Practically all my Zero Movies have been shot on celluloid - Personally I like the ‘one step divorced from reality’ look that cine film offers. When I first started using Super 8mm, I had my doubts about its long-term commercial viability, but I liked the look (as opposed to video in the 1980’s) and so persevered with it regardless of what was happening commercially.
It was only in 2010 - after twenty-four years - that I tried integrating digitally shot sequences into the cine work. I was concerned about how well they would meld together, but shooting at 8.3 pixels I find the integration quite successful. There are some sequences where you really wouldn’t know what was shot on what.
I confess to a fondness for the groundbreaking Hollywood silent movies from the nineteen twenties, and look upon the use of colour as a special thing - a great asset - rather than the somewhat blasé approach to film-making adopted in an era where technology makes everything so much simpler.
In effect, I like traditional methods allied to modern developments but try and approach film-making in my own idiosyncratic way. Although these films are basically one man doing his thing, they could not have been completed without the invaluable assistance of those featured and credited on this website.
The Zero Movies are strongly anti-formula. In the conventional storyline sense, they have no beginning, no middle, and no end. The duration of each is only as long as I feel necessary. For me, this approach works, within the framework of the concept.
In many ways it is the performers - particularly the actresses - who create the interest, and I am always looking to provide opportunities for talent, and the Zero Movies offer a good vehicle for this, whether I’m bringing in equity people via agencies or approaching non-professionals in whom I can see clear potential.
I see my own performance in the role of Zero as the ‘thread’ holding the whole concept together, whilst providing a much needed platform for other peoples talent to shine.