BBFF2022 Meet the Filmmaker: Gudmund Helmsdal
Brother Troll
Gudmund Helmsdal has created a powerful story set in the Faroe Islands, about two lone brothers who struggle to save their fragile relationship after the sudden loss of their older brother.
We had a chat to Gudmund Helmsdal about the making of ‘Brother Troll’ and his process from development to screen.
Screening at Palace Cinemas Byron Bay
Saturday 22 October at 1:30pm
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How did you come to discover the story in your film?
It happened one night some 10 years ago when I attended a lecture on the history of the Island of Kalsoy in the Faroe Islands (an Island that is known today for being Poison Island in the latest James Bond flick - the place of James Bond's demise). Back in the day in the tiny hamlet of Trøllanes (Cape Troll), there was no church or graveyard, so when a villager died there, they had to carry the corpse to be buried in the next village. It was a perilous journey, with incredibly steep cliffs and mountains. So upon hearing this story, I got the idea of two brothers living alone in a similar settlement, and one brother choosing to carry the other over the mountain to be buried. The story evolved from there.
Have you always wanted to be a filmmaker?
Indeed. Ever since I watched my first film in the cinema at age 2 I have loved cinema. I made my first short films in middle school and high school. Then spent some years playing in a rock band, while working at the local television station in the Faroe Islands - as a presenter, film reviewer and as a technician. Then I got a masters degree in Film Art at the University of Copenhagen. At the same time I worked in the danish film industry for a year or two, and then moved to Sydney where I finished my masters degree long distance working out of the Library of AFTRS. The next four years I worked in various roles in the Sydney Indy film scene. I moved back to the Faroe Islands in 2015 where I have been working in the emerging film industry ever since.
As a filmmaker what is your favourite memory you had in the process of creating this film?
The whole hanging on cliffs was all done in camera on location. No green screen, only wire removal. It was incredibly difficult and nerve wracking to shoot, but it was amazing to experience that a small crew of just ten people, plus 3 safety people, were able to pull it off in only two days. Additionally, in those two days we shot most of the walking scenes with the wheel barrow, including the wheel coming off in one very lucky shot. Also on that day we found the iconic location in the gorge which we use for our opening shot. So the sense of accomplishment that evening, watching the dailies of the wheel coming off was amazing... and we all laughed at the look of despair in Nicolaj's face.
Why do you think short films are an important medium to explore creativity through?
The short film is an essential medium for a filmmaker to practice and master his/her craft. You can try out anything you like, and if it goes well, a short is the absolute best calling card you have to get noticed as an independent filmmaker. From making Brother Troll I have learned that action is what takes you there. You can keep thinking and planning, but in the end you have to take a leap and just do it. We chose to start shooting this with a tiny budget, but after having shot the first couple of scenes, it was much easier for us to raise a proper budget for the picture.
Part of the filmmaking process is you will face challenges, how did you overcome these?
My sister Rakel Helmsdal and I wrote the first draft of the story in the small village of Trøllanes in 2016. We managed to raise a bit of money, but it was quite an ambitious project with a bit of cgi planned, so the film was not going to be cheap to make. After trying to fundraise for a year, we realized we had to make some compromises on equipment, and said screw it, we're just going to start shooting. We shot a few scenes in late 2017, then used those for fundraising. It worked and we raised enough to finish the shooting and still had enough cash for editing. This was done in late 2018 early 2019. The next challenge was CGI, music and sound work. This took us an additional year to fundraise and finish. The film actually includes over 40 VFX shots, which I am proud to say are quite seamless. We finally had a version ready in early 2020, but then Covid hit and festivals went dark. So we sat on it for another year - making a few additional adjustments.
What is next for you in the future?
The success of Brother Troll has got me some local development grants here in the Faroe Islands. So for the better part of this year I have been developing a feature for a WW2 story set in the Faroe Islands. This is of course a very ambitious and costly affair, so additionally I have some more manageable horror stories planned. Also I am working on a team sports movie based on a true story, centered around a group of potheads and misfits, that chose to join our traditional boat racing competitions (Cool Runnings in the Faroes). Additionally, I am working on expanding the Brother Troll universe with a feature length spiritual successor which will be a proper fermented western.
What is your biggest creative influence on your filmmaking style?
I have a life long film education through watching thousands of films. On top of that the university degree in film arts has given me a solid backbone in what works and what doesn't when telling a story on film. That being said I have many favorite directors, such as usual suspects Kurosawa, Leone and Bergman. These three I mostly used as inspiration for the style of Brother Troll. But I love all of cinema all styles from Bollywood Musicals to Horror films - from german silent movies to Tarantino. So my style is an amalgamation of everything I have absorbed from a lifetime dedication to cinema.
What is a piece of advice you can give to all aspiring filmmakers?
Watch plenty of movies! Regarding short films use them to experiment, play and to hone your craft. And sometimes when you don't have the cash to start shooting, then do it anyway. A little bit of great teaser footage can go a long way fundraising wise.
International film festivals are still the very best platforms for filmmakers to be seen and for building their international network. And of course a festival should be physical, as there is nothing like getting the opportunity to share your feature or short film with a live audience.
