Director Dylan Southern recently discussed his new film, The Thing With Feathers, starring Benedict Cumberbatch, which premiered at the 69th BFI London Film Festival. The movie is an adaptation of Max Porter’s acclaimed book, Grief Is the Thing With Feathers, and follows a father and his two young sons as they navigate the emotional turmoil following the death of their mother.
The poignant narrative unfolds as Cumberbatch’s character, known as ‘Sad Dad’, grapples with loss while a crow materializes from the pages of his unfinished book to guide the family through their grief. Southern, who is primarily known for his music documentaries, felt a strong connection to the source material and was determined to bring it to the big screen.
Turning Passion Into Production
Southern’s journey to adapt Porter’s work was unconventional. He shared, “I optioned the book on my own and spent my own money, which is something you’re not supposed to do as a filmmaker.” His commitment stemmed from a deep belief in the story’s potential. “I was in the hole, but I just kept pushing it and pushing it.”
When Southern learned that Cumberbatch was also an admirer of the book, he took a chance and sent him the script. “I expected to wait six months for a polite ‘no’,” he recalled. Instead, within two weeks, Cumberbatch’s production company, SunnyMarch, expressed interest, leading to a meeting that would change the course of the film.
“I was nervous meeting him,” Southern admitted, acknowledging his background in documentaries and this being his first narrative feature. “But all those nerves were dispelled when we met. We clicked immediately.” This rapport proved vital as they engaged in extensive discussions about the character long before filming began.
A Collaborative Approach
Southern praised Cumberbatch as a collaborator, stating, “He asked as many questions as I asked him, easing me into the process.” As they prepared to shoot, the established working relationship allowed Southern to feel secure. “The first time I called ‘action,’ I forgot to call ‘cut’ because I was mesmerized by his performance,” he laughed.
As Southern reflects on the filming process, he acknowledges that after years of planning, he suddenly had only six weeks to bring his vision to life. The urgency of production contrasted sharply with the years of thoughtful development he had invested in the project. “Establishing that relationship was crucial,” he emphasized.
Looking ahead, Southern faces a choice between continuing in narrative filmmaking or returning to his roots in documentaries. “I was determined not to do another music documentary,” he joked, referencing a new opportunity with the legendary band Oasis, who invited him to document their reunion.
Simultaneously, Southern is writing another feature film, which he describes as “completely plot-driven with character.” Unlike The Thing With Feathers, which focuses on emotional arcs, his upcoming project will be a London-based thriller. “I’ve been working on this new film for five years,” he explained. “It’s a different muscle from my previous work, and I’m excited to see where it leads.”
Southern’s determination and passion for storytelling signal an exciting future in both film and music, as he looks to build on the success of his latest project and continue exploring new creative avenues.
