Stephen Salvati on his filmmaking
Some people make films because they love the art of filmmaking, some make films cos they have pictured what they have read or written on their mind and want to share that picture with many others. Some act because they love the art of performing and portraying characters created and written by others, and because it flows through their artistic body and soul.
Why do I make films and why do I act in my films, produce, compose, edit etc?
The answer to it all lies in one honest and simple sentence, 'Because I have a story to tell.'
I would not categorize myself solely as a film producer or only a film director or even a mere actor. I love to involve myself in as many aspects of filmmaking and storytelling as possible, with no boundaries and therefore no confines. It's all about arts and strategy and sharing love, compassion, care and messages of high values with people who live on the same planet with me.
There is no doubt that getting recognition - for what you have achieved or are doing is - of great value but what magnetically drives me toward filmmaking is the utmost pleasure of getting connected to millions of hearts and souls and if they - be it professionals or non-professionals - truly enjoy and value my stories and films, then I am recognised by millions of millions and no academy award or prize can replace that.
I face it with great dignity and honour that I would never make films for the sake of getting accolades and awards but reaching uncountable number of souls with the sheer magic of telling stories on screens. Although I have to confess that it'll make me overjoyed to see my cast and crew walking to podiums and receiving awards. Isn't that so awesome to see them with broad smiles and in their glorious self being where they wanted to be, to be seen, recognised and adored by many and I, standing there watching it all happen whilst thinking to myself, ' Man you brought them home, safely, and now I am one of the reasons for their smile and no matter how small but still I am responsible for that.
I am sure many have many stories to tell but it is like telling jokes, there are ways to it and not many can honesty tell jokes the way it should be told. It's just that a storyteller must have it in his/her soul. You cannot learn it. You must have it, find it and then develop it. At times you can develop it yourself and at the other times you would need to be coached.
My grandfather, Bábá Salvati, was a teacher in arts, literature and also taught religion in Iran. He was a music teacher too. Bábá was so adept at playing Tár (An Iranian string instrument) in Iran. His drawing and paintings were awe-inspiring. Bábá Salvati had many followers and students. He would sit with many of his students around him in greens and under trees, telling them stories of many. I never saw him but a great sketch of him drawn by my father, suggests Bábá was resembled Gandolf The White form The lord Of The Rings!
My father, Ali Salvati was all around a remarkable artist. Although he worked as a Director for National Bank of Iran, his soul and heart were filled with arts. He was a great athlete; a professional acrobat, his poems just marvellous, his singing breath taking and he always sang traditional and poetic poems at weddings and family gatherings.
You would wake up to his voice around 7 am singing in the big back garden of our house whilst tending many flowers and plants. His writings and oil paintings were tremendously splendid. He knew how to play string instruments- having learnt from his father- but he played flute and he regularly played on his flute. His story telling ability was second to none. It was as if he had rehearsed it all and yet he had not.
My sisters and I slept whilst he told us stories and there were family gatherings where everyone just loved to sit and listen to him telling stories about the second world war, his childhood, and many other memories.
Have I inherited the enchanting power of my fathers' storytelling gift?
Well, I believe the answer rests in my films, stories, scripts, acting and music.
But remember when you hear I am making films or see my movies, remember one thing, and only one thing, ... I had a story to tell.
My "Dracula's Stoker" Experience - Sharon McCoy
I started assisting production on "Dracula's Stoker" in February 2007. From the get go there has always been a great team spirit between all the people Stephen chooses to work with, with many making a huge effort (actors flying in from England or making long journeys from the country to Dublin). There has been a great commitment and loyalty from everyone involved.
I got to work behind the scenes and also play a small role as one of Dracula's brides. Filming was a lot of fun especially blue/green screen shoots. I don't think any of us imagined how the final project would turn out. The most beautiful location was Dublin Castle - I had shamefully never been before - now it feels like home! Filming in Saint Anne's Church, where Bram had married Florence, felt both nostalgic and ghostly.
We once filmed in a forest and Stephen was planning on adding snow in post-production, exactly when he yelled "action" a rare snow blizzard passed over the forest, thunder and lightning echoed over the mountain, we couldn't believe it, you could feel the sharp drop in the temperature. When Stephen was satisfied with the footage he had shot, the blizzard had passed leaving a white forest in its wake (and about 10 frozen production assistants). It is days like that you feel God's on your side - and thank God for hot chocolate!
The most fulfilling part for me was working in post-production. Assisting and seeing all the special effects, research, sound effects, art works, historical images and orchestrated music all blending together was very exciting. It is always thrilling to inadvertently come across real gems while researching, such as old "Dracula" radio recordings from the 30's or 40's or old images or to spot good locations. To follow up with licensing permission and to have Stephen include them in the final movie cut is very satisfying. They're small things but when Stephen edits them together it's magic. He sees the potential in everything, including the people he works with. It's been tremendous being encouraged like that.
On shooting The Bram Stoker Experience - John Canning
Saturday 19 April 08. We left Dublin heading for the hills. Beautiful sunset, moonrise. We scouted the woods until darkness fell.
Sunday 20 April 08. 6am. We crossed the fields with the dawn chorus. The sun was already up. I played in the woods as a child and knew every inch. Standing there that morning was double surreal - Early on a Sunday morning being Oscar Wilde as gaeilge with a film crew. Audrey as Florence. It was easy to look into her eyes and believe in what I was saying. The words I was speaking were very appropriate. I spoke of finding my way by moonlight as a dreamer. In my minds eye I could see the moon through the trees on the previous evening. Another line was that I could see the dawn before the rest of the world. That was true that morning.
