INTERVIEW WITH Wayne Kelly
Can you explain to the audience your career?
I’m a writer, sound recordist, editor and director – in and around the industry since 2006. I’ve gained most of my experience through working in the commercial/branded content sector, before starting Spoon Jar Films with my friend and collaborator, Matt Holt back in 2015. Even before that, Matt and I were making short documentaries, including the highly popular YouTube film ‘Life of An Artist’
We began making our first feature length documentary in 2016 and the first film I entirely wrote and directed was award winning short film ‘INKLING’ which was an official selection in the 2020 HorrorHound Festival in Ohio, US.
How many years have you been making movies?
If you count music videos and branded content, since the early 2000’s.
Why did you start making movies?
I began as a writer and musician, first making my own music videos before branching out and making films for other bands and artists. I picked up more practical production experience through corporate work, eventually culminating in the production of feature length documentary ‘No Fare: The Sian Green Story’ which had a limited cinema release in 2022.
Tell us a little about your project. What will the audience be able to see in your film?
Twin Leaps is a fun, tongue-in-cheek eighties inspired comedy that fits well with previous Spoon Jar Films/KLens UK collaborations. Keith Large has fostered a unique light-hearted comic universe, influenced by his love of Carry On films and slapstick humour, and Twin Leaps fits neatly into this world.
Why did you do this project?
We love to work with Keith Large and his regular team of collaborators. His enthusiasm is infectious and he has a real passion for independent filmmaking.
We have seen that you have done the editing of this project, let's tell a little more about this project. How long did it take you to edit it?
We are used to working fast, having worked in the commercial world for so many years, so the main post production work was done within a few days, including VFX and sound mix.
What program do you use for editing?
Adobe Premiere.
Some editors assist in the shooting to take notes on the director's intention etc. How is your work with the director? Since there are directors who do not set foot in the editing room throughout the process, but instead there are other directors who are very involved in this process. Can you tell us more about how you worked?
I directed and edited this project so it wasn’t an issue. I also produced detailed shot lists and a storyboard before principal photography commenced.
If you could go back, what would you change about this project? (1 thing only)
More time to spend on some of the set-ups would make the editing process easier.
What are you happiest about this project?
The fitness montage. It was hard work to film so many set-ups but I think the result is worth it in capturing that classic 80’s montage feel.
Make a wish to the movie gods. What do you ask?
No rain on exterior shoot days.
What movie would you have liked to direct?
Reservoir Dogs. It is a classic first feature – low budget, minimal locations, incredible script and acting.
What kind of cinema do you like? Genre, directors, actors?
Favourite genre is Crime, followed by comedy – which is why I love Goodfellas so much. It has a great mix of the two.
Imagine that all the movies are going to be lost. If you could save 3 movies, what would they be?
Godfather, Heat and Goodfellas.
If you have more projects underway, can you give us a bit of information?
I’m currently working on a couple of TV pilot ideas – a sitcom and a drama – as well as thinking about future Klens UK/Spoon Jar Films collaborations.
