TODAY'S SPECIAL: An interview with the daring international man of mystery Mr. Daran Fulham, the uber talented Art Director for Samson and Delilah (2009), Defiance (2008), Les Deux Monde (2007), Blood Diamond (2006), Syriana (2005) and so much more. Daran speaks about his fascinating career as Art Director and his latest work on the cinematic masterpiece Samson and Delilah by director Warwick Thornton, entirely filmed on location in his native land of Australia.

ME: Hi Daran. How are you? Well, as you know, I saw Samson and Delilah (2009) at the Palm Springs International Film Festival this past January and I had the opportunity to see it after first watching director Warwick Thornton on panel as he spoke in depth about his film. It was one of the most visually arresting films I've ever seen. After the panel, I spoke with Warwick outside. We smoked his last two cigarettes and we spoke about Australian film and world cinema in general. He was reserved, calm and collected.  

DARAN: Ha! Thanks! That sounds very much like Warwick. He's an intense listener and a polite observer. So it may come across as cool /shy or quiet ... That's great that you loved S&D. Thank you for giving me the opportunity to answer your questions.

ME: So, do you live in Australia? I can't wait to see it! I've still never been Down Under!

DARAN: I'm an Australian that is living in Paris. Shame you haven't been to Australia as it is an amazingly rich country of natural beauty. Try and make the break sometime.

ME: So, can you tell us, what was it like to work on this film that was shot in the Outback of Australia? Was it a challenge?

DARAN: This wasn't the first film I had designed in the 'outback' of Australia. So I knew what I was in for and what the challenges would be. Warwick and his co-writer wife Beck have invited me up to Alice Springs a number of times over the years to help out on various projects together. Logistically remote locations are always a challenge as not all services are available there. Simple things, like there is no telephone reception, no power and limited access to water, which only means we need to be more organized. It's also dry, dusty and hot. Being dry you need lots of water, being dusty it is the enemy of all technical equipment and it is so hot that it makes any physical labor harder and even sometimes anything you touch burns. Apart from these elements, the animals and insects have a life of their own with humans being their minor distractions. From flies that can be vicious out there as they try and enter any opening on your head, sometimes making talking and breathing hard. Also remember that most of the top ten of dangerous snakes of the world live out there and they don't like being disturbed. Other than that no real problems.

ME: So, basically filming in the Outback is like filming on a safari game reserve and you must stay on your toes at all times! Hmmmm, no troubles there! LOL! Can you explain your work on set to readers as Production Designer for a
film like this?

DARAN: A production designer is responsible for the image of the film. One designer once said 'you take the actors out of the film and what is left is what the designer brings to the film'- the place, the setting, the world that the story can take place in. Any film has the same requirements through its settings, props, vehicles, effects, greenery, graphics and any other visual item to deliver a mood, theme, texture, atmosphere that makes this story believable.

ME: And do you work on the sets or just before and after the sets, setting up and taking down?

DARAN: I am rarely on set. Usually the start of a day to make sure the crew has all their toys to play with. The stand by-props is on set to do the hard work of following and delivering hand props to the shooting crew. The designer can't be on set as they will be preparing the following sets, as to have all the elements in place before the shooting crew arrives. Each set could be days, weeks or months in the preparation. A small budget film like this meant we all needed to multitask and to find solutions to deliver the images on the cheap. In the end I did do a few weeks as standby and also changed hat a number of times to being props buyer, special effects technician, draftsman, graphic
artist and art department coordinator. My work on this film should remain invisible while watching the story. Even if the film sits in a very realist world these locations are unknown even to most Australians and we had free range to paint our picture.

ME: Well, you did an incredible job on Samson and Delilah. I mean, you always do a great job but this for me was stellar. I have never seen such a film! It is so beautifully shot and it is a love story without almost any words spoken, using the location and the imagery [and production design :-)] as much as its primary language. What can you say about your feelings of this film? I mean, truly, it is visual poetry!

DARAN: Thank you for the complements. We try. :) Glad you liked it. I feel that every member of that crew did an amazing job and we all complemented each others' work to create a great film in the end. I'm very happy that the final film turned out as we intended. To then have the incredible national and international reception of the film was very special. I agree that the film is visual poetry. There was and always is poetry in Warwick's 'realism'. Warwick grew up in the area where the film was shot, knows the story and subject intensely and knew how to capture on film exactly what he wanted from there. Thankfully however I can often see what he sees before he turns the camera on.

ME: Wow! Well, what an honor it has been to speak with Warwick and now you about this cinematic triumph. I see that you were art director for Les Deux Mondes (2008)! I just now sent questions to Daniel Cohen! So
weird! LOL!

DARAN: That's me! ('The art director' or 'weird' dependent upon how you read that response) [LOL!] I followed the building of the sets in South Africa - all of the character's 'other' world. Working for the designer Dan Weil (Blood Diamond, Fifth Element, Nikita). We had some wonderful sets built for 'Les Deux Mondes'. Including a city which was one set that I regretted having to strike after the shooting. I would have loved to leave it for a theme park or attraction.

ME: How did you get into production design and art direction in cinema? Did you always want to do this?

DARAN: I fell into film after a friend designing a film needed someone to draft and build some props on that film. I then got into film school (AFTRS) I haven't looked back. I found it was the perfect combination of all i had learned previously. I didn't always want to do it as it never crossed my mind that anyone would let me. People still let me so I still do it.

ME: Well, that's modest. I'm sure it has a little bit to do with you being a talented Art Director. What are your next projects? Can you share?

DARAN: I am presently preparing to design a French film set in 1960s Congo.

ME: Super cool! Can you sneak me in the suitcase? Hehe! Well, I'll be looking out for that one, as well as all your next set creations in films to come. Thank you so much Daran! It's a pleasure to speak with you. Thank you, Daran! You rule! Happy world travels!

Interview by, Vanessa McMahon August 07, 2010

CLICK ON PHOTO TO SEE BETTER!

Art Director Daran Fulham with director Warwick Thornton on set of Samson and Delilah LOL!

See my previous page on Samson and Delilah here:

http://www.fest21.com/en/blog/vanessa_mcmahon/samson_and_delilah