Charlenè Brouwer on ‘Good Boy’

As a film enthusiast with a deep appreciation for the art of storytelling, I am in awe of Charlenè Brouwer‘s latest work, “Good Boy,” a poignant short psychological drama that showcases her versatility as a filmmaker. Her personal connection to the story is palpable; the idea for this film was born from an encounter she had with an old man shouting at his dog in the park. The bond between the old man and his loyal companion struck a chord with Charlenè, leading her to explore themes of generational trauma and mental health awareness.

I, as a documentary filmmaker, have ventured into the world of narrative films with my newest project – a short psychological drama titled “Good Boy”. From the initial idea to the final product, I’ve taken an active role in every aspect of its creation. I wrote the script and produced it, ensuring every detail was just right. And when it came time to bring it all to life on set, I stepped into the director’s chair, guiding the cast and crew to make my vision a reality.

Title “Good Boy” focuses on an elderly man’s heartwarming bond with his canine companion, portrayed by David Muller and Jason Gould, along with a promising newcomer named Hendrik the dog. Currently making waves in film festivals, this moving drama aims to spark conversation and shed light on mental health issues through its poignant exploration of intergenerational trauma and healing.

What initially drew you to this story? What themes or ideas resonated with you?

While out for a run, I came across an elderly man angrily scolding his barking dog. In the hustle of the moment, I didn’t intervene. Later on, I couldn’t help but feel troubled by my inaction. What added to my sadness was the loyal dog’s unwavering devotion towards its master, despite the harsh words.

Were there any particular films, directors, or works of art that inspired the visual style of your short film?

I’ve spent my career as a filmmaker relying heavily on my own imagination and intuition to bring stories to life. I don’t intentionally seek out inspiration from other films or directors, instead allowing the narrative to unfold organically in my mind. With each project, I become deeply connected to the story, visualizing every detail as if it were a vivid dream.

How did you translate the script (or your original idea) into a visual language for the film?

I teamed up with my dear friends and coworkers, Stephen Aspeling and Kobus Louw. Together, we refined my initial script, transforming it into a new narrative that strongly conveys the theme of generational abuse. We meticulously dissected the original script, leading us to develop an alternate storyline. Subsequently, we produced a comprehensive storyboard, gathered photographs from a photo shoot for visual references, and strategically planned out each shot prior to filming.

Can you walk us through your directing process? How did you collaborate with your crew (cinematographer, actors, etc.) to bring your vision to life?

In making this small film, I faced more difficulties since I took on both the role of director and primary dog handler. With Hendrik frequently featured in the frames, I generally prefer guiding actors rather than dictating their every move from start to finish.

In my approach, I place a great deal of importance on delivering excellent performances. I’ve come to realize that there are no hard-and-fast rules when it comes to acting. It can be challenging to make necessary adjustments based on the circumstances of the day, but sometimes these spontaneous moments lead to even superior results. I encourage actors to bring their unique interpretations to the table, and we collaboratively refine our work until it resonates with me and them.

Did you face any unexpected challenges during production? How did you overcome them?

As a movie reviewer, I’d put it this way: I regret to admit that during our production, we faced some unexpected challenges – we didn’t have an on-location sound engineer and had to work without a monitor for playback. It’s crucial to have all departments staffed by professionals because it streamlines the post-production process. Sadly, we had to fix the sound in post-production, which meant some authenticity was lost. However, this experience served as a valuable lesson for us.

The film features a particularly memorable scene where the old man hears echoes from his past. Can you elaborate on the creative decisions you made for that scene?

As a mother of two, I’m deeply conscious of the influence I have on my kids. The things I say to them shape their inner voices and serve as their initial moral compass. These words stay with them throughout their lives.

I strongly believe that carrying the weight of such significant responsibility was what fueled me, as a woman, to address my son throughout his life. Now an elderly man, he carried with him the haunting echoes of words that shaped his formative identity. Sadly, many adults lack the power to shatter the detrimental patterns inherited from their forebears and perpetuated through generations.

Short films often require a lot of creativity within limited resources. Can you share an example of how you made the most of what you had available?

With a limited budget for our short film, we relied on favorable circumstances and assumed multiple roles during the shoot. Co-producer Stephen Aspeling ensured everyone’s satisfaction and wellbeing.

What kind of reactions are you hoping to elicit from viewers with your film?

My deepest desire is to create thought-inspiring films that leave an impact on viewers, sparking conversations whether they agree with the message or not. I aspire that these five minutes of “Good Boy” encourage reflection on the significant influence we wield over one another as humans.

What are you most proud of in this short film?

Hendrik, my canine co-star, took on a significant role in the production. Consequently, it fell upon me to ensure a harmonious working relationship between Hendrik and David Muller prior to filming. I facilitated their pre-shoot encounter to foster a connection and sense of comfort between them.

I was advised against working with animals and kids for my short film, but we went ahead and included both. My anxiety spiked as I pondered over how to get the dog to cooperate, but he surprised us all and turned out to be a real “Good Boy” champion.

This film explores breaking the cycle of generational trauma. Do you plan to explore similar themes in future projects?

Absolutely, yes. Children’s tales are rich with themes to discover and delve into. That’s the beauty of storytelling – imparting meaningful lessons in an engaging way.

What advice do you have for aspiring filmmakers who want to make their own short films?

Making a film is the sole means to create one. The learning process can be challenging, but the knowledge gained is priceless, leading you to produce something even more superior in the future. Don’t fret if it doesn’t meet your expectations; instead, proceed to the next project.

2024-07-18 15:43