{"id":40190,"date":"2020-09-25T06:01:28","date_gmt":"2020-09-25T06:01:28","guid":{"rendered":"https:\/\/www.skwigly.co.uk\/?p=40190"},"modified":"2023-09-21T16:32:05","modified_gmt":"2023-09-21T16:32:05","slug":"daniel-gray-hide","status":"publish","type":"post","link":"https:\/\/www.skwigly.co.uk\/daniel-gray-hide\/","title":{"rendered":"Interview with &#8216;HIDE&#8217; director Daniel Gray"},"content":{"rendered":"<p><strong>UPDATE 17\/04\/2023 &#8211; Daniel Gray&#8217;s <i>HIDE<\/i> is now available to watch online in full (stream below)<\/strong><\/p>\n<p><em><strong>Having studied animation at the University of Wales in Newport, Daniel Gray&#8217;s graduation short <\/strong><\/em><a href=\"https:\/\/vimeo.com\/4179963\"><strong>t.o.m.<\/strong><\/a><em><strong> (co-directed with Tom Brown, a creative partnership that would continue for over a decade as <a href=\"https:\/\/www.skwigly.co.uk\/skwigly-podcast-holbrooks\/\">Holbrooks Films<\/a>) made an enormous impact during its festival run, scooping up awards at Annecy, Ottawa International Animation Festival, Fantoche, the British Animation Awards, the Royal Television Society Awards and the London International Animation Festival among others &#8211; as well as receiving a Cartoon d&#8217;Or nomination and an Honorable Mention at Sundance. <\/strong><\/em><\/p>\n<p><em><strong>The duo achieved similar success with their 2015 short film <\/strong><\/em><a href=\"https:\/\/www.skwigly.co.uk\/teeth-by-holbrooks-films-finally-online-interview\/\"><strong>teeth<\/strong><\/a><em><strong> &#8211; an at-times nightmarish, yet strangely hypnotic, animated memoir of a man obsessed with constructing a &#8216;perfect&#8217; set of replacement teeth from across the animal kingdom &#8211; which would go on to screen at over forty festivals as well as winning the <a href=\"https:\/\/www.skwigly.co.uk\/annecy-announce-special-prizes\/\">FIPRESCI Prize at Annecy<\/a> and another pair of double-wins at the <a href=\"https:\/\/www.skwigly.co.uk\/baa2016-winners\/\">BAAs<\/a> and RTS Awards.<\/strong><\/em><\/p>\n<p><em><strong>In the years since Holbrooks have parted ways &#8211; at least for the time being &#8211; with this week seeing the international premiere of Daniel&#8217;s solo short film outing <\/strong><\/em><strong>HIDE<\/strong><em><strong>, produced by <a href=\"https:\/\/lacelluleproductions.com\/\">La Cellule Productions<\/a>, <a href=\"https:\/\/cubanimation.com\/en\/intro-en\/\">CUB Animation<\/a> and the <a href=\"https:\/\/www.nfb.ca\/\">National Film Board of Canada<\/a>. Boasting the familiar, ethereal, painterly quality of Daniel&#8217;s prior work and breeding a similarly compelling sense of unease throughout, <\/strong><\/em><strong>HIDE<\/strong><em><strong> depicts a young boy who, while playing hide-and-seek, is unexpectedly confronted with visions of an increasingly-alienating future.<\/strong><\/em><\/p>\n<p><em><strong>Presently based in Hungary where he works and lives with his family, Daniel took some time to catch up with Skwigly about his new project and the journey to get it made.<\/strong><\/em><\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.nfb.ca\/film\/hide\/embed\/player\/\" width=\"600\" height=\"338\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>We last spoke to you back in 2016 when your previous film <em>teeth<\/em> was released online. What have you been up to between then and <em>HIDE<\/em>?<\/strong><\/p>\n<blockquote><p>I had <em>HIDE<\/em> written when <em>teeth<\/em> was in the festival loop; between then and now it\u2019s been <em>HIDE<\/em> most of the time. I wrote a few other things, freelance things of course. In general, though, <em>HIDE<\/em>.<\/p><\/blockquote>\n<p><strong>Having previously been part of the two-man operation Holbrooks, <em>HIDE<\/em> represents your first outing as a solo short film director. Did this offer up any perks or challenges as a new experience?<\/strong><\/p>\n<blockquote><p>That\u2019s not really something I can answer. Best interviewee ever, I am. What I mean is, I can\u2019t compare the two experiences. When I was working with young Tom Brown, we were working between schedules, in our spare time, with no funding. So everything was a lot harder. On this occasion, I was working with great producers at CUB, La Cellule and the NFB, and was able to work on the project almost full-time.