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David Wade talks about The Fight, A Guide To Second Date Sex, and more

Director of 1906 productions, 2017 saw David Wade produce four feature films including A Guide To Second Date Sex, Songbird and The Fight.

He has built up a network of collaborators including Simon West (Con Air, Expendables 2), Idris Elba (The Wire, Luther and Golden Globe winner), Noel Clarke (Brotherhood, Mute and BAFTA winner), Maggie Monteith (Pin Cushion, Kaleidoscope, Searching for Sugarman), Jason Maza (Brotherhood, 10×10)Jude Law, John Bell, Russell Brand, Jessica Hynes, and Cobie Smulders, among others.

Billy the Kid produced by David had its world premiere at the Oscar and BAFTA-qualifying Palm Springs festival, where it was universally acclaimed, winning the Audience Favourite award in the BEST OF FEST selection.

Billy the Kid went on to qualify for the BAFTAs, gain entry to over 30 festivals and win 13 awards (and counting) around the globe. It cleaned up with the BEST OF FEST, BEST COMEDY, and the AUDIENCE AWARD at The Isle of Man Film Festival. It is currently being screened on the Comedy Central channel.

David very kindly spoke to us about some of his projects.

Can you talk about what you have been working on recently?

Last year was an exciting one having been fortunate enough to produce a variety of features which included two first time directors. We are in post on two of them, A Guide to Second Date Sex, which was an absolute joy to work on. The director Rachel Hirons is a fantastic talent. The Fight, which was a very different shoot but still as enjoyable. A Guide is an out and out comedy, whilst The fight, directed by the Uber talent Jessica Hynes is an emotional journey which I believe when people watch there won’t be a dry eye in the cinema.

What do you look for in a project?

First and foremost its got to grab my attention. I personally love leaving a cinema and the film makes you ask questions, be it about yourself or the world. It doesn’t have to be on a deep level but something that challenges you, even a little. Rust and Bone jumps out as a film that did that for me, a powerful love story covered in life’s scars.

How has the experience been working with your last group of directors, including Jamie Adams, Jessica Hynes and Rachel Hirons?

Its been a fascinating journey working with three talented directors who all work in a very different way. From Jamie Adams, unscripted shoots, shot on a very tight timeframe, which to be honest when I got on set the first day I was nervous as hell and excited at the same time as I had never worked in this way before but it works to Jess who was starring in her own directorial debut that she had written, was semi-improvised and which comes with its own challenges to Rachel who is extremely passionate and really immerses herself into the world she has created. It was a privilege to a part of them all.

The Fight

You’ve also worked with two female directors in the last year – is it nice to know you’re helping lead the way in this new revolution of filmmaking that people are wanting?

I love this question and it also grates on me, as I wish it wasn’t a point of conversation. I wish there wasn’t this divide. I don’t feel like I am helping lead the way, I’m not giving women a hand up, if anything, they are giving me a voice by allowing me to produce their work. I feel like I’m supporting talented people to get their voice heard but you know I was bought up by a single mother and understand the power a woman has, women shape this world and it doesn’t matter if you agree with that or not, its there for everyone one to see. There has been a revolution going on for years to give women a voice in all walks of life, its pleasing to see women uniting all over the world and I think its the least I can do to support another human being. To answer yourself more directly, I am extremely fortunate to have worked with two very talented creatives, being allowed to support their voice but please don’t forget my financier and producer Maggie Monteith who has given me, a man, opportunities, how ‘controversial’ is that a woman giving a man an opportunity. I also have a lot of female crew on my teams, the unheard voices who help steer the ship. My right-hand person on the ground, the line producer has been a woman on all four of the films I worked on last year and the reason for that is because they were the best person for the job.

Working on indie productions must have its fair share of limitations, and freedoms – how do you go about controlling them?

It always boils down to having a solid team around you who can support you and not being precious about making your own tea!

WILD HONEY PIE! is one film already extending its reach to the US with SXSW – how does it feel having it in that festival?

One word. Amazing, it’s always a great feeling to know that your work isn’t shit and it’s getting recognised.

Wild Honey Pie! – Jemima Kirke (Gillian)

Do you know what’s next for the film with festivals and it’s release?

Watch this space

Your work is taking you to so many places – what draws you to the nomadic lifestyle of production?

I went to some very exotic places last year, Falmouth, Folkestone, Enfield and I can’t forget Porthcawl in Wales! I jest, I’ve never liked working in an office, it’s just not for me. Travelling is a part of my life if it’s not work, I like to travel with my fiancée as much as we can. I was a flight attendant in my heyday now that is a nomadic unsociable lifestyle.

What else is coming up for you?

Buying a dog, planning a wedding, oh and hopefully some game-changing projects….

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