I’ve always been fascinated and drawn to films whose protagonists are broken people – those who are desperately to find their bearings, their place in the world in which they can thrive and survive. Those ideologies have culminated in my debut feature JUGGERNAUT. A collection of broken characters, who are forced to confront themselves with the arrival of SAXON – the main protagonist – who acts as a mirror exposing each character’s true reflection.
I had the idea of a drifter coming home like a wrecking ball and dismantling his dysfunctional family’s delusions of themselves – so by the time he leaves there’s nothing left but rubble and remnants.
I’m of the belief that we don’t necessarily need to like our protagonists, but we must understand them and their goals. Like an homage to a Shakespearean tragedy, JUGGERNAUT is tragic in it’s dissection of a family that has forgotten how to be a family and the ramifications of that discovery.
I have always been driven by the examination of human beings over more plot heavy films – writing characters that people can relate to even if they’re not rooting for them. The complex inner workings of the human mind and our interactions with each other is always where my films will live.
Violence – real not stylized – is a thing I will always want to explore. The idea that a person can be deemed to be inherently bad and the randomness and frequency of our violent natures. Violence as a form of primal communication and the love and hate mixed up in it.
JUGGERNAUT also concerns itself with the topic of sibling rivalry. How being born under the same roof with the same love and the same opportunities can result in the most diverse of people – I have always questioned the complexities of nature vs nurture. What combinations form a human being? What ingredients make a man or woman good or bad? Because no matter how much we know, there’s still so much mystery there.
And that’s what my goals are with in JUGGERNAUT – raising questions more than giving answers.