Nessie
Review and Interviews
by Paulette Reynolds * November 15, 2024
Review and Interviews
by Paulette Reynolds * November 15, 2024
Nessie
2023
Director: Robbie Moffat
Screenplay: Tim Churchill, Robbie Moffat, Catherine O’Reilly
Julita Deka: Cinematography
Tish Mantripp: Costume Designer
Jaimie Woodside: Art Department Head
Starring Suzanne Kendall/Annie, Ed Ward/Duncan, Jason Harvey/Geordie, Edith Glad/Alice, Patrick Kilpatrick/Brad, John Michie/Jimmy, Tanya Fear/Heather, Stephanie Beecham/Samantha, David Goodall/Robbie, Caroline Guthrie/Moira, Tim Churchill/Davie, Gary Grant/Don.
2023
Director: Robbie Moffat
Screenplay: Tim Churchill, Robbie Moffat, Catherine O’Reilly
Julita Deka: Cinematography
Tish Mantripp: Costume Designer
Jaimie Woodside: Art Department Head
Starring Suzanne Kendall/Annie, Ed Ward/Duncan, Jason Harvey/Geordie, Edith Glad/Alice, Patrick Kilpatrick/Brad, John Michie/Jimmy, Tanya Fear/Heather, Stephanie Beecham/Samantha, David Goodall/Robbie, Caroline Guthrie/Moira, Tim Churchill/Davie, Gary Grant/Don.
“People spend so much time trying to disprove the possible that they miss the probable.”
Nestled in the highlands is a small Scottish village where legends grow about Nessie, a wondrous and gentle creature. First sighted in 1933, words like “sea serpent” and “dragon” became forever interwoven in our collective imagination.
Nestled in the highlands is a small Scottish village where legends grow about Nessie, a wondrous and gentle creature. First sighted in 1933, words like “sea serpent” and “dragon” became forever interwoven in our collective imagination.
And it’s a fact that Great Britain is equally legendary for crafting warmhearted stories centered around a group of feisty villagers fighting for their share of the golden ring. So without further ado, let’s dive right into my latest Anglophile gem.
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Loch Ness Village was at one time famous for harboring an aquatic beast known as the Loch Ness monster. Nicknamed Nessie, she made a believer out of little six-year-old, Tyler, Bradley Campbell, who swore up, down, sideways, and in the middle that he had seen the great fish. He believed in it so much that at on his deathbed he left the village $50,000,000 dollars to bring his beloved Nessie alive - and also to help improve the lives of Loch Ness residents.
Villager Annie and Duncan dream of making much-needed improvements to the only hotel in town and widower Geordie hopes his share of the money will cure his sick daughter, Alice. The good Vicar McGill, Agnes, Jimmy, and Robbie, have all earmarked their share of the funds for immediate needs and long-range goals.
Villager Annie and Duncan dream of making much-needed improvements to the only hotel in town and widower Geordie hopes his share of the money will cure his sick daughter, Alice. The good Vicar McGill, Agnes, Jimmy, and Robbie, have all earmarked their share of the funds for immediate needs and long-range goals.
But no sooner has the good news arrived than the bad news follows in the form of Heather, a sharp- eyed solicitor from Glasgow, sent by the deceased benefactor’s son, Bradley. Soon the crass American mogul and a shifty man in black descend on our heroes, just as Alice is playing matchmaker for Heather and her dad…
There is a an old-school sweetness to this family-night fare, surprising in an age of high-octane blockbusters that compete for our attention, thanks in part to its enchanting, lively score. Nessie embraces a more innocent, tender tone – without nudity, swearing, or even a hint of violence - yet it has the power to charm the dreamer in us all.
There is a an old-school sweetness to this family-night fare, surprising in an age of high-octane blockbusters that compete for our attention, thanks in part to its enchanting, lively score. Nessie embraces a more innocent, tender tone – without nudity, swearing, or even a hint of violence - yet it has the power to charm the dreamer in us all.
I had the good fortune of plumbing the depths of the Nessie creative team, comprised of Robbie Moffat, Director * Julita Deka, Cinematography * Tish Mantripp, Costume Designer and
Jaimie Woodside, Art Department Head.
PR: A cottage industry seems to have developed around the mythology of Nessie - what are your collective/individual thoughts about them as mythos? Folklore? Fact?
RM: I grew up in Scotland with the myth of the Beastie. First spotted in 565AD by Saint Columba, the story has provenance. Having said that, there is is also the element of tongue-in-cheek when we talk about the Loch Ness Monster, as it is good for tourism. Does she exist? Well, she must be quite an age now, and all wrinkly, and who knows if her kids are old enough to take over. I hope they are - so that future generations can enjoy sitting by the banks of Loch Ness, getting cold and hungry in anticipation of taking a million dollar shot with their cellphones.
