I find it heartbreaking to see so many people that I have met let the dream inside them fall to the wayside because they have to repave their driveway. I find the whole thing heartbreaking. So maybe, just maybe, if I can invite one of them with me, they will put the pavers down and step into the grass, into nature, where it all begins. Fraser Kershaw
What inspired you to pursue this artistic endeavor and land in Sweden?
The country is beautiful, and I was welcomed at the border of the blue and gold with open arms. I had the idea living inside me for years; the only problem was securing time to make it come together as one breathing piece. I didn’t have a long chunk of time to complete it. So, we chipped away at it between life’s mandatory moments.
Can you walk us through your creative process when developing a new film project?
I don’t think there is a process that works for everyone. If you did follow a process, you would probably come up with something generic that works. But if that’s the goal, then yes, follow the road that has already been traveled. But I think one feels alive when one goes into the unknown.
You’ve worked with notable artists like Francis Ford Coppola and musical score master Brent Kutzle. What have you learned from these collaborations that has influenced your own work?
That there is something supernatural and unexplainable driving outcomes. The responsibility is to point it out so it helps someone.
How does the concept of Live Cinema change the traditional narrative structure of film in your opinion?
The definition of the term is upon Francis’s mind and his legacy. The feeling is only replicated in real time. If you’re not in it, in real time, living inside it, then how does one proclaim the truth? That should put the first frame on the correct GPS.
The themes that came out of The Summer of Love were hidden enough to make many judges across the world award the film “best.” Is that important to you?
No, because I was not at the mercy of shareholders, funders, producers, or people with a stake in the development. It was 100% freedom. Live cinema only lives when it is fully alive to create without the confines of outside influence. You have to be in it for it to come out. But how can one be in it when they have to give a lunch break, 15-minute breaks with meetings, and lawyers?
How do you approach character development in your scripts? Do you have a particular method you follow?
The one thing I respect about researchers is that they have to put away their bias. But many don’t follow that because they are funded by grants. So it is skewed and biased. But if they were truly allowed to follow the research, even if the outcome went completely against the agency that funded them, that would be a beautiful world. Perhaps developing a story in real time, unbiased, could be the way for a better world because we know where the cliff is.
You’ve involved students in your projects. What do you believe is the value of bringing emerging filmmakers into professional environments?
Their minds are so open to creating, and they’re filled with so many great ideas, more so than professors. They have not been crushed by the 9-5 work schedule yet, with life’s stressors, and their freedom to create is at maximum capacity. If a professor put his nose down for a second to see what was in front of them, it would be magic unlimited.
How has the rise of digital technology influenced your filmmaking style and storytelling techniques?
I always used a different model while capturing because, through the years, tech would change. So when layered together, it shows a progression. That was by chance and worked naturally, baked in.
What has been the most challenging part of the project, and how did you overcome those challenges?
I find it heartbreaking to see so many people that I have met let the dream inside them fall to the wayside because they have to repave their driveway. I find the whole thing heartbreaking. So maybe, just maybe, if I can invite one of them with me, they will put the pavers down and step into the grass, into nature, where it all begins.
We know you’re currently working on a project throughout Europe, and how does it differ from your previous works?
I’m starting with paint, connecting the ancient scenes and making them come alive. I would do it for free. It is my favorite feeling yet.
Are there people who have significantly influenced this new style you brought to the world festival circuit?
Yes, Michelangelo, Raphael, amongst so many others.
How important do you think film festivals are for emerging filmmakers, and have you had any memorable experiences at them?
It’s the essence of community. It’s the dance per say. It preserves the tablets of humanity. Cultures must stay unique, and film had the power to timestamp that. It helps a culture come together and preserve. That’s why the World Cup is so special; it shows us how a culture can move together as one. When cultures are broken, so is the flavor. I feel honored to show up with a little piece of the pie to add to the buffet.
Can you share any hints about upcoming projects or directions you are considering for your future work?
Well, let’s see if I can remember off the top of my head: 54 pieces, 36 scenes, 6 themes, 1 way, and when seen, it reveals the 7th, which is the solution.
THE SUMMER OF LOVE: Would you like to tell others how they, too, can create something that can go around the world?
I’m not sure if there is a formula for all. If something keeps calling you to make it, you should at least attempt to think hmmm..
What advice would you give to aspiring filmmakers and scriptwriters looking to make their mark in the industry?
Just go for it. Life is short. So take a deep breath and go for it with absolute freedom.
