Welcome back to our Meet The Lecturers series, where we take some time with our incredible industry-professional lecturers to get some insight into their filmmaking careers, their teaching ethos and how they hope to inspire students,
In this instalment, we interview Louis Price who teaches the Production Design module on our BA (Hons) Filmmaking degree in Birmingham.
Louis Price is an accomplished director, editor and producer of films and documentaries and also designs for film, theatre, dance and opera productions across the UK, as well as other countries in Europe.
Can you describe a particularly successful or innovative project you have led with your students? What made it stand out?
The model-making aspect of the L1 Production Design module is always fun and challenging for students. I ask the students to measure the height and width of a room in the building, then scale the measurements first into a technical drawing to art department scale. Then they use these measurements to build an accurate model of the room.
It is always fun to see these come together, and it really helps to get a sense of the amount of work and skill that it takes to design for film and TV.
As a lecturer in filmmaking at Screen and Film School Birmingham, what are some of the key lessons you aim to impart to your students?
I always encourage my students to find research for their designs in unusual and innovative ways, beyond just basic online research.
It really helps to develop their individuality and find images and ideas that no-one else has. I also aim to clarify the importance that a concise attention to detail makes to a film. It can literally be the difference to an audience believing a story or not.
What strategies do you employ to foster creativity and critical thinking in your students?
I always ask students to tell me what they have been watching, or if they have seen any interesting buildings, visited galleries etc. This encourages curiosity and to be open minded to new forms of art, not just film. The art department encompasses many different disciplines, so it is essential to be a culture magpie.
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What role do you believe recognition and awards play in a filmmaker’s career, both for established professionals and emerging talents?
Awards can be important in securing bigger and more important projects, but I believe it is important to follow your own artistic ambitions beyond just the surface level awards and success, which can be fleeting. If you are artistically fulfilled, then that is better than any award out there.
How do you see the role of technology evolving in filmmaking, and what innovations are you most excited about?
Technology is always changing, and it is important to be aware of new tools out there, but it’s important to remember they are just tools, and the secrets to successful filmmaking date back to the times of the Ancient Greeks: a good story and fascinating characters.
As the Dogme 95 films demonstrated, you can make an incredible film using basic home video cameras, natural lighting and found locations.
In terms of production design, I think the over-use of digital technology (such as volume screens and digital green screen) can make movies look like theatre productions – 2D and flat, so I am always looking for films that show me new and innovative methods of building sets (e.g. 3D printing, ways to hide lights within furniture).
What advice do you give to students aspiring to enter the filmmaking industry, particularly in the current digital age?
It’s a very tough industry to get into, particularly now that there is a current shrinkage of the amount of productions being made. There are fewer jobs and more demand for those jobs.
My advice would be to create your own infrastructures, and build links with fellow artists and creatives your age. Why rely on getting lucky, and working every so often on a ‘prestige’ TV show or film – why not create one for yourself? Become the Roger Corman of the future, and let the rapidly failing corporates come to you for advice when all they have is yet another Star Wars knock-off.
I think that its important not to be discouraged if you face rejection, create the opportunities yourself! Build new things!
What challenges have you faced in your creative career, and how have you overcome them?
I am proud of a documentary I made called ‘Beyond Biba’. We self-financed it, and were able to attract fantastic editors and musicians to get involved. When the film was completed, distributors offered us deals that made no financial sense, so we distributed it ourselves. This, in turn, led to us starting a documentary distribution company, and we spent the next 10 years helping other filmmakers distribute their films in cinemas and on home video.
Looking back at your career, what are some key moments or projects that have significantly shaped your professional and creative identity?
The secret to collaboration is to always be willing to learn from everyone around you. Always be willing to adapt your ideas. Filmmaking is one of the most collaborative art forms out there, and if you aren’t willing to allow your fellow collaborators to do their jobs, then the project will stutter and potentially fall out of the sky.
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