JOE POMEROY

By Rich Simmons


When I got an email through from Joe in September 2018, I didn't realise what it would turn into. Joe approached me with an idea to make a short film about Art Is The Cure and just over a year later, after a lot of work, shoots and reshoots, editing, colour balancing and animations, we emerged with the finished film and a great friendship as a bonus.


Joe is a talented director and storyteller and had a distinct vision for the film that has gone on to win and be nominated for a host of awards around the world. I wanted to delve into Joe's story and give this talented filmmaker a chance to share his vision, ideas and thoughts behind the making of the film and more.


Before reading the interview, please take a few moments to watch the film again and then read the interview about how this all came to be.

So before we get into the making of the film, how did you first hear about Art Is The Cure and what about it inspired you to want to make the short film about it?


I am very passionate about art and love going to exhibitions in my spare time. I discovered Rich Simmons’ artwork when I visited a Mayfair gallery during a work lunch break. His artwork immediately resonated with me and that evening I decided to research his story further and that is when I came across Art Is The Cure.


I was fascinated with his journey to becoming an internationally renowned artist and the way he used art as a form of therapy. I thought his story and what he achieved with Art Is The Cure would make for a great film so I approached him with my ideas in the form of a film treatment and he was onboard with my ideas.

Did you have a strong image in your mind of how you wanted the film to look before you got started?


I wanted the film to be really strong visually to compliment Rich's stunning artwork. Rich uses a bold colour palette with his artwork and I wanted the way the film was shot and graded to reflect this.


I am a big fan of work crafted in an abstract manner and this filters through in terms of my style. Whilst working on a documentary in Spain, I received a great piece of advice by a Director of Photography. He said that when composing shots to always fill the frame with your subject and make it look interesting.


With Art is The Cure I applied this technique to the sections where Rich is working on his art. I wanted the camera to be up close, so it felt like the viewer was part of his journey. I applied this technique at the beginning of the film in the sequence of Rich walking through the streets of Croydon to his studio. The camera drifts slowly past Rich, and then we see Rich in his studio as he sprays the screen blue with paint and the credits come up.


A big part of my style is capturing subjects in their natural environment. In this film, it was Rich working in his studio and on his artwork. In the sections where Rich was talking about the past, I used his archive photos and worked with an animator to bring these images to life with a 2D Parallax movement. I chose this method, as I wanted the photos to come to life and come across in a more interesting way than static photos.


Through working closely with Rich, I could see that butterflies feature heavily in his imagery, and I wanted to incorporate this in a visual manner that related directly back to his art. Rich has a series of paintings that feature a Skullifly (a butterfly filled with skulls). The significance of these images is that artists sometimes need to go to a place of darkness to be able to produce something beautiful, which directly relates back to the message of the film. I decided to film Rich at the Horniman Butterfly Garden closely interacting with the butterflies and then used these images to highlight his creativity and thought process.


I worked with an animator to bring Rich's work to life in a sequence where he spray-painted a butterfly image onto his canvas. Through my animation, the butterfly literally comes to life and flies off the screen, which links back to the themes and imagery of his artwork.


Throughout the film a lot of the material was shot handheld, which helped to bring the viewer closer to the subject, as the camera would often pan and track his movements.