Daniel Hill as Bhule and Garfield Wedderburn as Anse


In 2018 FilmFrak is proud to continue to play a part in introducing the world to new and emerging filmmaking talents that operate in the “no man’s land” outside of the established system.

For our premiere interview of the year it’s a pleasure to present our readers to Barry Hunt. Making his cinematic Directorial debut with the post-apocalyptic underground feature film THE FURTHER ADVENTURES OF ANSE AND BHULE IN NO-MAN’S LAND Hunt is a stylistic creator that has delivered a contemplative and personal work that remains true to its intentions and avoids feeling familiar in the genre.

 Below we discuss the process of getting the film to the screen, Hunt’s approach to creative collaboration and what’s next among other subjects. Be sure to follow the link at the bottom of the page for where to screen the film on VOD.


Director_Barry_HuntThank you for taking the time to answer some questions about THE FURTHER ADVENTURES OF ANSE AND BHULE IN NO-MAN’S LAND. This is an impressive Directorial debut and a fascinating film. Due to its rich visual textures and cinematic design I was surprised when researching to discover it began life as a theatrical production. Can you tell us a little about what initially led you to this project and its evolution from stage to screen?
-FilmFrak Adam-

Barry Hunt: We were attracted to the innovation in this project as written by Tania Myren. Her creation of the stage play was so imaginative. On the stage, the future world Tania created was full of detail and the original pigeon dialect she invented for the men was rich with historical and modern references that crossed cultures, it sparked the viewers imagination on multiple levels. It was also inspiring for the cast and designers to manifest this world. When we first began to think of film as an avenue for our small theater ensemble, the imagery of Tania’s play came to mind. It felt cinematic, even on the stage.

 Reminding me a little of Wim Wender’s UNTIL THE END OF THE WORLD your film is cleverly, covertly a genre film in the guise of an interpretive arthouse experience. That is to say it feels very personal, very unique in its vision and deceptively reveals itself to be a post-apocalyptic zombie hunter story only when viewed in a certain light. How did you approach making every moment feel genuine and “human” while still hitting certain more traditional beats in a non-traditional way?
-FilmFrak Adam-

 Barry Hunt: We approach all our work from a personal perspective. We attempt to tell the story as truthfully as possible. That truth can only be judged from our core as humans. We look at the circumstances of the characters and ask how can we make them real for ourselves and the audience. With the added problem of making a future world, we asked repeatedly what would be the real objects they would have to work with, what would be the cultural references, how would a diverse group of children without adults evolve their language, beliefs and actions based on memory, fear, love and a need to survive.

The use of language, the linguistic etymology feels very authentic and contributes so much to the internal world building. How was the dialogue conceived and developed?
-FilmFrak Adam-

 Barry Hunt: In adapting the screenplay, we made some cuts but the dialogue you hear is all from the original play. The origin for Tania was hearing the word Carkin’. She and a fellow writer agreed to write plays based on a word, the other writer had a different word. Tania, also an actress, was then at an audition in LA for “clubbers.” This referenced club kids but Tania heard the word in a different way and Anse and Bhule where born as the “clubbers” you see in the film. Tania was also studying 12th century liturgical literature at the time and this literature influenced her riff on the pigeon language that you hear in the film. She has an amazing ear for languages and a phenomenal imagination.

Further_adventures_of_Anse_and_Bhule_stillAlong with the language, the costume design too contributes to believing in the world onscreen. Was there a mantra to the design of not just the costumes but any or all of the production?
-FilmFrak Adam-

 Barry Hunt: As mentioned, we asked ourselves often what would be available to each culture represented in the film. The most isolated, the young boys, had cloths which they would have grown out of quickly, bedding, some access to church raiment’s, gardening tools and some memorabilia. Bhule’s sleeves for example are the legs of a child’s jeans held together by velvet from the alter. Our mantra was, recycle. We had 20 years of theater storage. They could use anything that currently existed. We had several design teams for costumes and sets. One worked on costumes for the men’s culture, Trea Taylor, another the women, Jodi English, so they would each have a unique point of view. Elecia Beebe and Jean Hodges where key in scenic. The visions had their own art director, Kyle Aldrich. All coordinated by myself to maintain a truthful divergence in the cultures but in collaboration with the DP to create a unified cinematic vision. We derived a great deal of inspiration from the Maryhill Museum on whose property much of the film was shot. They have an art deco collection, Native American collection, Rodin collection, silent film and modern dance collection. Bhule and Persphone are modeled after art deco paintings and Anse after images of Brazilian gods.

The musical composition of the score goes from the delicate tickling of ivories in the flashbacks to a synthesized, less earthy sound in the present timeline. The compositions are often used subtly in both these contexts. What was your collaborative approach with composer Jon Clay as my research reveals this is his first feature too?
-FilmFrak Adam-

 Barry Hunt: I put a lot of energy in selecting artists and then place a great deal of trust in their creative unconscious.  I had viewed a short Jon had scored. It had elements that I liked. It turned out he also had a liturgical background in music as well as a modern bent. This combination fit the story. From there, we talked a lot about the characters’ circumstances as I had the designers. He watched the film a lot. I would come over periodically to listen to what he was doing. I would respond. Maybe ask him to help cover some of my mistakes. Build tension where it was flat. Things like that. It built over time.

