Lights, Camera, Hustle: The Art of Independent Filmmaking

With his latest project being released on Amazon on 17th March and another about to start its festival run, Assistant Editor Dev Murray chats with filmmaker, producer, actor, and musician Ciaron Davies about the hustle and tenacity it takes to get a no budget film across the line.

What are the films that inspired you?

I have always been a huge lover of film and admire iconic directors such as Sergio Leone, Francis Ford Coppola, David Lynch, Sam Peckinpah, Stanley Kubrick, Akira Kurosawa, Kinji Fukasaku and Takeshi Kitano, to name but a few. All visionaries—uncompromising storytellers who strove for perfection and raw realism, culminating in cinematic masterpieces of high artistic value. Their stories are timeless—moments caught in time forevermore. These are the stories that shape our culture, celebrate our identities and show us how things were or give us a glimpse into how they might be.

Can you tell us about your background in film?

Since childhood, I’ve been deeply passionate about film and have been lucky enough to work in most departments in one capacity or another. An actor, writer and musician—I also work in cinematography, editing and sound. From the performance side of things, I also perform in stunts (mostly historical combat), which has allowed me to combine my passion for fencing and martial arts with action films, both as a performer and a creator. Having worked in multiple departments makes it much easier to communicate with each element of the crew when bringing a vision to film, as we can speak each other’s language.

I have a huge interest in visual design, sets, costumes/fashion, hair and make-up, and I like to give time to each individual aspect, as they all contribute to the bigger picture. Attention to detail builds a world. The magic of film lies in the collaboration of talented artists, each responsible for different elements—together, they are like an artistic army. The creation of epic cinema is almost like going into battle—the director is the general, and the crew are the soldiers. It is a beautiful family who come together for a moment in time to achieve the impossible and create something remarkable.

How did you start?

I studied fine art (painting) and then Film and Media and was fortunate enough to receive training in the art of comic book writing from Disney, where I worked as a writer for one of their Mickey Mouse comics. Some of the best writers and artists taught us the craft of comic creation, including incredible workshops with comic guru Will Eisner (who created The Spirit and is considered the father of comics, along with his good friend, Stan Lee). From this period, I learnt so much about creating tight scenes and strong visualisation.

After this, I was lucky enough to work with the great Roger Corman—the legendary B-movie producer behind some of the most iconic horror films. It was eye-opening to see how he worked, and I had the opportunity to gain experience in several departments. Roger really thought outside the box and used time and budget to maximum effect. One should never waste time on set—a director does not sleep, and challenges are overcome with imagination, tenacity and determination. From then on, I hopped from production to production and ultimately decided to produce my own ideas, as well as working for other incredible creatives in various capacities.

What are the films that inspired you growing up?

I have always loved classic and epic films—they are such amazing cinematic experiences, like devouring a full meal in a beautiful restaurant. Lawrence of Arabia is a stunning epic with incredible visualisation and a groundbreaking performance from Peter O’Toole. The Vikings (starring Kirk Douglas and Tony Curtis) is one of the most incredible adventure movies, with possibly one of cinema’s most satisfying sword fights at the end. Cleopatra, Ben-Hur and The Ten Commandments are legendary films. Leone’s For a Few Dollars More is my personal favourite Western, and Gian Maria Volonté delivers one of the finest villain performances in cinema. His bad guy is three-dimensional and real, and the vulnerability he injects into the performance adds a very unsettling ingredient. Watching these masters of cinema is a film school in itself.

How do you decide on your next project?

A project or an idea should sing to you—almost like it chooses you, rather than the other way around. I like to operate outside of my comfort zone because that’s where great work lies. A project that moves you, excites you and opens the gateway to madness is usually a good start. Something that will consume you fully. Something you want to see on screen. If it must be made, that’s a good sign. And if its sheer scope is daunting, even better. I usually have six or seven ideas I wish to develop, and it’s always a mystery which one will be next.

What’s your process when it comes to writing?

The process changes depending on the project, just as the directing does. The story is the most important part and must be told in a way unique to that particular narrative. Grainne Uaile, for instance, is historically accurate, so it required extensive research, and the writing style is very poetic. Geezers needed a rawness and realism, and although the plot is complex, it was heavily devised and shaped by the actors. Another upcoming project requires locking oneself in a room and writing furiously. Sometimes, sleep deprivation and a continuous barrage of scribbling take the piece into another world, which is a great foundation for directing. The script is written three times—once on paper, once on set when the actors bring their personalities, and once in editing, where it is reshaped to fit the rhythm of its world.

When you’re happy with the script, what’s the next step in getting it into production?

Now the real battle begins—securing financing, locations, actors. Who will shoot it? Who is on sound? Who is the creative team? Writing is a solitary process, but filmmaking is collaborative. The director may steer the project with unwavering vision, but its realisation depends on the chosen individuals—the unit of creation. Development involves a lot of organisation, searching and assembling the right team. It’s like climbing a huge mountain, but at the top, the view is breathtaking and exhilarating.

Tell us more about Grainne Uaile…

Grainne Uaile is an epic and dramatic retelling of the life of Grace O’Malley, the 16th-century pirate queen. It follows her journey from childhood to death and chronicles her fight for her clan’s independence from brutal English occupation. A fascinating period in one of the most violent and tumultuous chapters of Irish history—full of intrigue, skulduggery, land and sea battles, and the war between the English and Spanish—it is an incredibly exciting story and a testament to Grace’s strength and resilience.

The film is gritty, action-packed, with high drama and political intrigue. Filmed during a brutal Irish winter, that energy is palpable on screen. We aimed to create a historically faithful depiction and present a real female action hero—a character we can all relate to. Her story is extraordinary. She truly was a force to be reckoned with.

Has that been your most ambitious project to date?

Absolutely—spanning seventy years, featuring castles, ships at sea, horseback riding, large-scale battles, and lavish period details. It was a challenge, especially shooting in winter, where the cast and crew endured extreme conditions. The violence was performed by the actors themselves, requiring intense sword training and choreography. Inspired by classic Chinese cinema, I wanted to infuse extreme violence with high drama, juxtaposing the horrors of battle with intricate courtly intrigue. The challenges were immense, but our upcoming films aim even higher. I always want to push the limits and see how far we can take it.