'You just have to believe and push forward' | Laurie Blayney on Hector's Proclamation

Hector’s Proclamation is a creative blast on the joys – and downfalls – of filmmaking. Writer, director and producer Laurie Blayney talks about what inspired the film and why you need to believe

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Hector’s Proclamation is a mini epic about the creative process, the media and the modern world. Where did the idea come from?

(Laughs) Mini epic, I’ll take that. I think ideas always seem to stem from a big variety of experiences, but for me, this film definitely grew from my experiences in pre-production and on set. I wanted to explore the divide between creativity and commerce that is sadly embedded in the process of making films. It can be so frustrating to have an idea you’re so passionate about be utterly at the mercy of people, of institutions, who just don’t understand. Hopefully, it does a decent job at explaining that sometimes, you just have to believe and push forward, even if that means going it alone.

When we say mini-epic, there were 50 cast, 185 shots and about 20 locations. It’s packed full of ideas. When you started, did you think it would grow to such a scale, and what were the benefits and drawbacks of making such an ambitious film?

Hullo...

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Sort of. I knew it would be challenging. My brain’s very erratic on the best of days, and I think that’s reflected in my style of directing and writing. There’s a lot going on, lots of threads that spiral off but tie up at the end, so I knew from the script alone there would be a lot to shoot. 185 shots is pretty crazy, but I also think we (myself and the other crew, especially Connor, my DOP and creative partner) believed in it enough to not let the sheer volume of shots, locations, cast etc overwhelm us. It’s hard work, and sometimes tedious when you’re funding the film completely from your own pocket (it took over three years and several reshoots to get there), but that’s what the process is all about. If you have the film in your head before you shoot, which I always do, then it’s pretty easy to achieve if you plan ahead.

How has Hector’s Proclamation been received so far, and where can people get to see it?

Reactions have been really good so far, which is always nice. Screening it has been such a pleasure, it’s always fun (and slightly scary) to blow up this thing you’ve poured your heart and soul into on a big screen in front of so many people, it’s very humbling. We’re currently shipping it around to festivals and waiting for the word, but it’ll be online and shared onto my Instagram once that process is finished.

Filmmaking in focus. A still from Hector’s Proclamation

You’re in the process of putting together your next film This Time, Next Time. How far down the line are you on that, and what can you tell us about the film?

I am indeed! We’ll be starting production next year, and I really can’t wait. It’s far more character driven than Hector’s, which I think is where I’m most comfortable, and follows the life of a character as he battles with the cage of escapism, which is something I definitely have lots of experience with. He’s at war with himself, wants to better himself… but always seems to land right back where he started. I’m currently writing the second draft of a novel, and the script of this short comprises the first chapter; so lots to come, and nothing more to say as of now

What have you learnt from Hector’s Proclamation that you will take into This Time, Next Time?

So, so much. My taste, my style, everything has changed, which ironically echoes the opening words of the film, everything was changing. It won’t take three years, that’s for sure! It’s important to capture a moment when you shoot, to utilise the momentum that naturally manifests around a big, collaborative project, so I’ll be doing just that. I also recently started a production company called Down and Out with my DOP Connor, who’s also one of my best friends. So working through that, and building our body of work really elevates and aids the process overall.

What’s the biggest drag about filmmaking, and what excites you most?

The future’s exciting, for sure. The thought of making my first feature is unreal, something I really cannot wait to do. But when it comes to a drag… for me, it’s probably funding, or rather the lack of it. I’m not a nepo baby, and doing things on a shoestring budget tends to challenge you in every aspect, from casting to crew, from wardrobe to choice of location, all of it. But then again, it also forces you to be creative and pragmatic. I know that this is the time where I’m learning lessons no amount of money can teach you, and that’s invaluable. You can always tell when directors haven’t had to learn the hard way to craft their style and vision, even when it doesn’t feel possible. I don’t plan on being one of them.

Thank you! And please keep us in the loop!