shots Unsigned: Jason Osborne

Director Jason Osborne is a BAFTA-nominated director who began his career as a platinum selling music producer.

Love Languages is a nuanced documentation of six men from differing generations and walks of life, as they discuss their experiences of love and loss through emotive introspection, whilst challenging perceptions of their identity and black masculinity. 

An Afro-Caribbean barbershop is so much more than just a place to get your hair cut. It’s a safe space for the black male community. An environment charged with boisterous hilarity and touching honesty in equal measure. With the barber’s chair acting as a makeshift therapist’s couch, it’s not unusual to find groups of men partaking in revealing and vulnerable conversations.

Can you tell us a little about your background and your route into directing? 

My career started in the music industry, and I transitioned to the corporate world when I thought it was time to get a “proper  job”! However, it became apparent that the need to be creative was less an itch to be scratched but driven by a real desire of not wanting to do anything else.

The initial intention was to forge a career as a creative strategist, so I concepted a project that had a narrative of physical disability and sexual intimacy as a way to demonstrate my creative and strategic thinking. As it was a self-funded project, I chose to direct it myself. In speaking with various directors in preparation for the shoot, they suggested that I forget about becoming a strategist and give directing a real go. I dismissed the thought at first, but they clearly saw something I hadn’t recognised.

Did you study filmmaking? How did you learn your craft?

I don’t have a film school background and am continually learning on the job. I’ve had the good fortune to shadow and speak with many experienced and fantastic directors who tell me that they feel like they are still learning their craft. Which is equally reassuring and terrifying!

Would you say you have a directing style? How did you arrive at it?

There are parallels between producing music and directing film which perhaps informs my directing style as I tend to think rhythmically in terms of pacing and space. Whilst it might be a little too early for me to announce my own directorial voice, I do hope there’s an identifiable thread throughout my work which suggest a cinematic ambition and approach.

There are parallels between producing music and directing film which perhaps informs my directing style

What was the story behind the film?

For the black community, the barbershop is so much more than merely a place to have your hair cut. It’s an intergenerational safe space, where men converse about anything from football, relationships, or matters a little more personal. I wanted the film to be a nuanced portrayal of British Black men, while simultaneously challenging the perception of black masculinity. I also liked the thought of it being a window (albeit a much stylised one) into the world of black barbershops. 

Originally, the film was set to be a scripted short but when I heard about the Netflix Documentary Talent Fund, I realised that having men tell their own stories was a compelling prospect and had the potential to be significantly more powerful. Precious Mahaga, who produced the film, and I started to explore themes outside of just romantic love, such as familial love, relationships with friends, and the pain of loss. I think the film is stronger for it.

For the black community, the barbershop is so much more than merely a place to have your hair cut.

What were the biggest challenges you faced in pulling this project together? 

I think perhaps one of the biggest challenges we faced was in casting. It was important to me that we found men who were representative of the entire community in terms of their ages, backgrounds and experiences. But I was also aware that I was asking men to be vulnerable on camera and share their deepest and most personal stories to the world. No small ask!

I have to give a shout out to our casting producer Sola Ogunsola who was extremely patient in our pursuit of casting the right mix of men and did a fantastic job. But, of course, the biggest thanks go to the six men in the film for their strength of vulnerability, and in entrusting me with sharing their stories.

ABOVE: Some BTS photographs of the shoot.

How long was the shoot and what was the most challenging aspect of the project?

It was a three-day shoot. I wanted to capture the duality of the barbershop between when it’s busy and even the most serious of conversations are tapered with humour, compared to the occasions when it’s just you and your barber and discussions tend to be a little more honest and real. I also wanted to shoot these conversations whilst they were having their hair cut. I think there’s something quite intimate with having your haircut that perhaps engenders honesty, and it was important that we captured this.

What was particularly challenging was finding a barbershop to shoot in as most barbershops tend to be small in size with white walls! We considered building a set but there’s a certain essence that lives within the walls of a barbershop that I don’t think can be recreated. Fortunately, we found a great shop in South London that already had a great interior which we could build upon. However, it was the smallest of all the locations we had scouted which meant there was nowhere for the crew to be during the interviews except behind me and in direct eyeline of our contributors! But they were amazing and created a safe environment on set, enabling our men to share their stories openly and with honesty.

What have you learned during the process of making the film?

I cannot overstate the importance choosing the right team to journey with on a film project. Mitigate challenges by working with the best crew possible. And the best not solely in terms of their talent but also their temperament. Filmmaking is fun but it is also hard, and things invariably go wrong. So, it’s imperative that you work with a supportive team who not only share your vision for the film but also challenge you. But trust yourself. It’s easy as an emerging director to stop listening to your own voice, especially when surrounded by those more experienced. But trust your intuition and your motivations. You will make mistakes, but make your mistakes, not someone else’s.

I’ve also learnt that a good idea is one thing, but execution of that idea is something entirely different.

I’ve also learnt that a good idea is one thing, but execution of that idea is something entirely different. I was privileged to work with a phenomenal team who helped elevate the film to what it became. Alongside the amazing Precious who produced the film, we were joined by Olan Collardy and Mdhamari Á Nkemi who shot and edited the film respectively. Additionally, Paix Robinson came onboard as Production Designer, as did composer Leon Jean-Marie. Immensely grateful to each and every one of them and the entire crew.