Jaimie Woodside, Art Department Head.
PR: A cottage industry seems to have developed around the mythology of Nessie - what are your collective/individual thoughts about them as mythos? Folklore? Fact?
RM: I grew up in Scotland with the myth of the Beastie. First spotted in 565AD by Saint Columba, the story has provenance. Having said that, there is is also the element of tongue-in-cheek when we talk about the Loch Ness Monster, as it is good for tourism. Does she exist? Well, she must be quite an age now, and all wrinkly, and who knows if her kids are old enough to take over. I hope they are - so that future generations can enjoy sitting by the banks of Loch Ness, getting cold and hungry in anticipation of taking a million dollar shot with their cellphones.
PR: It was wonderful to see a film with women working behind the camera. What has been your experience as a professional in the UK film community?
JD: As a female cinematographer working in the UK film community, my experience has been both challenging and rewarding. The UK industry has a rich history of filmmaking, and I've had the opportunity to collaborate with incredibly talented professionals who are passionate about storytelling.
That said, the journey hasn't been without its hurdles. While there has been significant progress in terms of inclusivity, the field of cinematography is still largely male-dominated, and navigating that space as a woman requires resilience. Early on, I had to prove my technical expertise and creative vision more than some of my male counterparts. However, once people recognized my skills, those barriers began to break down.
Ultimately, I feel my experiences have strengthened my creative voice and ability to bring unique perspectives to the table, and I'm eager to continue contributing to the evolution of the UK film landscape.
Shooting Nessie marked my fifth feature film as Director of Photography, and it was an exciting project, though it came with its own unique dynamics. Heading a camera department where my camera operator and assistants were all male was initially a bit nerve-wracking for me. There’s always that moment of uncertainty when you’re the only woman behind the camera in a traditionally male-dominated space. However, once we started working, those nerves quickly disappeared.
The crew was incredibly supportive, and we developed a solid, collaborative environment. I found that my leadership and creative vision were fully respected. My approach has always been to focus on open communication and mutual respect, which is crucial in such a physically and technically demanding role. This experience reaffirmed my belief that a successful crew isn't about gender - it’s about skill, attitude, and teamwork. I’m proud of what we achieved on Nessie and how we blended our strengths to bring the director’s vision to life.
JD: As a female cinematographer working in the UK film community, my experience has been both challenging and rewarding. The UK industry has a rich history of filmmaking, and I've had the opportunity to collaborate with incredibly talented professionals who are passionate about storytelling.
That said, the journey hasn't been without its hurdles. While there has been significant progress in terms of inclusivity, the field of cinematography is still largely male-dominated, and navigating that space as a woman requires resilience. Early on, I had to prove my technical expertise and creative vision more than some of my male counterparts. However, once people recognized my skills, those barriers began to break down.
Ultimately, I feel my experiences have strengthened my creative voice and ability to bring unique perspectives to the table, and I'm eager to continue contributing to the evolution of the UK film landscape.
Shooting Nessie marked my fifth feature film as Director of Photography, and it was an exciting project, though it came with its own unique dynamics. Heading a camera department where my camera operator and assistants were all male was initially a bit nerve-wracking for me. There’s always that moment of uncertainty when you’re the only woman behind the camera in a traditionally male-dominated space. However, once we started working, those nerves quickly disappeared.
The crew was incredibly supportive, and we developed a solid, collaborative environment. I found that my leadership and creative vision were fully respected. My approach has always been to focus on open communication and mutual respect, which is crucial in such a physically and technically demanding role. This experience reaffirmed my belief that a successful crew isn't about gender - it’s about skill, attitude, and teamwork. I’m proud of what we achieved on Nessie and how we blended our strengths to bring the director’s vision to life.
PR: I found the costumes for Brad to be the most fanciful, so why dress this sour-dour character in such garb? Was it to highlight a stereotype about Americans?
TM: Och, Brad's costumes! We have to credit the actor Patrick Kilpatrick for being a flamboyant individual with his own style that we recognise as truly American. We could never fake that! So before he flew to Scotland, Tish Mantripp, our costume designer, went through his wardrobe with him and okayed his pink combo as Brad; the rest followed from there. The pink suit set the tone for the brash American billionaire-spoiled brat who knows everything except who he is.
TM: Och, Brad's costumes! We have to credit the actor Patrick Kilpatrick for being a flamboyant individual with his own style that we recognise as truly American. We could never fake that! So before he flew to Scotland, Tish Mantripp, our costume designer, went through his wardrobe with him and okayed his pink combo as Brad; the rest followed from there. The pink suit set the tone for the brash American billionaire-spoiled brat who knows everything except who he is.
