On Tuesday 30 January we hosted a screening of the BAFTA-nominated documentary Jane. This was followed by a Q&A with the film’s director Brett Morgen, moderated by Rachael Kinley. The topic of conversation ranged from working with Philip Glass to sifting through hours of archive footage.
We're excited for our member screening of #Jane, followed by a Q&A with director @brettmorgen. Follow #DUKJane later on for the Tweets!
— Directors UK (@Directors_UK) January 30, 2018
Looking forward to @Directors_UK screening of #Jane tonight @DolbyCinema Soho pic.twitter.com/7Lgf0JgHKg
— WILLY NASH (@willwillynash) January 30, 2018
After a wonderful screening, it was time for the Q&A to begin.
Wow, what a brilliant piece of documentary filmmaking that was - now it's time for the Q&A with director @brettmorgen, moderated by @rachaelkinley. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett Morgen is an American documentary filmmaker, his previous films include Cobain: Montage of Heck, The Kid Stays in the Picture and On the Ropes, which was nominated for an Academy Award. Jane is his most recent work, and was recently nominated for a BAFTA Film Award in the Best Documentary category.
Rachael Kinley is a documentary director and producer. Her work as a director includes Deadly Pole to Pole, Gordon Buchanan: Elephant Family & Me and Tribes, Predators & Me.
Brett starts by telling us what drew him to the story of Jane Goodall. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: I didn't know much about Jane, but I knew a lot of films had been made about her! When I saw Hugo (Van Larwick's) footage, it felt like I was watching the moon landing. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
In dealing with the huge amount 16mm footage we hired about 15 different editors and broke it down. There's no scene in this film where two shots came from close to the same reel. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett has previously spoken to Deadline about his time grappling with the source footage.
What saved us was Jane's book- it was our muse. It's not a wholly scientific book, there's a magical realism to it. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
This was a perfect canvas for me personally - I've long believed that when you get to post fact and fiction filmmaking is on a level playing field. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Rachael points out that Brett has drawn emotion out of Jane that she hasn't seen in other interviews, how did he achieve this? #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: Jane had no interest in getting involved with the film at first, and I didn't help myself: when I first saw her (having seen the Tanzania footage) I said "oh my god were you wearing sunscreen?" #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
She didn't like me at first, but I think she does now! We were able to show her things photographically she had never seen before, such as the footage of her and Hugo falling in love. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
I think the voiceover passages from Jane's book were as powerful as anything I could get from the interview - she is such a great writer and orator. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Rachael asks what it was like working with Philip Glass, who composed the score for the film. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: There's a lot of pressure working with the biggest composer in the world! It's awkward asking someone of that stature to do retakes, but if it's not right it's not right. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
If you think the music is too loud, it's not. It's opera. It sits on top of the footage and drives it. If anything the footage is too quiet! #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
You can listen to the powerful soundtrack from Philip Glass via Spotify.
Rachael asks what it was like using Hugo Van Larwick's 16mm footage. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: I am in awe of Hugo. In all the hundred plus hours of footage there was nothing too under or over exposed, only 30 seconds max was lost. What he did with the technology of that time is unbelievable. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett tells us that he had a massive heart attack, right as he was finishing the film. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: Every film I've made is about me - the themes that resonated with me in this film were those of family, and balancing it with work. The final sequence was built out of that experience. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Every film you make is about you, if you all draw a picture of the queen, you aren't really drawing the queen. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
It was then time for our members to put their questions to Brett.
Rachael hands it over to the audience for questions. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
A member asks what the story was behind the lost footage. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: When people describe it as "lost" that's maybe a flair for the dramatic - really nobody was properly looking for it. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
A member ask how making the film, with its lessons of conservation and respect for nature, have affected Brett. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: We didn't set out to provide a message - and I think that's what makes it effective. Conservation is part of it, but it's also about following your dreams and so much more. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
A member asks about how Brett narrowed it down from such a wealth of amazing footage. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: This is going to sound crazy, but from 20 years of filmmaking I don't think I have more than one deleted scene. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
I went crazy making this film, because I wanted know how we were going to turn to Hugo - who of course shot it all. In the end it was all in the focal length. That would betray the subjectivity of the footage. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
With the sound we were doing mindgames the whole time, making it sound like things were knocking into a directional mic nearby - when in fact the footage was all silent. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
A member asks about the moments scenes that were black and white, and how Brett chose them. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Brett: It was a happy accident, I'd say. We found some reels of footage where black and white suited their exposure, and they just happened to be of darker moments. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
And that's a wrap! Thanks so much to @brettmorgen and @rachaelkinley for a fascinating discussion, and thank you to all who came along. #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
Jane is a real treat. A 2018 BAFTA-nominated doc, it's a great story and a feast for the senses. Don't miss it! #DUKJane
— Directors UK (@Directors_UK) January 30, 2018
As ever, people took to Twitter once the evening has ended...
Head to @Directors_UK’s twitter page to read their Q&A with director @brettmorgen! #DUKJane
— DDA (@theDDAgroup) January 30, 2018
LTD @brettmorgen fantastic film and thoroughly enjoyed the insights to it during the Q&A too.
— WILLY NASH (@willwillynash) January 30, 2018
Jane was released in cinemas in November 2017, and is nominated in the Best Documentary category at the 2018 BAFTA Awards. Watch a trailer for the film below.
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