Barbarella Speaks with Emerging Talent Robin Pront

AuthorOctober 3, 2020

Barbarella right here coming at you from Austin, Texas.  It’s sizzling proper now, y’all.  Something else that’s sizzling proper now could be Belgian director Robin Pront.  He follows his award-winning THE ARDENNES (shot in his native tongue) with an English language movie, THE SILENCING.  Starring huge names like Nikolaj Coster-Waldau and Annabelle Wallis, the movie is a couple of reformed hunter and new sheriff’s seek for a serial killer who could have kidnapped the hunter’s daughter years prior.  I had the chance to talk with Robin, who let me know that AICN was the primary film web site he visited as a child, and he shared his pleasure at making it to the large time.
How did the script make it to you, and what did you discover most interesting about it? 
“The script was sent to me through somebody that I knew at XYZ, I think. I was at a film festival in Berlin.  They talked to me about the script, and they sent it to me.  I connected with it because I was reading a lot of scripts, and what I liked about this was the morally ambiguous characters and, of course, the rural small town setting.  It was about an antihero who deals with battles with alcoholism and all that stuff.  It was something that I really connected with.   It wasn’t a story about good guys versus bad guys, which I read a lot [of scripts] about in the last year. This one walked the fine line, and that drew me in.”

In an interview you probably did after THE ARDENNES, you stated that you simply had been stuffed with self-doubt whereas making that movie.  Did you expertise any self-doubt making THE SILENCING?  How was your expertise with this movie totally different from THE ARDENNES? 
“This is, of course, very different because you’re working in another system.  I had a lot more confidence coming off of THE ARDENNES, so that was good.   This was the first time people really asked me to do a film, instead of with THE ARDENNES when I had to beg to do the film, so it was a different thing.  But then the whole system is different.  Over here, you have the actors, the producers who have a lot more say within the whole process. That’s just a different way of working, you know.  Instead of here in Belgium, it’s like, “All right, just do your thing,” after which they arrive see the edit.  With this, it’s simply working with the entire system of companies and all that stuff, so it was very fascinating for me to lastly expertise that.  Also, it’s cool, you realize, since you work with these actors who’re so skilled, and also you be taught loads from them, in order that was nice.”

Filmmaking could be very collaborative course of.  When a movie succeeds, administrators, actors, cinematographers, and writers historically get the overwhelming majority of reward.  Outside of those roles, whose contributions made the best impression to THE SILENCING and why? 
 “I want to thank the producer Cybill [Lui Eppich] because she did everything, made everything happen to make this film, which wasn’t easy because it wasn’t an easy film to make.  Of course, I’m happy for her. Also, the production designer for this film [Zosia Mackenzie], I just had a really good connection with her, and with the limits of the budget, she made a lot of stuff happen.”
Why did you go with that specific location?
“It was clear that we had to shoot in Ontario.  There were a couple options in Ontario.  Then I found Sudbury, which was this old mining town that was very bleak, and I really connected with that because it was just perfect for this film.  It also had a lot of nature around it, just the contrast of this rough old mining setting, and then you had these beautiful waterfalls just really close to it.  The only problem was that a lot of the forests were dead because of mining that happened in the 50’s and in the 60’s.  You had to drive so long to find forest.”
How concerned with the manufacturing was the author?
“He was very collaborative, you know.  There’s the opening scene with the waterfall.  When I was driving around in Sudbury looking for locations, I found a waterfall, and I was like, “Ah, this needs to be in the movie. We have to change the opening scene.”  So, I known as him and stated, “What do you think?”  I confirmed him an image of the waterfall, and he’s like, “Yeah, yeah, that’s great.” So, then we simply modified the entire opening scene, which was initially very totally different from what you see now within the film. 
“Another thing was the flashback in the movie which I really liked, which I think is one of the stronger moments in the film.   The daughter used to be a lot younger, but I felt like the problem with that was that when somebody’s young, there’s not a lot she can say to her dad.  We really made this painful scene in the movie, I think by making her a lot older.  He was very receptive to my ideas, and sometimes I was full of shit, and he said so, and that’s how it goes, you know.” 

If you had an even bigger price range what, if something, would you’ve modified?
“I would give myself a trailer because it was so cold. (Laughing). No, I’m kidding.  There’s a lot of stuff.   Maybe some reshoots here and there, just to get more nature shots, or something like that.  Yeah, I mean, I don’t want to think about what I could’ve done with more money.”
Sorry, I didn’t imply to carry that up (laughing). How a lot time do you spend on planning versus truly doing?
“In the prep, I was in Canada for like 12 weeks before shooting, so it’s a lot of prep. You have to start doing everything from scratch, and then everybody comes in, and then it’s just really hard work towards the shoot and then the shoot, so you’re just worn out.  It’s just like a wet towel after the shoot.  It’s very tough, you know.  My first movie, I was kinda relaxed, I had THE ARDENNES in Belgium.  I had months and months of preparation, but here is very much like you get in, bom, and you start working; it’s just the American way of really hard work.   It was different.  There was no time for drinks after work because you’re too tired the next day.”
They say that the pathway to success is paved with failure.  What failures have you ever skilled in life or in your profession which have made you a greater filmmaker?
“Huh, I did a really, really bad commercial about quitting smoking once, and that was one of the worst experiences of my life, so I started smoking after that.  (Laughing) That’s not true.  It’s just a commercial that I did that I always felt like, “Geez, what was I thinking about that time?”  There was no cash.  It was simply me and a steadicam operator, and it was simply actually a bizarre day of capturing.   It by no means stops exhibiting on TV, so on occasion it jogs my memory to by no means do a industrial for quitting smoking.”
I’ll have been in search of some deep, insightful reply to that final query, and maybe Robin Pront’s response was precisely that.  We all discover that means in our personal methods.  His thriller, THE SILENCING, is in theaters and on Digital and VOD now.  Check it out.   Also, if you wish to catch THE ARDENNES, it’s at present obtainable on Prime.   

I hope you liked out story
Barbarella Speaks with Emerging Talent Robin Pront

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