In The Red
Two strangers paths become intertwined when a deal goes wrong.
Interview with Writer/Director Karina Banno
Congratulations! Why did you make your film?
The idea came to me after overhearing a story about someone who attends house auctions early, trashes the area ensuring it looks like a run down non-desirable place to live and allowing his low bids win. From there, I was inspired about the type of person who be capable of thinking something like that up and I started looking into human behaviour and understanding what drives some people over others.
Some people crave money and success – ‘the win’. Nick is addicted to the win, but won’t face the loss. I wanted to show Nick as a determined, yet lovable fool who you see burying himself in his mistakes but are desperate to see what he’ll do next.
From the very beginning, the making of ‘In The Red’ was a strange combination of challenging and rewarding. The scale of the script was bigger than anything I’d ever written before; darker characters and story lines, while also undertaking starring in a project that I had also written and would be directing.
Imagine I’m a member of the audience. Why should I watch this film?
Whether you're an Australian who is aware of the gambling crisis facing our pubs, or anyone in the world who has ever needed to see themselves in a mirror to make a change, ‘In The Red’ translates and has the ability to transform each and every audience member through it's universal concepts and themes.
How do personal and universal themes work in your film?
‘In The Red’s universal theme is courage. This changes formation over the film, as courage comes in different shapes and forms in different people and for different circumstances. In the end, however, both Nick and Jesse learn to have the courage to do what’s right. As an audience, I believe that journey is always one worth watching as it allows us to hold a mirror up to ourselves and observe our own courage, and that of others around us. A joined experience, both Nick and the Audience together, discovering who they really are when faced with the reality of what goes on behind closed doors.
Personally, ‘In The Red’ explores addiction and needs vs. wants. I think gaining perspective is important in your everyday life and potentially through using these characters as a vessel, maybe we can observe our own habits and make the necessary changes to be more empathetic to others.
How have the script and film evolved over the course of their development?
The script stayed relatively the same throughout the process, but the film evolved immensely. We faced great challenges in post production; after we wrapped in January 2016, I was due to spend 12 months working over in the US, and made sure to have a rough cut down before departing. However, we ran into some issues with our original editor that put everything on hold until I returned back to Sydney in March 2017.
While at the time I couldn’t see this as anything but a frustrating delay, it actually turned out to be the best possible outcome for the film’s final cut; 12 months away from the original cut ensured I was able to detach myself from how things had to be cut, according to the script. I literally asked George Maher (who was a godsend, and took over the edit) to throw out the original timeline and play around with it however he wanted.
Being a stupidly talented dude, George came back to me with such interesting choices and took the film in a direction that I couldn’t have imagined. The framework was still there, but George and I molded it into something stronger and more compelling, and I’m really proud of myself for being able to let go of what the film was and embrace all that it could be.
What type of feedback have you received so far?
The feedback so far has been really positive. I’ve had a lot of comments about Tim Nagle’s exceptional cinematography, as well as George Maher’s work on the moody score. One note that I had recently was regarding the understated acting. All the actors I cast were so easy to work with and very little needed to be directed around their instincts. Considering this was my first venture into not only writing and directing a short, but also starring in it, I wasn’t sure how my own performance would come together. So people commenting on the ensemble's performance really has been overwhelming and lovely to hear.
Has the feedback surprised or challenged your point of view?
I’ll be honest in saying that the viewer feedback has been wonderful, which is always a lovely surprise. But something that has challenged my point of view has been that ‘In The Red’ wasn’t accepted into any festivals as a finalist. We were shortlisted a few times, but never ultimately selected. Now, while this isn’t the be all - end all, I think it’s just interesting to note what each festival has to offer and exactly what else they have in their line up at the time. One festival it didn’t get in to DID select another short that involved a fixed house auction, for example, so you kind of can’t predict where exactly your film fits in at the time of its festival run. This was my first real look at the festival process and I’ve learned so much about targeting and timing.
I’ve also had some fantastic mentors guiding me through the festival submissions and such. Matthew Jenkin, Alice Foulcher & Gregory Erdstein, and Alyssa McClelland have all been really supportive of me as an up and coming filmmaker. I trust their judgment and respect their collective experience immensely - it’s been so eye opening to hear it from their perspective.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
As a female filmmaker, I’m looking for ‘In The Red’ to find an audience. I’m so proud of my team's work and I want to keep making projects such as these.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Producers and Journalists who are passionate about women in film, or anyone who can help the exposure of ‘In The Red’ is encouraged to contact me!
At this point anyone who likes my style and is interested in developing other projects I’m currently working on is welcome to come on board. ‘In The Red’ has pretty much been rounded off at this point … however George Maher has got some killer sequel ideas rattling around. So who knows… maybe we’ll get to see more of Nick and Jesse sometime soon!
What type of impact and/or reception would you like this film to have?
Yure Covich needs his own show. Lets make it happen!
What’s a key question that will help spark a debate or begin a conversation about this film?
What happened to Nick? (You’d be surprised with all the varied interpretations I’ve had!)
Would you like to add anything else?
‘In The Red’ tested me creatively and in all honesty, sometimes it felt like an uphill battle. But looking back on the process of the film, I am honored to have had had the chance to work with each and every individual to tell this story. From my tireless producers, to the awesomely talented and kind bands ‘Tiber’ & ‘I’lls’, who provided the incredible music that shaped the whole film: Everyone – THANK YOU.
What other projects are the key creatives developing or working on now?
Currently, I’m in development on two television series with Izzy Stevens and my sister, Raechelle Banno, respectively. It’s been a really interesting experience collaborating on a project from the very beginning (unlike jumping on board other people's projects closer towards pre-production/shooting), and I love and admire Izzy & Raechelle’s work and am excited at what’s to come.
Interview: August 2018
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
In The Red
Two strangers paths become intertwined when a deal goes wrong.
Director: Karina Banno
Producer: Jenna Butcher, Maree Seminovas, Harry Baxter
KARINA BANNO's web series, The Unfortunate Files won ‘Best Web Series’ at the 2014 Port Stephens Film Festival, and short film, September, (co-directed with Tara O’Connell) was accepted into the 2015 ATOM Awards and won ‘Best Short’ & ‘People’s Choice’ at the 2014 Martini Awards.
MAREE SEMINOVAS produced a television pilot ‘Karralak’, award winning 'The Unfortunate Files' web series. She has previously completed various work experience with theatre companies (ATYP & Horizon Theatre).
JENNA BUTCHER and HARRY BAXTER took on the role of Producer for ‘In The Red’ as they had previously worked in other areas behind the camera, and in front as an actor. This short is their first producing credit.
Key cast: Yure Covich - Nick, Karina Banno - Jesse
Facebook: In the Red
Twitter: @karinabanno
Instagram: @karinabanno
Funders: POZIBLE
Where can I watch it next and in the coming month?
Vimeo: https://vimeo.com/261576026