Written by Luke Barnes

Hey Everyone! I recent had the chance to sit down and chat to Alexander Jeremy, the writer director behind f r e d and the lockdown thriller Milk Run.  We talk about filming during lockdown, dancing through grief and the films of Russian cinematic giant Andrei Tarkovsky. I hope you enjoy!

Q: Who is your filmmaking inspiration?

A: I think it’s quite a lot of things actually. Film wise, from super strange niche stuff, like Tarkovsky/Bresson or something like that; things that kind of push the boundaries. Then on the flip side, pretty straight down the line films like Star Trek, The Last Samurai and the Avengers movies! I also get a lot of inspiration from music and the whole music world. I love weird electronic music and rap.

Q: Do you have any funny on set stories?

A: Not particularly hilarious but just one of those unexpected moments whilst filming; in f r e d, there’s a bit where Fred dances through a restaurant. We just shot that with no prep and no warning to the restaurant (naughty) – but at the end, a random guy started dancing with him. I love things like that.

Q: How would you describe the production of either F r e d or Milkrun?

A: F r e d was my first serious “piece”. Everyone was going out on a limb and we had no idea what it was going to turn out like, it felt a lot like a train in motion and we just kept up a long with it. Milkrun was strange, because I shot everything by myself on the cheapest of gear I could afford. So it was incredibly rough and “lofi” as I call it, it was not at all like a proper set – but I quite like that, makes it feel more like a bunch of kids with cameras. I think we should value short films made with nothing that are rough around the edges, as opposed to super high-budget, professional ones, clean ones – I always find them less interesting, (less risk?).

Q: How would you describe your experience with Lockdown filmmaking? 

4. It’s been an incredible time for me as a filmmaker, you’d think it’d be the opposite. If you’re willing to accept that shooting in Lockdown with nothing is probably not going to get you into Cannes or Sundance, and you can focus more on the love of it, practice, play etc – then in that sense, it’s been lovely. The super affordable gear and equipment these days are making filmmaking so accessible, it’s awesome. I want a Black Magic Pocket 6k Pro very badly!!

Q: How key was tapping into the fear and paranoia of the British lockdown for Milk Run? How close to life was your spoof?

A:  I love the old silent films, so I wanted to do something like that – also because it meant I wouldn’t need sound which cuts costs massively and makes everything much easier to shoot. In terms of the paranoia, and especially at that time (during the end of the second lockdown), you’re constantly in waves between paranoia and “fuck it”. I myself have probably swayed too far in each direction at one point, so I guess I wanted it to be a reminder not too swing too far in any direction.

Q: If you could go back in time to when you were a filmmaker first starting out what would you say to yourself?

A: Make more, keep going, be patient…and what I try to tell myself now is to focus on the fun, the joy, the creating, making good work – and try to forget about everything else. I think focusing on your “career” might make your work mediocre. 

Q: With F_r_e_d what was vital to you when trying to convey the grief on screen?

A: Just the silence, I think. How someone is there, with you, every day and then isn’t. Also, that with grief you cry one minute, dance the next, cry, then laugh, then numb, then cry – all over the place.

Q: Dance is obviously a central part of the narrative in f r e d, why is that and how did the idea come about?

A: F r e d ended up a very ambiguous piece, people read lots of different things into it – so I don’t really want to say too much. However, I’ll say the dance came from the fact that it’s so opposite to grief, and I thought it would suit Fred’s character – you can’t place him, he feels more like a force, a spirit, then a living person. 

Q: Sequel ideas or potential new endeavours?

A: No sequels in the works! Just more projects. I have another film coming out very soon, called Crowning, written by Hannah May Jessop. That film I think continues to explore stylistically some things I was tapping into with f r e d; a kind of stylistic awkwardness, anti-cinematic – to make you feel slightly unnerved – it’s not following the cinematic rules that we take comfort in, so you don’t know what it will do. Then, combining that with the silent era call-backs of Milkrun. Let’s see what happens with it! Please follow @crowningfilm !!

Q: If you ever win an Oscar or other award who would you thank in your acceptance speech?

A:  My Mum and Dad, my late friend Josh, and Keith Johnstone. (And agent + wife I imagine!)

You can check out F r e d and Milk Run, on Youtube, Vimeo and other streaming services now and of course you can check out reviews of both on my site now!