PR: Why was Loch Awe chosen as the setting?
RM: Loch Ness is quite inaccessible when compared with Loch Awe. Both lochs are 26 miles long, but Loch Awe gets sunshine and Loch Ness gets rain. They are similar in appearance, except to the purist who will argue that Loch Ness has more trees around it, and that there is absolutely nowhere to dip your toes in. Both lochs are very dangerous lengths of water, but Loch Awe offers better access. It is a loch that I know well from having shot scenes for other films I've made around the area. It’s also closer to Glasgow for logistics and supplies (which a film army needs!)
RM: Loch Ness is quite inaccessible when compared with Loch Awe. Both lochs are 26 miles long, but Loch Awe gets sunshine and Loch Ness gets rain. They are similar in appearance, except to the purist who will argue that Loch Ness has more trees around it, and that there is absolutely nowhere to dip your toes in. Both lochs are very dangerous lengths of water, but Loch Awe offers better access. It is a loch that I know well from having shot scenes for other films I've made around the area. It’s also closer to Glasgow for logistics and supplies (which a film army needs!)
PR: Everyone wants to know - how did you settle on the traditional look for Nessie?
JW: Throughout the production, I discussed with Robbie his vision and we both agreed that the traditional look for Nessie would resonate best with the audience, as this is the Nessie that is known in Scotland. It didn't make sense to alter her, which I hope the audience will appreciate.
JW: Throughout the production, I discussed with Robbie his vision and we both agreed that the traditional look for Nessie would resonate best with the audience, as this is the Nessie that is known in Scotland. It didn't make sense to alter her, which I hope the audience will appreciate.
Jason Harvey and John Michie
PR: Was it a conscious choice to create a film without the usual profanity, violence, and sex?
(Note: I found it refreshing, to say the least!)
RM: Yes, it was a conscious choice to make a family-friendly film that highlighted the reality of making a living in the Highlands of Scotland, and the part that tourism plays in the local economy - all with a bit of humour, of course! As light-hearted entertainment, Nessie reflects both the insider and outsider view of the lives of the folk in a lochside village. I suppose there is my own experience of living in that part of the world in my early forties, combined with my boyhood adventures on the same lochs and hills. The folk have good hearts and strong individualistic natures that makes each person a colourful character. I think I captured some of that vibrancy that makes the Highlands one of the most romantic lands in the world. The Nessie myth just adds that little bit of extra magic!
I'd like to finish by saying that as I come from the land that invented Peter Pan, and gave the world Treasure Island, it is as natural to us in Scotland to believe in Nessie, as much as the Irish have Leprechauns and the Nepalese have Yetis. If you can't believe in Nessie, then what can you believe in? In other words, faith in the unknown does us no harm and can be humbling. It brings out the child in us all, or more accurately, keeps part of the child in us alive and well. That I think sums up the charm of the Nessie legend - we want to believe, we want to suspend our disbelief, and just for a moment or two suspend reality. This is the single greatest and often the most elusive end goal for any filmmaker, to create belief.
(Note: I found it refreshing, to say the least!)
RM: Yes, it was a conscious choice to make a family-friendly film that highlighted the reality of making a living in the Highlands of Scotland, and the part that tourism plays in the local economy - all with a bit of humour, of course! As light-hearted entertainment, Nessie reflects both the insider and outsider view of the lives of the folk in a lochside village. I suppose there is my own experience of living in that part of the world in my early forties, combined with my boyhood adventures on the same lochs and hills. The folk have good hearts and strong individualistic natures that makes each person a colourful character. I think I captured some of that vibrancy that makes the Highlands one of the most romantic lands in the world. The Nessie myth just adds that little bit of extra magic!
I'd like to finish by saying that as I come from the land that invented Peter Pan, and gave the world Treasure Island, it is as natural to us in Scotland to believe in Nessie, as much as the Irish have Leprechauns and the Nepalese have Yetis. If you can't believe in Nessie, then what can you believe in? In other words, faith in the unknown does us no harm and can be humbling. It brings out the child in us all, or more accurately, keeps part of the child in us alive and well. That I think sums up the charm of the Nessie legend - we want to believe, we want to suspend our disbelief, and just for a moment or two suspend reality. This is the single greatest and often the most elusive end goal for any filmmaker, to create belief.
As the holiday season approaches, it’s a perfect time to enjoy this magical, heart-warming tale. Pumpkin Spice popcorn, anyone?
COPYRIGHT 2012/2024. Paulette Reynolds. All CineMata Movie Madness blog articles, reviews, faux interviews, commentary, and the Cine Mata character are under the sole ownership of Paulette Reynolds. All intellectual and creative rights reserved.
