grow,
but it also gives you somewhere to go. If you
(34:05):
want to create something, you have the people around you
to do that. So I try and have them not
be the jack of all trades, you know what I mean.
I try and have them no, you know, go work
with somebody, Go to grow your community. And and because
it's it's, it'll be, it'll help you in your future certainly.
Speaker 1 (34:26):
Will you mentioned bridges not borders, and many of your
works explore identity, environment and layer in perception. How do
you use these themes or how do these themes show
up in the filmmaker's nefty supports?
Speaker 2 (34:45):
I would say because because of those aspects of filmmaking
are so important to me, I suppose that that's sort
of the type of filmmaker I'm looking for when I'm
looking for filmmakers. If Nefty, I'm always open to being
(35:09):
steered in another direction if a filmmaker. I've had filmmakers
before who who when I with my idea and theme
that I had in mind for that particular Nefty. I've
had filmmakers who have just come up with something so
incredible and I'm like, you know what, let me open
this up, like it's a shame to not you know,
(35:33):
allow that voice to come through, you know what I mean.
So I think that's probably how the way, that's probably
how the way I approach stories and film comes out
in these Nefty filmmakers, but definitely in their own unique way.
Speaker 1 (35:58):
And once these films are made, is it possible for
someone like myself in the UK to see them?
Speaker 2 (36:04):
Yes. So there's all the films that are on the website,
I want to say they are. Yes, all the filmmakers are,
all the films are on the website, which is nefticompetition
dot com. But we also are setting up a few
other platforms where you can see the films, you can
(36:28):
see behind the scenes, you can see interviews with the filmmakers,
and trying to make NEFTY an overall experience for the
viewer for other filmmakers who want to apply. Another big
thing that I've learned is like, you know, people are
afraid to apply because they don't think they're good enough,
(36:50):
because they don't think they'll win, because they don't think
they'll get chosen. And I'm telling you there have been
situations where we chose a filmmaker and he will is
comletely blindsided. He thought there is absolutely no way on
this planet that they're going to choose me, and he
was amazing. But people need encouragement. Are you doing this
(37:16):
site right now and trying to figure out different ways
to promote nafty with the information that people are looking for.
So filmmakers can go on that site, they can see
behind the scenes, they can see how it works, they
can see the rules, interviews, and feel so much closer
to the project so that it's not such a huge
(37:41):
trauma to reply.
Speaker 1 (37:44):
You know, yesterday you were in London. You said today
you're in South Africa. I think you're based in LA.
Speaker 2 (37:51):
I could be wrong.
Speaker 1 (37:52):
You are based in LA and you visited places like
Hong Kong. Also, all of this, all of this traveling
you do is great. So how do you how do
these cultural context in different places shape you up.
Speaker 2 (38:05):
I think my art, and like with most artists, in
mine in particular, because I do travel so much and
my experiences are such a large part of my art,
they visually you go through most of my work, there's
an element of travel involved in it. In the city
(38:28):
cities are what actually inspire me very very much. So
I just get when I'm in a city, this is
a situation. I always feel very inspired and very creative,
and so much of my work there's an element of
a particular city Paris is throughout, but there it's very
(38:51):
very city based, people based, because like I said earlier,
you know, the human element is extremely important to me.
And I would say that's that's how my art is influenced.
By traveling so much and being a part of different cultures.
(39:11):
I wouldn't say that I create things for a culture.
Like when I have executions in all these cities, usually
create something that I think is going to make them
understand my art better. I do create things that have
(39:32):
an element of that city. And then, for example, when
I exhibit in London, and since because I'm there so much,
there usually is some element of London in there. But
when I first started going to Hong Kong to exhibit.
I hadn't shot there before, so I made a trip
(39:54):
to go shoot there and have some material to intertwine
into my work, my existing style, everything like that. But
that just had an element of Hong Kong in it,
and that that was just to as more of an
ode to the city than it was to get people
in that particular city to like my art.
Speaker 1 (40:19):
And Paris aside in your opinion, what is the best
city to maybe live in, stay in for a period
of time and be your most creative I would have to.
Speaker 2 (40:28):
Say London, And then because la is my favorite place
in the world, so but that doesn't count. And then
Paris doesn't count because I already lived there, lived there
in the past, and I've shot so much of my
art has an element of Paris, so we'll put that
aside as well. So I yeah, I would have to
say London, Honting. There's so much there, you know.
Speaker 1 (40:54):
And lastly, what advice would you give to emerging filmmakers
or storytellers trying to find a voice in today's false
move and creative landscape.
Speaker 2 (41:03):
I think a number one. I would tell them, have
no fear, Have no fear create everything that comes into
your head and create it all the time, because your
creativity is one of the things that you have absolute
control over. You can create, you can work, you can
(41:23):
wake up every single morning and create something. It'll make
you a better artist. Yeah, it will make you more prolific,
It'll make you understand your craft better, and it'll make
you It'll make you a more comfortable artist. And when
I say comfortable, it's it makes you more comfortable in
your own skin as an artist. Very many artists are like, oh,
(41:46):
I'm not an artist. Oh, I'm not an artist. You
know that kind of thing, your own worst enemy. Yeah,
you know something that is very common in artists, especially
in the beginning of your career. Artists really need encouragement
and and then you know, and hopefully they have the
(42:09):
drive and the passion to make it a reality. But
if you fear creating something, then you're just putting a
roadblock in front of you. And there is no fear
to create to there there there shouldn't be any fear.
It's you, you don't like it, throw it away, you know,
(42:31):
and then do something else and then try again and
again and again. But you know, you shouldn't have the
fear of putting the pin to paper, putting the brush
to the canvas, picking up the camera, and just just
playing around and trying to get whatever images are in
your head out of your head and onto paper canvas something,
(42:54):
you know. And I think that's just that's that's what
I would tell. That's what I would tell young up
and coming artists or artists in general who can't or
feel like they can't find their pat And that's how
I try and live my life as an artist.
Speaker 1 (43:13):
Great advice from a talented, great man. Thank you so
much for coming on, Paul. I really appreciate you taking
time to speak to me, and I can't wait to
look at the Nefty website and some more of those
films as well as your website and all of your work.
Speaker 2 (43:26):
Thank you so much, Damien, it's really great talking to you.
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