WOLF CVB Questions Perspectives in Genre-Blurring Visual Poem

Today sees the premiere of an intriguing visual poem directed by UNIT9's WOLF CVB, which tells the story of a young girl searching for the meaning of her own existence following a chance encounter with a skateboarder, who becomes an object of obsession.

The first of a two-parter (the sequel will explore the same story, but from the male protagonist's perspective), Reverse Everything combines two of the young director's passions - filmmaking and poetry. With its fashion film aesthetic, moody visuals and a wandering narrative that offers more questions than answers, it offers up a fresh, modern take on a skate film.

shots caught up with the director [pictured below] to discuss his filmic inspirations, redefining the art house genre and what we can expect from part two.

When did you first come up with the idea of making a film from two perspectives?

That actually developed naturally as I was writing the first part of the script. The more I wrote from within the mind of the lead girl, the more I starting thinking about what might be in the guy's head too. 

Dual perspective narratives are a popular device in literature and film; what other films/books did you reference or look to for inspiration?

I’m really inspired by everything, not just films and books when I make a film. It was actually an old painting by Edward Hopper from the 30’s, that inspired this idea. It’s called 'New York Movie’. It depicts a woman standing in the aisle of a dark movie theatre. It’s very melancholy, and it really made me wonder what she was thinking.

But to answer your question properly; Blue Valentine by Derek Cianfrance is a masterpiece. I think it’s the most honest depiction of two sides to a relationship. I’m constantly inspired by that movie.

You describe this film as ‘essentially’ a poem: did you actually write a script or did the visuals flow from the words?

I wrote a script. The story came first, and the dialogue flowed through the idea. I write a lot of poetry, so it just came natural to me, to merge the two genres.

How did you approach casting? What were you looking for and why were these two actors right for the parts?

I was very open with this project. Even though I had an image of Cody and Jake in my mind, I really wanted to cast based on how I felt when I saw the audition, and spoke to the actors. Brinnen Thompson who played Cody was really not what I was looking for. Originally, Cody’s character was this timid Mormon type girl, that looked super innocent and plain. But Brinnen stood out for me when we cast. She has that innocence for sure, but she’s also got these big brown eyes, that speak to the camera. She brought something new to the character, and I enjoy that when woking with actors. I want my ideas to develop through every part of the process.

With Reverse Everything, you set out to make something different from the stereotypical skateboarding film – do you feel like the end result will be more accessible and appeal to a wider/different audience? 

I don’t know about it being more accessible. It’s very art house in its approach, and I purposely didn’t set out to answer any questions for the audience, and sometimes that puts people off; but that’s what poems are... they are the manifestation of an emotion. They make sense only to someone that connects them to their own lives. I’m as happy with someone who really gets it, as I am with someone who hates it. I don’t think you can call something art unless you have both. 

There’s absolutely a place for everything. I make films that I want to see. I put a lot of myself into them. That energy is real. When you see great art, there's a feeling around it. That’s the goal. Make somebody feel, good or bad.

How difficult was it, as a male director, to capture a female voice and convincingly tell a story from a woman’s perspective?

It wasn’t difficult at all really. I was brought up in a house of women, and some of my best friends are women too. I think female characters are more interesting to write. They have a different place in the world. I wrote this film in the midst of a whirlwind romance. I also broke up with that girl during the making of the film, so I had this lockbox of emotions that I needed to process. It’s the old saying: 'Life imitates art, imitates life..’, I take from what I know. A lot of her went into this film. In the end I was very grateful for the material.

What were the other challenges of the creative/directing process?

This was a script that I really had to push down people’s throat’s, to get it made. The whole process took about 18 months from inception to completion. It was a long road, but I knew I had something. I’m a director that needs to actually make the film to fully show what it’s about. The way it's shot is really another character, so I always have to convince people to trust me; because I know the script isn’t complete without that extra piece. You have to believe in yourself completely as a filmmaker. Getting things made is really tough. I was lucky that my head of films at UNIT9, Adam Dolman, got behind the project and pushed for it to be put into production.

The end of the film teases a sequel that will tell the same story from the male protagonist's perspective. Did you shoot all the footage at the same time, and then simply edit it into two films, or is the second film yet to be made? 

No, I really didn’t want to do it that way, because I knew that as a writer, once I’d cut the film and it had its place in the world; I’d think differently about the story. I wrote a script for part two during pre-production of part one, and I’ve already thrown that away. I have a few drafts now, and I’m gonna sit with them for a while before I complete one. There’s also that lovely part of the process; funding. I’d love to get part two fully funded as we shot part one on a shoestring. There’s only so many times you can ask the same favours of your crew!