Adrian Mead
Edinburgh- based Adrian Mead came to filmmaking after a varied career that included being a hairdresser and a bouncer. Proof indeed that the best training for art is life itself, Adrian wrote and directed Night People, influenced by his life as a bouncer. With producer Claire Kerr he set up MeadKerr, who also run successful screenwriting courses.
What training have you received?
I started out by phoning up writers, directors, sound recordists etc and taking them for beer/coffee. People are often incredibly generous if you appear organised, passionate and keen to learn. Later, when I was actually working in the industry I started to attend courses.
Recently things have come full circle and I’ve ended up occasionally running classes. It’s important to always update and expand your skills but writers and film makers should always research who is running the class and get references from previous attendees.
Does your budget limit what you can explore in your films?
Never the exploration, more the execution. Identifying a strong and universal theme is the bedrock. The film that you build on that bedrock can be a small and intricately crafted summerhouse or a towering skyscraper, depending on your budget. Fully exploring theme and character are the most important aspects for me; that doesn’t always have to be dictated by the budget.
What’s the best advice you’ve been given as a low-budget filmmaker?
Two things.
Be prepared. The more prep you do the less problems are liable to catch you out. This is absolutely crucial to remember, especially when you just want to rush out and make something.
The other thing was that the most sophisticated and versatile piece of kit you have on set is a talented actor. Take time to cast the very best people you can and get them involved. They are not merely warm props.
Most significant moment in your career so far?
Part way through my first feature, “Night People” the hardest stuff was already shot and I was finally relaxing a little… then all the lights went out. I could hear all the ghosts of dead directors laughing, “That’ll teach you to get cocky.”
Also walking into HMV at Christmas and seeing people buying the DVD of “Night People.” So much nicer than the stomach churning experience of the premier and cinema release. I’m sure the security were getting worried about the big, grinning bloke with OCD who kept rearranging the display.
You’ll die happy when…
I finally get to make the bio-pic of the highly controversial character that first made me want to become a film maker.
