WINNIE THE POOH: BLOOD AND HONEY PRODUCTION.
“Frake-Waterfield used practical effects in violent sections to convey a fleshy tactility – according the bloodshed a tangible, gruesome realism”
stemmed from resourcefulness and experimentation on-set. “I wanted to try and document as much as I could by firelight. I used a Canon ME20F-SH, which is super sensitive. As an astro camera, you can push it to four million ISO. It’s basically night vision with colour, the capabilities are crazy,” Knight explains. “I thought it would be interesting to put it in a narrative context. You can literally use the moon as your key, and that can be cool. It doesn’t have the best dynamic range, but it was a stimulating experiment nonetheless.” PAYING HOMAGE Roused by the legacy of drive-in exploitation and bargain-bin rentals, Frake-Waterfield adopted an imaginative perspective when he was directing. Two considerations became apparent: the feature would have to honour its spiritual predecessors, and the overarching vision would have to be earnestly delivered, regardless of its preposterous premise. “ Wrong Turn (2003) was a major inspiration. Hybrid cannibals in the forest
– lots of slaughter and carnage. There’s a pool scene that’s a direct nod to The Strangers (2008), and a mob/lynch event reminiscent of Halloween (1978) – two firm favourites of mine. “When it came to directing, I knew I didn’t want the actors to play their roles in deliberately comical ways. In order for the irony to work, they had to take it completely seriously. It was important that we avoided slapstick. The outrageousness needed to be baked in, without continually feeling the need to draw attention to itself.” Embodying immersion, Frake- Waterfield used practical effects in the film’s violent sections to convey a fleshy tactility – according all the bloodshed a tangible, gruesome realism that reinforced the revulsion. “We had a realistic base, and then embellished it with VFX. It feels more authentic that way. It’s a continuation of what I’ve always found effective, in the films that I admire. The goal was to shock and repulse – I want you to find these animals terrifying, but compelling too.” “Working with all that blood was a lot to take, but I’d be lying if I said it wasn’t enjoyable,” Knight chuckles. Hailing from a background in corporate energy consultancy, Frake- Waterfield is an unlikely newcomer in the world of cinematic guts and gore. His brainchild became one of the most talked- about projects of the year, changing his life in a matter of hours. Though backlash was inevitable, the assuredness of his outlook is refreshing and admirable. Aided by the experience and expertise of Knight, he marvels at the whole spectacle. “It’s easy not to see this film. You don’t have to engage with it. All I know is that we like it, and I’m sure others will too.” “Rhys loves that his stupid scheme has generated this much traction,” Knight sighs. “We attended FrightFest and fans are already asking for autographs. They haven’t seen the damn thing yet.” Winnie the Pooh: Blood and Honey is slated for a theatrical release later this year
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PLAYING WITH FIRE DOP Vince Knight trials low-light aesthetics for a more evocative visual palette
57. OCTOBER 2022
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