 The cinematography in the film is dynamic when it needs to be, panoramic with the landscapes and closer with the more intimate moments. As with the composer your cinematographer Michael Pritchard also is making his feature film debut. What was the overall dictum to the visual design of the film and how did you ensure that this important aspect permeated?
-FilmFrak Adam-

 Barry Hunt: I mentioned selection of the artist first. Collaboration is important to me. I interviewed several experienced DP’s, OPB credits, etc. An actress I had worked with suggested Michael. She thought he would fit my style of work. He was just graduating from AI Portland and was one of the best in his class. When I looked at his reel I realized he loved the horror and zombie genre, had some crazy music videos and he loved canted shots. All these things reminded me of the film I wanted to make. He seemed to hold both classic and modern approaches to genre. Michael was my key collaborator during shooting. We went in each day, I showed him how I was staging the scene, he went behind the camera to figure out how he would shoot it. I was watching all the time on a monitor. He would move quickly through visual ideas. When I realized early on what he was doing, I asked him to think slower. That way I could say, “That!” when I saw something I liked. Another quality of Michael’s is a tireless love of shooting. First, I was asking him to roll camera early so I could capture the actors in unguarded moments before I called action and then he would often take additional footage at the end of a scene and I would hold calling cut for many minutes as a watched what he was doing. I did the first rough edit and he gave me amazing footage to work with. On our last day, he said to me, “No one would every make a film this way but all of the best parts are because we did.” Michael won Best Cinematography at the SFFF 2015.

further_advnetures_of_Anse_and_Bhule_still Bhule, Persephone and AnseObviously your working within stringent budgetary parameters here but given an open check book is there anything you would have changed about the film? Put another way, did your imagination sometimes wander outside the confines of the financial realities and if so, in what ways?
-FilmFrak Adam-

 Barry Hunt: First, I would have paid everyone what they are really worth. We had amazing talent working for extremely low wages or for love. Our make-up artists, Amber Arpin, was a true artist. Our sound guy, Shawn Willis, was also just out of school, on his first feature and what he achieved in the Columbia Gorge, essentially a wind tunnel, was amazing. We had very little ADR. The lead actors, Lorraine Bahr, Kelly Tallent, Daniel Hill and Garfield Wedderburn are remarkable. What I do not regret it how money can get squandered when there is a bigger budget. I like working with limitations. It makes the creativity all the greater.

The film is incredibly dense in thematic ideas and imagery. Nature versus nurture, dogmatic religion at the expense of humanity, tribal ritualism, the degradation and rebuilding of civilization and so much more are explored through the actions of the story. It’s bleak and doesn’t shy away from inevitable savagery but the rays of hope break through too. What were you trying to communicate with the audience and what would you ultimately like them to walk away with?
-FilmFrak Adam-

 Barry Hunt: I think that sense of redemption, forgiveness of our raw nature as humans and the ability to rise up, learn and grow. I think that is in Tania’s writing. So much of the story has the perspective of a child and that innocence helps bring out the hope. We relied a lot on our children in the film as research for the adults. We cast diverse children, mixed race kids from London, Israel, Jamaica, all living in the US. We asked what they remembered of other languages and rituals from their past experiences. They would say we should talk to their parents because they would not get it right, but we wanted that bit of disconnect from the memory and that is what we used to build the rituals, gestures and dances. I do love though how complicated the nature of understanding and misunderstanding is reflected in the film. Do Anse, Bhule and Persphone truly understand one another in the end? Do they have an accurate interpretation of each others language and beliefs? I love that they understand so little but still share a very real experience with one another. Does the audience fully understand all the layers of the film? But we have had a real experience. As we look again we understand more and more, a little at a time. Life is complicated.

As a filmmaker what are some of your artistic inspirations across any medium? As a Director what did you creatively desire on a selfish level? 
-FilmFrak Adam-

 Barry Hunt: My inspirations for this film, and what I think shows up, are a lot of Warner Bros. B movies, Fellini and Bergman, Warhol’s horror collection, silent films, westerns, Bonnie and Clyde. I love B movies more than a well made Hollywood film. There is something a little raw that sparks my imagination and feelings more than something smooth. I am watching Day of the Locust again and I cannot say how much I love every dirty moment of it. It is smart and lurid at the same time. My selfish desire was to have a creative conversation making something with people whose talent I admire.

If I haven’t already made clear, I was a fan of the film I wanted to congratulate you on this singular work. I am eager to see what comes next. Any projects on the horizon, filmic or otherwise?
-FilmFrak Adam-

 Thank you so much. I hope your work will help more people find the film. I will be directing Tania’s newest play in the fall, Kassandra Terminus, an exploration of the Kassandra myth juxtaposed to a modern love triangle. I am associate producing Daniel Hill’s (Bhule) directorial debut this summer on a film he wrote called Jeremy and Beth. I do have a completed film seeking distribution and another in development. The completed film is called The Lower Rooms by Eliza Anderson. Stylistically quite different than Anse and Bhule, it explores the relationship between a Tibetan survivor of political torture and an inquisitive 16-year old girl in danger of being involved in a cult. It won Best Drama and Best Actor at the OIFF 2016. I can share the trailer HERE

The Further Adventures of Anse and Bhule can be seen on Amazon and on Vimeo at



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