<\/p><\/blockquote>\n<div id=\"attachment_40194\" style=\"width: 360px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-40194\" class=\" wp-image-40194\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/Daniel-480x600.jpg\" alt=\"\" width=\"350\" height=\"438\" \/><p id=\"caption-attachment-40194\" class=\"wp-caption-text\">Daniel Gray<\/p><\/div>\n<p><strong>Does the premise of <em>HIDE<\/em>, which sees a child passively (fearfully?) watching time pass with increasing rapidity from an ostensibly neutral hiding place, have any particular personal origin?<\/strong><\/p>\n<blockquote><p>The child starts the game hiding with excitement and joy, but he becomes more apprehensive as the experience becomes less escapable and grim. The origin is me trying to describe a feeling of homesickness I have. It\u2019s the modern version, where you chat and see everyone digitally every day; and the feeling of being apart is more hidden and harder to pinpoint. But it\u2019s there. The digital versions you see of your family and friends are more often than not the edited highlights. Everyone is happy, only good things are passed on. No one is ill. But then when I physically visit home (I live in Hungary but I\u2019m from Wales), everything is different. People seem conspicuously older. People have died. Stuff is different. So I\u2019m trying to make a study of that feeling; trying to manifest it in an audience.<\/p><\/blockquote>\n<p><strong>Can you talk us through the journey it took for <em>HIDE<\/em> to get funded and ultimately made?<\/strong><\/p>\n<blockquote><p>Weeeeeell, a top tip for anyone taking a film to festivals is to have your next film available, in some form or other, to show. When a producer asks you what you\u2019re working on next, you can say, \u201cThis!\u201d And give them a paper or send them an e-mail. That\u2019s the job, and that\u2019s what they\u2019re asking when they say, \u201cWhat\u2019s next?\u201d So I had HIDE with me when teeth was in festivals; I met with Maral [Mohamaddian] from the NFB, who liked the project. CUB came on board too, and they found La Cellule. Then they each roped in resources from their respective territories. I spent a month doing the backgrounds and setups at the Abbaye Fontevraud, then I spent two months at Ciclic with a team of four animators, and overlapping that, the colouring was being done. I did the comping and stuff, then we had the sound design done by Olivier Calvert in Canada. Then they did all the post with remote connections and all kinds of technical wizardry.<\/p><\/blockquote>\n<div id=\"attachment_40193\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-40193\" class=\"size-medium wp-image-40193\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/HIDEstill2-600x313.jpg\" alt=\"\" width=\"600\" height=\"313\" \/><p id=\"caption-attachment-40193\" class=\"wp-caption-text\"><em>HIDE<\/em> (La Cellule Productions, CUB Animation, The National Film Board of Canada)<\/p><\/div>\n<p><strong>Had you worked with CUB and\/or La Cellule before this project, and similarly were there any particular areas of production they took the lead on?<\/strong><\/p>\n<blockquote><p>I\u2019ve worked with CUB a fair amount by freelancing on some of their shorts and their commercial projects. They\u2019ve been involved in some great shorts over the last few years. I\u2019d never worked with La Cellule before; they were suggested to CUB and we met them. We really liked their energy and passion for their projects, so we decided to work together then.<\/p><\/blockquote>\n<p><strong>The scenario <em>HIDE<\/em> depicts could be open to multiple interpretations, although for me there\u2019s a particular personal resonance as regards feeling increasingly detached from the people and locales I grew up with as I get older. Was the film conceived with a particular interpretation in mind or was it more based around the visual concept?<\/strong><\/p>\n<blockquote><p>It was overmuch based on the story I\u2019d written first, which was about my feelings of homesickness. I don\u2019t like to be too literal with what I do and prefer to try to evoke a shared feeling in an audience. This does mean that there can be other interpretations of it, but I think they\u2019ll all have the common feelings of disconnection and longing, and that peculiar feeling in your stomach.<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"teeth\" src=\"https:\/\/player.vimeo.com\/video\/162066639?