We shot it but Leo King (Editor) thankfully talked me into losing it as it means the driver never gets out of the car till the end – which I think makes for a more claustrophobic feel. Here’s a couple of sample pages to a deleted scene involving a windscreen washer. It gets a bit control freaky but you still have to be able to let go of stuff even if you’ve worked hard on it. It ends up more as a graphic novel but it helps me see the story as an edit and I can control the pace and know what I want before we’ve even got on set. How did you plot out the escalation between the driver and the fly (because that is as excellent an example of rising action as any I’ve ever seen)? I figured it would be the simplest and cheapest thing that I could possibly shoot – but then I started getting excited and things got a little out of control… I hadn’t made a short I’d been pleased with since 2008’s The Black Hole and I wanted to get back to making something as conceptually stripped back as possible. How did you come up with the idea for The Fly? The shots of the gang, as they exit the bank to confront what the Fly has achieved, are priceless. Such simple development of such a simple situation is, I know from personal experience, deceptively hard to sustain. The simple slow moving ‘observational’ camera and that stylized ‘push’ toward the Bank door were simple and effectively used as were all the angles within the car. In many ways this film started as the most traditional idea of all the films (the silent films of Buster Keaton or Laurel and Hardy come to mind) but it was so well acted and so well structured that it felt entirely fresh. Roger (Cinematographer on Sicario, Skyfall, Fargo, Oh Brother Where Art Thou, among others) had this to say about the film: “ The Fly had me totally engrossed and wanting for more.
It also won Best Comedy, Best Film and the Roger Deakins Award at the Plymouth Film Festival. The Fly recently won Best Editing and the Rising Star Award at Colchester Film Festival.
Filmmaker Olly Williams’s first short film – in 2008 – was a co-directed project (with Phil Sansom) called The Black Hole, which I still consider to be one of the best examples of short form storytelling released in the past ten years.
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