By Kevin Jagernauth | The Playlist January 18, 2013 at 12:56PM
How can you be a first-time filmmaker and a veteran all at the same time? Well, if you're director Fredrik Bond, it's easy. For the last decade or so, he's been an acclaimed, award-winning commercials director, picking up honors from the British Television Advertising Awards and being nominated twice for the Directors Guild of America’s Outstanding Directorial Achievement in Commercials. He's been a globetrotter as well, growing up in Sweden, studying in New York, living in England and Los Angeles, and always working his passport for wherever the job would take him. But this week Bond arrives in Park City, ready to prove himself at the feature level with "The Necessary Death Of Charlie Countryman," and we had a chance to speak with him before the fest about the movie. The first thing he shared was how much he appreciated the Black List-ed script by Matt Drake ("Project X").
"Over the years, I've just been reading and reading and reading and just trying to find that script," Bond said about choosing his first movie. "I had been writing a little bit, enough to how hard it is to write, and I appreciate great writers. [And] I'd been reading scripts trying to find a great script I knew I would kill everything to do. And that happened to be 'Charlie Countryman.' "
For his first outing as a feature filmmaker, he's nabbed a great cast, with Shia LaBeouf and Evan Rachel Wood in the lead roles of a movie that tells the story of Charlie Countryman (LaBeouf), who while traveling abroad falls for Gabi (Wood), a Romanian beauty whose unreachable heart has its origins in Nigel, her violent, charismatic ex. As the darkness of Gabi’s past increasingly envelops him, Charlie resolves to win her love, or die trying. The always great Mads Mikkelsen plays the villain Nigel, while Til Schweiger, Rupert Grint, Melissa Leo and James Buckley fill out the supporting cast. And if the story sounds slightly over the top, well, that's because it is.
However, moving from the commercial world where you're working in short bursts, to a full-length film, might seem daunting, but Bond told us that even from a young age he was getting a sense of cutting and shaping films. "I collected movies as a kid. I had a bit of a pirate bay in my basement, in the early '80s. But at the same time I was quite obsessed with commercials from England, because I used to spend my Christmases and holidays in England with family and friends," he explained. "So I used to record the commercial breaks, so I basically had a collection of thousands of commercials from England in this library of films that I had. So I started to do my own short films by editing commercials and snippets of movies together, and do my own little collages."
And that sense of assemblage, of creating narratives even within a short time frame, was something that stuck with Bond when he grew up and began working in the field. "When I started doing commercials, I was lucky to work with some amazing creatives who had written some great scripts. And I actually found that commercials were sort of like my mini short films," Bond said. "I could explore so many different worlds and characters and actors and work in a really creative environment, so even if I knew in the back of my head that features was something I really wanted to do, I so thoroughly enjoyed doing commercials, because I really got to have a great time with it."
But if shooting a feature afforded Bond one key luxury, it was the ability to simply have more time than he would while lensing an advertisement. "It's different to some degree because you have a little bit of a longer time to think your decisions over. But the the difference is not that big. I always try to spend as much time with the actors as I can, even on commercials, but there's only so much time you can spend with an actor on commercials before they think you're crazy," he said. "The biggest thing was spending so much more time with actors, which I love, because that's always where the spine of the movie is going to be built on. And that's going to be the soul of the movie. For me that was the biggest difference, how much time I spent rehearsing and trying to figure out things with the actors."