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>While there\u2019s a distinct quality to the film\u2019s design style the main character definitely brings <em>t.o.m.<\/em> to mind, while the elaborate painterly approach to the colours and lighting is quite evocative of <em>teeth<\/em>. Was this a conscious pairing?<\/strong><\/p>\n<blockquote><p>It\u2019s just the way I draw, I think. I love light and volume. I love composition and how the weights and gravities of colours interact. I think the visual style is a result of these things. When I started the project, it took me a while to remember how I, as one person, draw and design a final image. I\u2019d been working as a partnership on that stage for a long time, so I went through a few mental grinders trying to remember how I draw. I\u2019d done a music video for Hauschka that was very useful for me getting myself together in that way. Short answer: no.<\/p><\/blockquote>\n<p><strong>On top of the surrealism of the main concept, said lighting as well as the overall approach to the sound and framing of each shot gives the film a very palpable sense of unease throughout &#8211; while not outright horror it feels genuinely unsettling and claustrophobic at times. Is this rooted in anything in particular?<\/strong><\/p>\n<blockquote><p>It\u2019s the contrast between finding the best place ever to hide, and the box you now find yourself in. It\u2019s a device to bring the audience together through the unease that builds throughout the film. From the fun innocent game to the claustrophobic trap\/void that comes with the rapid passing of time.<\/p><\/blockquote>\n<div id=\"attachment_40192\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-40192\" class=\"size-medium wp-image-40192\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/HIDEstill3-600x313.jpg\" alt=\"\" width=\"600\" height=\"313\" \/><p id=\"caption-attachment-40192\" class=\"wp-caption-text\"><em>HIDE<\/em> (La Cellule Productions, CUB Animation, The National Film Board of Canada)<\/p><\/div>\n<p><strong>Moving forward do you imagine you\u2019ll continue to direct solo or go back to being part of a team\/duo?<\/strong><\/p>\n<blockquote><p>I\u2019m open to anything, really. I think Tom and I will probably end up working together at some point in the future. I see designers who I\u2019d love to work with. I\u2019d love to make something longer and more ambitious too, and that tends to come from collaboration.<\/p><\/blockquote>\n<p><strong>The film sees its premiere at the prestigious OIAF &#8211; have you been involved with this event before and are you looking forward the film\u2019s festival journey being kicked off?<\/strong><\/p>\n<blockquote><p>I\u2019ve had two films and a commissioned short screened there before. <em>t.o.m.<\/em> won the graduation film award back in the day, but I\u2019ve never been there. It\u2019s in my bucket list of festivals to visit as I only ever hear good things about it, but I think they\u2019ve done the right thing taking it online\u2014and they\u2019re doing a great job of it. I particularly like that the shorts selections have been broken up into shorter blocks. If I\u2019m being honest, it\u2019s not the way I\u2019d envisioned the film\u2019s journey out into the big world; I\u2019d designed the look from inside the cupboard with a giant dark cinema in mind. But these are interesting times\u2014and it\u2019s still Ottawa!<\/p><\/blockquote>\n<p><iframe loading=\"lazy\" title=\"t.o.m.\" src=\"https:\/\/player.vimeo.com\/video\/4179963?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p><strong>As with all films out this year, it is premiering under the unusual and compromised circumstances of a digital festival landscape. From your perspective as a filmmaker and festival vet how do you feel festivals have been adapting to the current crisis?<\/strong><\/p>\n<blockquote><p>I think in general, festivals are doing what they think is right. There\u2019s no rule book to follow here, that I\u2019m aware of, at least. For me, I\u2019m going to roll with it. I\u2019d love to see <em>HIDE<\/em> in a cinema with an audience at some point, though.<\/p><\/blockquote>\n<p><strong>What\u2019s next for you?<\/strong><\/p>\n<blockquote><p>I\u2019m working on another short. I wrote it last year, I think. Now that <em>HIDE<\/em> is done, I\u2019ve time. There\u2019s a storyboard and a scratch VO, and I\u2019ll play around with the boardomatic. I\u2019ll do that, freelance. I\u2019ll see how people react to <em>HIDE<\/em> and whether it brings any opportunities my way.