We’ve become frequent admirers of Andzej Gavriss’ work here at DN. The filmmaker, whose work has appeared numerous times on our pages, is a great crafter of large-scale projects and ambitious imagery. That continues with his new branded short for World of Tanks entitled Never Going Back. The Christmas-set short features British actor and former professional footballer Vinnie Jones, who arrives at Santa’s luxurious abode to tell him he may be leaving his position as the executor of the naughty list in favour of something much bigger. It’s a brilliant and completely ridiculous film that twists the typical warmth of Christmas into a grittier, Guy Ritchie-esque crime saga. A perfect film to usher us into the festive period, Gavriss joined DN to mull over the making of his short, the considerable planning that was required for such an ambitious project, and making peace with the inevitable mishaps that arise on shoots.
On a production level alone this is such an ambitious piece. How did the commission come to you?
I began the project early this summer with Halal Amsterdam. The initial deck was small, featuring only one scene with Santa and VJ in a bathtub. I had a discussion with Creative Director Henry Scott, proposing a cinematic approach akin to the Succession NY episode. They loved the idea, and within a week, I found myself in Prague collaborating on a project with the client World of Tanks, the agency Cubo, and the production company Halal.
The script, characterized by its ambitious nature, demanded careful consideration given our budget constraints.
The process was unconventional; Cubo gathered us all in one location, confiscated our phones, mixed everyone up, divided us into groups, and we dove into developing the project. It turned out to be an enjoyable experience. I remember my first creative partner was one of the clients, and together we formulated a cool idea, establishing an immediate bond. Over the next five days, we engaged in various mind games, working on the script, storyboard, and even shooting a pilot. We presented the final product to the main client in the US.
Once everything was agreed with the client, what were your next steps?
After returning to London, we delved into the project’s development, grappling with various challenges. The script, characterized by its ambitious nature, demanded careful consideration given our budget constraints. We engaged in numerous rewrites to align with financial realities. This process was particularly enjoyable for me, as Henry and I fine-tuned the script to harmonize with my creative style. We successfully omitted scenes and ideas that didn’t resonate with my artistic vision.
You worked in a pretty lavish location with a tank as a prop. How challenging was it to pull off this spot practically?
The pre-production phase unfolded relatively smoothly, despite the prominent challenge posed by the tank, an old Chieftain model prone to frequent breakdowns. Notwithstanding this obstacle, the overall pre-production process was a success, buoyed by the incredible location we secured, which offered a wealth of creative possibilities closely aligned with my artistic sensibilities.
When and how did Vinnie Jones come on board?
I visited VJ at his countryside house, and his dynamic energy filled the room. As we delved into the script, he made it clear that Guy Ritchie prefers not to exceed two takes. Luckily, I’ve never had the luxury of going beyond four takes, so we shook hands, and that wrapped up our meeting.
Could you tell us about rounding out the rest of your cast and prepping them for their elven roles?
The casting process was an absolute joy; we managed to bring together an exceptional cast of characters. A big shout out to my producers for allowing me a full day for rehearsals, a table read, and an in-depth exploration of all the backstories. This ensured that everyone genuinely grasped the world I aimed to create. We had a blast and formed strong connections pretty quickly.
Did the smoothness of pre-production translate to the on the ground practicalities of the shoot? How long did you have to capture everything?
The schedule was extremely tight, with only four shooting days. Consequently, meticulous planning was essential to ensure the success of capturing all the necessary shots. Fortunately, I was blessed with an exceptional 1st AD. While on set, we encountered a few mishaps, including instances where the tank broke down, an expensive lawn got damaged, and various other entertaining incidents.
How do you find the process of bringing your personal artistic sensibility into branded films?
I think everything I do comes out in my own way. Recently, I’ve learned to appreciate it more, and I’ve been hired to co-write with agencies or join projects at their early stages. I quite like it; I love co-writing because you learn so much from seeing other people’s perspectives. Collaborating is humbling and makes you grow as a creative pretty fast. I tend not to bring any ego to the table; it never helps. Just relax, focus on the process and let the best idea win.
Meticulous planning was essential to ensure the success of capturing all the necessary shots.
I think I’m blessed that the people I work with respect my vision and approach, and I try to do the same in return. I genuinely love creative people; for me, the most exciting part of my job is hiring the best talent. I absolutely love learning from them.
What does an actor like Vinnie Jones offer you when it comes to creating a branded spot like this one?
Working with VJ was wonderful. He brought a lot to the character. While he has crafted a distinct persona over the years, he is also open to exploring different facets of his character. I was impressed by his dedication to understanding the backstory behind each scene. As a Stanislavski aficionado, it was a privilege to engage in brief discussions about the character’s motivations and experiences. His energy is infectious, and the set comes alive whenever he steps onto it. I admire his impulsive approach. He is also a creative talent with a knack for improvisation. While he doesn’t relish being over-directed, he embraces the director’s vision and infuses it with his own unique interpretation. Overall, it was a pleasure working with him.
You mentioned that you encountered a few mishaps on the shoot, what were they and how did you overcome them?
Every shoot comes with its own challenges. It’s always a battle of time versus budget, regardless of the resources you have. I learned quite a few lessons this time. When the tank broke down, I thought it was over and we’d have to use a CGI tank. Personally, I try to do as much in-camera as possible, so I started to get a bit upset. But by the end of the day the team figured out how to restructure the shoot, and we made it work. I guess no matter how you plan things they might go totally sideways, and it’s better to stay focused and get the best out of the situation.
What are you working on now?
I’ve finally wrapped up my first screenplay and the accompanying bible; it’s a psychological thriller. I genuinely hope it garners some interest. My aim is to transition into the world of features and series as swiftly as possible. Currently, I’m immersing myself in a ton of music and movies, aiming to educate myself as much as I can. I’m planning to kick off my next screenplay early next year. Of course, there are plenty of other things in the mix, like passion projects and pitches. We’ll see how it goes. I’m hopeful that luck is on my side, and will be chatting with you about something thrilling very soon. Big shout out to you guys for the ongoing support over the years. Thanks a bunch, it really means the world.
