In a recent episode of The Filmmakers Podcast, hosts Giles Alderson and Dom Lenoir chatted with Phil Hawkins, the director behind Robin and the Hoods.
Phil shared how the film came to be, his vision for the project, and the challenges he faced in bringing this well-known tale to a modern audience.
How it All Began
Robin and the Hoods writers Stuart Benson and Paul Davidson discovered him through an interview on YouTube. They were searching for a director who could infuse their script with a nostalgic, 80s/ early 90s filmmaking style.
Phil’s work on Star Wars: Origin impressed them. “When I first read the script, I fell in love with it. It was probably the best script I’d ever read,” Phil shared. “In my pitch meeting, I usually discuss what I love about the script and areas that might need tweaking. But one of the first things I said was, ‘When do we shoot this because it’s ready.'”
Crafting the Visuals
Phil’s vision was clear and required alternating between a modern-day domestic environment and a fantasy world filled with armour, weapons, and horses. His visual deck featured images from domestic suburban environments and films like Gladiator, Game of Thrones, and The Lord of the Rings; and also included stills from a series of commercials that Phil worked on that were Game of Thrones spoofs.
“The easiest part of the film for me was the horses and the battles because you’re leaning into the genre,” Phil explained. “The hardest part was the present-day domestic scenes. It’s easy to make epic scenes with backlit horses, but then cutting to a kid in a bedroom it was like making two different movies.”
Phil’s approach was to ensure every transition between reality and fantasy was meticulously planned. “Every single change is for a reason. Every transition needs to be considered and executed,” he emphasized.
Balancing Humor and High Stakes
One of the unique challenges was balancing the high stakes of the fantasy sequences with the lower-stakes moments of the kids’ real lives.
He used humour to make the transitions between reality and fantasy engaging. “If you’ve got a wizard that’s charging a massive staff with a big lightning bolt and he fires it with huge passion and it flips and it’s just a beanbag and a guy gets hit that becomes funny because of the contrast,” he said. “The charm of it makes you enjoy those moments.”
Securing the Director’s Chair
Phil’s enthusiasm and passion were instrumental in securing the director’s role.
He demonstrated a clear understanding of the market and the challenges posed by the script. “I had the right answers to the big questions everyone was asking,” Phil shared. “I was always trying to lift the production value as much as possible.”
Phil’s confidence and vision assured the producers. “I didn’t get into budget details, but I knew it was going to be a time-intensive film because we were essentially making two films at once.”
Working Together
Collaboration was key to the project’s success. Silver Reel, with their track record of ‘getting movies made’ was committed to bringing the film to life. Sky, while initially hesitant, became more interested once they saw Phil’s work on Prancer.
Casting was another crucial element. Darcey Ewart, who was perfect for the role, and Naomi Harris, who said yes after reading the script, were significant additions. “It’s the power of a good script,” Phil remarked. “Naomi was at the top of our list.”
Production Design and Locations
The production design played a significant role in the story. “I am absolutely in awe of what the team pulled off for the budget,” Phil praised. “We needed a location that could work for both reality and fantasy and still have real-world scale.”
A significant challenge, as is often the case with filmmaking, was finding a suitable location. “We were a week out from filming and still hadn’t found a playground. I ended up driving around and found a wonderful farm where we built the kingdom set,” Phil recalled. “It was a last-minute choice, but it worked out perfectly.”
Working with Young Actors
Working with child actors added another layer of complexity.
Phil emphasized the importance of treating young actors with the same respect as adults. “If you treat them like children, they’ll act like children. If you treat them like actors, they’ll act like actors,” he said. He built a strong rapport with the kids, by taking time to understand their lives and then using relatable language to communicate.
Managing Challenges
A film with fantasy elements, child actors and animals requires meticulous planning.
“Every day is a battle to make the day. You just have to do it with confidence and a smile,” Phil noted. His DOP, David Meadows, and production designer, Sivo Gluck, were instrumental in navigating the challenges. And being a support when times were tough.
The film’s production schedule was intense, with a 30-day shoot encompassing two distinct film styles. “Scheduling was a nightmare, but we had an amazing crew that kept the energy up,” Phil acknowledged.
As Phil put it, “What I get to do is insane, and I love every single minute of it.” You can listen to the full episode here.