<\/p><\/blockquote>\n<p><strong><i>Hear more from Daniel Gray on<\/i> HIDE<i> in our <a href=\"https:\/\/www.skwigly.co.uk\/podcasts\/skwigly-caf-2022-1\/\">Skwigly at CAF 2022 podcast minisode<\/a>.<\/i> <i>See more of the work of Daniel Gray on his <\/i><a style=\"font-style: italic;\" href=\"https:\/\/vimeo.com\/danielbenjamingray\">Vimeo channel<\/a><i>.<\/i><br \/>\n<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>UPDATE 17\/04\/2023 &#8211; Daniel Gray&#8217;s HIDE is now available to watch online in full (stream below) Having studied animation at the University of Wales in Newport, Daniel Gray&#8217;s graduation short t.o.m. (co-directed with Tom Brown, a creative partnership that would continue for over a decade as Holbrooks Films) made an enormous impact during its festival [&hellip;]<\/p>\n","protected":false},"author":114,"featured_media":40191,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[247,755],"tags":[6811,6814,6813,3012,7581,6810,3897,6812,1784,693,557,3931,3011,3013],"class_list":["post-40190","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured","category-interviews","tag-cache","tag-ciclic","tag-cub","tag-daniel-gray","tag-encounters-2021","tag-hide","tag-holbrooks","tag-la-cellule","tag-maral-mohammadian","tag-national-film-board-of-canada","tag-nfb","tag-t-o-m","tag-teeth","tag-tom-brown"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Interview with &#039;HIDE&#039; 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director Daniel Gray\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.skwigly.co.uk\/#website\",\"url\":\"https:\/\/www.skwigly.co.uk\/\",\"name\":\"Skwigly Animation Magazine\",\"description\":\"Online Animation Magazine\",\"publisher\":{\"@id\":\"https:\/\/www.skwigly.co.uk\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.skwigly.co.uk\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.skwigly.co.uk\/#organization\",\"name\":\"Skwigly Animation Magazine\",\"url\":\"https:\/\/www.skwigly.co.uk\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\/\/www.skwigly.co.uk\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2017\/06\/facebook-thumb-skwigly.jpg\",\"contentUrl\":\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2017\/06\/facebook-thumb-skwigly.jpg\",\"width\":250,\"height\":250,\"caption\":\"Skwigly Animation Magazine\"},\"image\":{\"@id\":\"https:\/\/www.skwigly.co.uk\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/SkwiglyMagazine\",\"https:\/\/x.com\/skwigly\",\"https:\/\/www.instagram.com\/skwiglyanimation\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.skwigly.co.uk\/#\/schema\/person\/1e6e798460447114f19c1571ef3acb08\",\"name\":\"Ben Mitchell\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\/\/www.skwigly.co.uk\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/06\/Ben-Mitchell_avatar_1466682328-96x96.jpg\",\"contentUrl\":\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2016\/06\/Ben-Mitchell_avatar_1466682328-96x96.jpg\",\"caption\":\"Ben Mitchell\"},\"description\":\"Ben Mitchell is an animator, motion designer, composer, award-winning independent filmmaker and writer\/researcher. As a freelancer he has produced work for WildBrain, CBeebies, Channel 4, Shy Guys, Plymptoons, Animortal, Wonky Films, A Productions, Slurpy Studios and Rumpus to name a few. As an independent director he has produced six multi-award-winning short animated films that have been showcased at over 200 international film and animation festivals including Clermont-Ferrand, BFI London Film Festival, ITFS Stuttgart, Encounters, London International Animation Festival, Pictoplasma, London Short Film Festival and Anima Mundi. Alongside his work in animation production he is an active writer and researcher on the industry through such avenues as the leading UK animation resource Skwigly, for which he is Editor in Chief, and his books 'Independent Animation: Developing, Producing and Distributing Your Animated Films' (2016, second edition published April 2023) and 'Intimate Animation' (2025, co-written with Dr. Laura-Beth Cowley). As an educator he has lectured and tutored at AUB Bournemouth, University of the West of England, University of Gloucestershire and UAL Central Saint Martins. 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