The Old Diocesan_Issue3_Mar2019 - Page 23



THE MOVIE-MAKER
PHOTOGRAPHS ISTOCKPHOTO.COM, AND COURTESY OF LIONSGATE AND DONOVAN MARSH
This superb shot of a Russian Udaloy-class destroyer making a high-speed
turn was created by superimposing the CGI superstructure of a Udaloy over
a real-life Bulgarian ship. Below: Donovan on set with actor Toby Stephens.
From matriculating in 1987 to
directing Spud in 2010 – summarise.
You just decide you’re going to
do it, and you pitch yourself over
and over and over… and then it
happens. Who dares wins. I went
from Wits drama to television,
commercials, corporate, TV
drama, and eventually Spud.
And from Spud to filming nuclear
submarines and directing A-listers?
What opened a lot of doors for
me was working with John Cleese.
John means a lot to a lot of people.
After that I could keep opening
doors and demonstrating that
I was able to do interesting things
in the Hollywood vein on a limited
budget. Then, after the success
of iNumber Number, I got myself
an amazing agent, who got me
into enough rooms – until I finally
landed Hunter Killer.
you fly to Los Angeles to meet the
star (Gerard Butler), then you have
to pitch to him, then they all have
to decide who they like the most…
It was such a long process, I was
resigned to the fact that I hadn’t
got it. They finally called to tell
me I’d got it as I was about to
board a flight home.
How did you find out you’d got it?
How important is it to have an agent?
It was a helluva long process.
You have to pitch your idea on
the phone, then you Skype with
the execs (all nine of them), then
You won’t get a job without an
agent. Agents are very powerful;
they make and break careers and
they pretty much call the shots in
THE OLD DIOCESAN | 21





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