Time flew in the woods as it always did. Stephen made everything work like clockwork with his professionalism and insight. He knows what he wants from his actors and with a little instruction brings that to life.
On Bram Stoker, Novelist: The man who inspired the movie - Joe McCoy
To the vast majority of people, Bram Stoker falls into one of two categories, those who never heard of him and those who know he wrote Dracula. To the few he was an unsung hero, a literary genius. His life was a cocktail of sickness, loneliness, mystery, sacrifice and misfortune. Yet he gave us one of the great journeys of the imagination, so great that it overshadows all of his other endeavours almost to the point of extinction. Perhaps now, his life and works will be revisited with renewed energy and enthusiasm and allow fresh minds to appreciate and acknowledge the man who made Dracula.
On Stephen Salvati, Director: The man behind the movie - Joe McCoy
From the very onset of the production, Stephen controlled the proceedings with an iron hand. It soon became obvious to all concerned that we simply had a choice, do it or take it, his way or the highway. Whatever reservations I had about working with a director first time out of the gate with a feature film were soon put to bed. He may have been a rookie by definition, but he handled the tools of his trade like an old timer. No compromise was the order of the day. Improvisation was taken to a new level. If something worked use it. If something was good, make it better and then use it. Such was his incredible energy and focus, coupled with his meticulous attention to detail, that everyones expectations were elevated to an all time high. For me personally, the result was a totally gratifying experience marred only by the fact that when the production was completed, a void was left within me that to date remains unfilled. I only hope I am fortunate enough to work again with Stephen someday. I remain steadfast in allegiance, Joe McCoy 07/09/2008
On Making Bram Stoker - Andrei Coliban
It was a great experience being part of this wonderful team. I've never been involved in any film related projects, so I was very excited to take even a small part in production of Dracula's Stoker. This excitement gave me a boost of energy and a clear vision of the production process during our college term. The other side of the final and glamorous end of the picture is completely different to that we have seen on the set. I thought it would be quite simple and effortless. In fact, it was demanding and not as easy as it looked like, but enjoyable. I am very grateful to Stephen for giving us such an opportunity. I have never imagined that there is a college, where your knowledge could be applied and put in practice so fast. Also, you're not able to describe the feeling while you are on the set for the first time. Neither can you express it when you look at the picture, realize how big it is and that you have brought some effort to it. You have to see it for yourself.Sergey Gusev on 'Dracula's Stoker'
The importance of one's first project, be it as an actor, producer or director, cannot be stressed enough. Taking this into account, I consider myself a very lucky person being blessed with a great opportunity to work with Stephen and all the team from Eurofox Pictures. My childhood dream of getting into the movie business and seeing myself on the big screen was fulfilled thanks to these great people.
Their hard work, patience and dedication made the incredible journey of making 'Dracula's Stoker' a memory that I will treasure and hold in my heart for many years to come. The wonderful experience of being involved in all aspects of filmmaking was something that no book could ever have exposed me to. Understanding the process, the ability to become a part of the team and the aptness to trust and follow the director were among many skills I had to develop.
A man of a clear vision and incredible focus, Stephen gave the project and crew all they needed and could ever ask for. No compromises were made, in fact no compromises were ever CONSIDERED to be made. Stephen was and is the heart and soul of the project. I can only hope that this great film, dedicated to Ireland's greatest son and unsung hero, (after all not all Irish know who Bram Stoker is) will not be the last project I make with Stephen and Eurofox Pictures. I hopefully anticipate that there are many more to come.
Audrey Mccoy on Dracula's Stoker
I am delighted to be a part of Dracula's Stoker, which is a unique vision and portrayal of the life and influences of Bram Stoker. As a performer I had the opportunity to act in front of the camera as Florence Balcombe, as well as creating a voice off screen for Elenza, the guiding star. I thoroughly enjoyed both roles.
My most vivid memory is of a scene filmed in Donegal near the sea. We had such a marvelous time shooting this sombre piece, in which Oscar Wilde turns away from Florence Balcombe marking his fading love for her. I was very much taken back when Stephen showed me the scene once edited. The costumes felt and looked wonderful, the music and colours were incredibly rich and vibrant. I was equally excited observing the creation of the star Elenza. The images i was given access to helped me so much as an actress searching for her voice.
The project itself is unique and daring and I am proud to be a part of it.
Cast and Crew
The cast and crew have no division here. We are all very much a part of a team and I felt a great sense of unity working with them. They are all so talented and nothing short of complete commitment, positivity and enthusiasm. I found myself at shoots when I was not required to be there and was a frequent visitor to the Eurofox Pictures' offices during post-production. I think we all feel attached to the film beyond our own jobs working on it.
The environment here is one of fearlessness, creativity, support and a determined 'yes we can' outlook. I will miss it and have personally grown from it.
On Director
It is not surprising that having Stephen as a director should be a unique experience, since his individual stamina, determination, ability and confidence singles him out, and it is evident as people are generally drawn to him. As a director he runs a disciplined set where proper boundaries are drawn in order to keep respect and control. Within that framework there is freedom to create, learn, attempt, fail and to have a fantastic time doing it.
Stephen manages effortlessly to adapt his style and approach when dealing with individual crew members and actors. As a performer I received the time, focus and clarity I needed. I felt appreciated for my bringing my own personality and creativity to the film. I have found a marvelous director and great friend in Stephen.
