Ukrainian director in the USA - about his new film with Eric Roberts and approaches to work

Jensen Noen is an award-winning film director known for his films “Observer” (2015), “Blesscode” (2013), “The Oceans Inside Us” (2010). He began his career in Ukraine as a music video and commercial director.

Having enjoyed great success in the European market, Jensen moved to the USA and collaborated with renowned American artists (Jay-Z, Khalid, Ariana Grande, Future) and various brands (Nike, Sony, Universal Studios). Having a tremendous experience as a director, he gradually moved to work in the film and television industry.

The premiere of his first full-length work, the psychological thriller “The Perception,” starring Eric Roberts, is scheduled for this year.

Photos from the personal archive of Jensen Noen

Tell me about the filming process "Perception" . How stressful was he for you?

It was quite difficult in all respects: there was always not enough time, I had to solve many problems during filming, to make compromises in working with people and find a balance. We shot non-stop and every day it became harder and harder, but at some point I had a second wind and I entered a certain stream when you start to listen more to your inner feelings and make decisions much faster. It seems to me that it was at this moment that I moved to a new level of myself as a director: I just felt different when on the set — it became my world.

Are you satisfied with the final result?

Test screening of the film I did at the house of director Shane Black («Predator«, «Nice Guys«, «Iron Man 3«). After watching the movie, he said such a thing: «If the budget of this film is less than a million, then those few comments that I had, and it makes no sense to speak«. And the budget of our film was not just less, but less many times! So of course, if I had a huge budget, big actors, three times more shooting days, then I would have made this film on a completely different level. But the product that we got does not look like a low-budget film and, given the limitations it was made on, I can say that we are happy with the result.

Photos from the personal archive of Jensen Noen

For the film was used screenplay of the Australian author. By what principle did you choose this particular plot? What, in your opinion, distinguishes a successful script from a failed one?

Initially, I was looking for a scenario that primarily relates to me, which has a zest and which, with all this, can be removed for a small budget. When I read the first version of The Perception script (the name of the film at that time was completely different) — I saw a perspective in it. I immediately contacted the author and said bluntly that I would take up this scenario if it gives me the opportunity for complete creative control and its potential change. As a result, over the next 5 months, I completely changed the script and frankly, even the author himself believes that the story has become much more interesting and stronger.

Did you use the “storyboard” — sketches of the plot before the actual shooting of the film?

Yes, I use storyboards, but, in most cases, only for technically complex scenes that require detailed preparation and the need for the whole team to have the same vision of the scene. Basically, I’m not using a storyboard, but rather a previolation in the 3D program, which allows you to see the scene as it is later mounted. On the set «The Perception«, I used only the shot-list, because in the film there are almost no complicated action or vfx scenes.

Photos from the personal archive of Jensen Noen

During the filming you have to cooperate with a lot of people. How was your team formed and how do you interact on the set (how do you find compromises and solve differences?)

Of course, we had certain difficulties and even conflicts, but they were quickly resolved in the name of the cinema and everyone was interested in making this film («The Perception") at the best possible level. It is very important to allow each participant to demonstrate their skills and talent, only then will the work become harmonized. It is impossible to be like a rock on a movie set and reject all offers and be on your own, because cinema is a collective creation. As soon as everyone feels their contribution, all tensions and conflicts go away and everyone becomes a full-fledged part of the project.

Who is in charge of casting, the staff on the set? What is the difference between the team at the shooting of the film and video?

Shooting clips for all organizational matters, including finding a team, hiring them, etc. responsible project producer. I can only make my wishes on key team members, such as an operator, artist. The producer is also responsible for organizing the castings. For films, it is always better to go through the casting directors: a good casting director feels very subtly about what the film can choose and offer the right actors, better than anyone. Truth be told, it is better to try out the role of 5 actors, who were brought by the casting director, than to make tests with 500 actors simply selected for casting by questionnaires. At the preparatory period to «The Perception« I played a big role in the organization, because almost everything we did with my partner and producer.

Photos from the personal archive of Jensen Noen

Tell us a little about copyright in the United States, for example when using music in movies.

For this film, we completely wrote the original soundtrack. All that you hear in the film is only original music written for this film by the talented composer Evan Evans. It was a very interesting experience and a rather long journey that took us more than six months, but nevertheless, I am very pleased with the result.

Do you have ideas for projects you want to work on after "The Perception«?

Yes, now I am working on two projects at once. First of these — this is the pilot to the show «Gambit« for Netflix, which we just took off, and I hope we will receive funding for the whole season by this winter. Second project — This is my next full-length film, in the sci-fi genre. I have been writing a script for it for more than 2 years and it will be a very large-scale project of the level «Oblivion«, «Tron« etc. This project — This is my main professional goal for the coming years.

Photos from the personal archive of Jensen Noen

The most successful lesson you have learned and how did it influence your film?

The most important experience that I have made for myself — It is that communication with people is the key to success in the work of the director and work in this area as a whole. I am an introvert by myself, I am not a fan of communication, I don’t like companies, I don’t like to be in the company of people. But this film has changed this in me a lot or a little. For example, when I shoot clips or ads — This is one or two days of filming, in which you are not too close to the team and the actors. But these shootings were 3 weeks of very deep immersion, a school of communication, finding points of contact, resolving conflicts, upholding interests and fruitful teamwork. He made me understand that the closer you get to every actor and individual member of the team with whom you make a film, the better your collaboration and the final product as a whole becomes, besides the healthy atmosphere on the set.

What works of directors impress you?

If we talk about directors who keep their style and bar from work to work for many years — these are whales like Nolan, Fincher and the Cohen brothers. There are many other artists that I like, but who have released some one-time interesting work and the rest of their work is not so interesting to me. For example, I like only the very specific works of Wim Wenders, Aronofsky, Verbinski, but, in general, I would not say that they are my favorite directors.

Photos from the personal archive of Jensen Noen

Have you thought about film school or attending courses for directors as a source of new knowledge?

At one time I attended and listened to a lot of lectures, was at different master classes, but at the moment the films themselves are a source of knowledge and inspiration for me. There is nothing better than to reconsider a good film once again, to watch it with the comments of the director and members of the film crew, or to watch a film about the film. Now for me, it’s more practical than just making a movie.

Your personal key to success. What brings you the most enjoyment in your work?

There are three factors that are most important to me:

• Hard work I can not stop until I bring something to the end. I just can not stop third-party factors.
• Traction to new knowledge and self-development. I love self-education, every morning I start with a book, I watch all online video seminars, master classes on topics that interest me. Even while in the car, I listen to either audiobooks or podcasts. I really like to get new knowledge and I am sure that this is an incredibly important feature.
• Flexibility: if something is not going according to plan, I easily change it. If I fail, I try to turn it into an opportunity, if I don’t know something, I learn it. I am not trying to change someone and get involved in conflicts, because they can’t help the most important thing. I try to be open to everything new and calmly react to circumstances. Be like water — Japanese wisdom, which I always try to use in life.

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