Trying to craft a story is rarely easy, and in my experience success often comes only after much swearing, whiskey-drinking and last-gasp epiphanies. The difference this time, however, was that much of our frustration had very tangible roots. Our footage had holes; gaps where tough conditions, multiple encounters with the police and last minute changes-of-plan had left our original story ideas in tatters. We had ambitiously hoped to make a film commenting on what Iran is really like in 2014; we'd wanted to speak with lots of Iranians on camera and to really get under the skin of the country. The reality was that we'd been limited to fewer interactions of the type we'd hoped for, and struggled to escape the attentions of small-town bureaucrats. Our adventures on foot, bike and in inflatable boats had ended up playing a much bigger role in our shooting that the social commentary and, in short, we were struggling to see where to go with our narrative.
Our journey along the Karun River was definitely one of my favourite-ever trips. It had everything I'd wanted from a short(ish) trip - thrills and spills; wilderness and people; danger and hospitality. It was fantastic. The problem was that the dynamic, rollercoaster-nature of this five week adventure meant it was extremely hard at the time to know what to film (and when we'd safely be able film.) We came home with lots of footage, but not quite the material we'd expected to get.
Filmmaking, I've found, relies strongly on finding the right balance between single-mindedness and flexibility (much like a good journey does too, I suppose.) After our initial annoyances at how much our original vision for the film had been shattered, Tom and I eventually came to see the strengths in the material we had. We stripped the concept right back down to its bare bones, and built it up again from scratch. It wasn't always fun, but it was certainly the right thing to do.
As it stands now, we're still only partially through the project. Last November, however, a major milestone was reached when we completed the short-form version of Karun. At 15 minutes in length, it tells the personal story of our journey through Iran yet still aims to show just what an incredible country it is. Over the next few months we hope to expand that into a feature, drawing out our secondary themes and finding creative ways to work with footage that has been gnawed at by the factors mentioned above. It's been the most challenging film I've worked on to date, but slowly it's coming together.
Right now, I'm more excited than daunted. I'm sure I'll see-saw between those two states regularly during the edit, but last night I received a real boost to my confidence for this project when Karun won the People's Choice Award at the Edinburgh Mountain Film Festival. Aside from the obvious niceties of winning anything (I could now constantly refer to our 'Award-Winning Film' - though I'll desperately try not to!) what I'm most pleased about is that the early audiences are responding really well. Our hard work seems to have paid off - Tom and I must be getting at the core elements of emotion and drama that make humans tick. That - a film that leaves an impression and makes people think and feel - is what we've been working towards.
I'm incredibly chuffed to get an award (if I'm totally honest, when I heard last night that we'd won, it was much like this.) Mostly, though, I'm just glad to know we're on the right track with this film, and I'm really looking forward to creating the feature. Iran is a place that had a profound effect on me, and I feel a responsibility to do justice to the experiences we had and stories that we found there.
So watch this space!
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