Joseph Barnett graduated in Visual Communication at the Kent institute of Art and Design in 2000.

In 2005 he received a LAFVA award for the production of Guilty by Nature. Shot with extreme close-ups, varied frame rates and an exaggerated soundscape, Guilty by Nature is set on a militant horticultural nursery and follows the life cycle of a wild and vigorous shrub.

FLAMIN: Can you tell us a little about how the film, Guilty by Nature, came about?

Joseph Barnett: The chrysalis for the initial idea came about from a childhood memory. I am, as was my father a nurseryman’s son. Each season the freakish, the odd and the weak plants are deemed un-saleable. It is more cost effective to concentrate energies on the strong so the weak are usually culled on a bonfire. I found this quite a troubling revelation as a youngster, especially as I was one of the barrow boys forking them onto the bonfire.

Once I explored this memory I realised within the confines of the nursery I had a wealth of loaded imagery that I could use. From the lines and lines of potted shrubs in strict military formation, all labelled with the perfect image of themselves; the strong cloned through cuttings, the hormone powder artificially bolstering growth, the germination of hundreds in polythene tunnels; right through to the potting machine, mechanically planting infant plugs.

I figured for it to work I would have to get the audience to empathise with one shrub, a shrub that doesn’t talk or move of its own accord. So when I first started writing I thought it was going to be an animation. I spent several weeks testing and got completely carried away with filming the sites. After strapping my camera to an array of machinery and places I realised I wanted to shoot live action. By having the action on the edges of the frame and shooting from a mixture of miniature view points I could put the audience next to the shrub. To get the disturbing emotional pull I was after I felt it needed to have an honesty to it, which is an integrity the live action adds. I also wanted a rickety war film feel to it, so we ramped the shutter slightly and I graded it accordingly.

FLAMIN: How did you first hear about the LAFVA scheme?

JB: FLAMIN wasn’t up and running then so I think I got to read about it in a newsletter. I’d been threatening to apply to schemes for a few years, but finally got my act in gear with Guilty by Nature. It’s a very generous commission, there aren’t many places that give you that sort of money and don’t expect anything in return, other than for you to make your baby.

I was using the LAFVA deadline to force me to develop the project. I didn’t actually think I would get the commission. So when I handed the project in I’d approached it as though I was about to go and shoot it. This might sound silly, but I don’t think I would have been as thorough if I was looking at it as an application. So the project was very developed: a script, story boards, test shots, locations locked. Which I reckon made the project a safer investment.

FLAMIN: Where has Guilty by Nature been shown?

JB: Film festivals; Concorto Film Festival 2007 in Milan, (where it won Best Experimental Film); London Short Film Festival 2007 (winning LUX AWARD – Best Experimental Film); Edinburgh’s 60th International Film Festival in the European Shorts section, Britspotting Film festival 2007 in Berlin; DIBA Film Festival 2007 in Barcelona; 700.IS  Experimental Film Festival 2007 in Iceland; Riverrun International Film Festival 2007 in North Carolina; Earthdance Film Festival 2007 in California; Rushes Short Film Festival 2007 in London; Portobello Film Festival 2007; Raindance 2007 and the InVideo Festival 2007 in Milan.

Other screenings and events; St. Petersburg, Filmcentre Bodina – 2007; Alsager Gallery, Manchester Metropolitan University – October 2007; University of Phoenix, USA – 26th November to 5th of DEC 2007; Hay on Wye literary festival – 2007; Bang Films, Brazil – 2007; Star & Shadow cinema, Newcastle – 2007;Deptford Design Festival – 2007; Fleapit, London.

FLAMIN: How have you found the experience of showing your work at such festivals?

JB: It’s great, I didn’t realise before just how important distribution was. I mean I had plans and even earmarked festivals that I was going to apply to; but it wasn’t until I finished the film the reality hit me. I realised that however proud I was of the film if no one gets a chance to see it the whole effort was a little futile.

This prompted a very aggressive distribution plan (at last count I had applied to 46 festivals; which is a lot of work to do on your own). It’s a great feeling to be part of them, but can be really frustrating when you’re rejected. Do not take this personally there are a number of reasons you might not get picked up. I got five into four acceptances in a row once and then got blown out by the following fifteen.

Film festivals are great things, outside of giving you an arena to show and discuss your work they give you recognition. This is extremely important to breathe energy back into yourself and into the next project. Also if you pick up an award it’s a tremendous feeling, suddenly it makes all those obsessive hours and empty pockets worth while. Recently at the end of a screening of my film; someone behind involuntary whispered, ‘That was awesome’. I was stoked for hours after that.

FLAMIN: How do you feel receiving the LAFVA award has helped developed your practice?

JB: Tremendously, I think it gave me a belief in myself more than anything. I had a lot of experience in working in a commercial environment as a multi media producer e.g. camera op, graphics, video editor etc. but I hadn’t created my own work since Uni. I was quite apologetic about any directing ambitions. On receiving the award I felt I could take myself more seriously this in turn meant that others would too. I also had the guidance of Maggie, Pinky and Rose, and although we didn’t always agree, the film is certainly stronger because of them. Since then I’ve had all these screenings building my profile; culminating in winning the 212 innovation award which is an amazing prize. And for sure, the money certainly helped as well!

FLAMIN: What three pieces of advice can you offer to emerging or recent graduate artist film-makers looking to get work made and seen?

JB: Network, hang out and spit ball ideas with others. It’s the most productive thing to do. You will have ideas with elements you hadn’t even realised you’d thought about till you actually start ranting about them.

Get busy and get your hands dirty. If you’re getting stuck on ideas or loosing momentum break out the camera, pencil or what ever physical thing you can use to explore it outside of an idea. Often just doing, even if it seems futile, can be a lot more productive than staying locked inside your own head. Also if you’re working elsewhere and can’t give much time to the project; then keep it alive with what you read and watch.

Don’t be frightened to ask for favours, and do make sure you give them back as well. We are all trying to hustling projects into fruition and a lot only manage to exist because of favours. Be humble but don’t apologise about your project. Once people are in they are usually pretty generous; because if they’re going to give up their time to it, they want it to be a success too.

FLAMIN: Where next? What plans do you have for future projects?

JB: I’ve got two video installations that I’m really excited about but they’re a bit of an unknown quantity to me. This is probably why they’re an attractive prospect. One is collaboration with my partner, exploring used and disused drive-in cinemas. She’s an architect so we have a good balance of space and image going on.

I’ve also got two scripts I’m penning and a documentary I’ve just started. I’m lucky to be collaborating with Michael Needham again. He has the uncanny knack of finding really interesting people to film. I love the instantaneous energy of documentary - your rushes are your script. I’m also developing a music promo for the Magnet Men. They are both illustrators and are keen to animate on the film; so I’m quite keyed up about that.

I still freelance as a Camera op/ Editor; but often work in a variety of other random roles. This is one thing I’m looking to firm up within the next year. Hopefully I can merge the energy I give to my own projects together with more commercial paid work. Directing promos and short form is something I’d like to be more involved in.