Following Toonari Post’s recent review of ‘Jump’, here is an interview with the film’s leading lady Nichola Burley. Nichola is a young actor from Leeds, England who has appeared in such projects as ‘StreetDance 3D’, ‘Shameless’, ‘Scott & Bailey’, and the upcoming ‘Twenty8k’. Here, she tells Toonari Post about the experience of working on ‘Jump’, filming in Northern Ireland and much more.

Toonari Post (TP): Can you describe the initial appeal of ‘Jump’ for you?

Nichola Burley (NB): When I initially read ‘Jump’ I was engrossed by the realism of playing two completely different emotions and scenarios against each other. Happiness and hope against numbness and sadness.

TP: You had to develop a Derry accent for the role. How much of a challenge was this and did you spend any time in Derry prior to filming to get the accent right?

NB: I had thought and learnt [sic] for the most part a general Northern Irish accent. Upon arriving in Belfast for rehearsals, I was asked more precisely to have a Derry accent and I had no idea what it was. It soon became about working with the voice coach on specifics and learning from cast and crew.

TP: Most of ‘Jump’ was shot on location. How did you find this shooting experience in comparison to working primarily on an enclosed set/sound-stage?

NB: It was fantastic to be on location, you can’t fake or pretend the feelings and atmosphere you can get from being in certain places. The Foyle Bridge was beautiful yet daunting. I was told many stories about the Bridge and often found it eery standing on the bridge, looking at beautiful views knowing for some people it symbolised very different things.

TP: Your character Greta is the emotional core of the film. Can you talk about the journey she goes on the film and what perhaps you found either particularly rewarding or challenging about playing her?

NB: Greta is a fantastic person. Someone who at that point in her life, and I believe for a long time, has come to feel numb and empty. She’s surrounded by materialistic things that serve as no real purpose to her and longs a great sense of feeling, belonging and true want. At the pit of this feeling, she meets Pearse (Martin McCann) who, without maybe knowing the extent of his actions, sheds light on to Greta, saving her in a number of ways.

TP: The cast in ‘Jump’ is pretty remarkable and diverse, yet the majority of your scenes are with Martin McCann. What was it like working with Martin, and is there anyone in the cast with whom you would have liked to have had more/any scenes?

NB: The cast of ‘Jump’ are all remarkable and delivered their characters with such ease. I was extremely lucky to have worked with Martin McCann. A very intense, precise and thought-provoking actor.

TP: The narrative structure of ‘Jump’ is quite ambitious in terms of how many characters and storylines need to be juggled. From reading the script to filming to then finally seeing it all on screen, how satisfied are you with the finished product?

NB: I am extremely pleased and proud with ‘Jump’. Whilst juggling stories and characters, it balances everything wonderfully and allows the audience to follow everyone’s stories in such a way that makes the audience feel moved in many ways.

TP: 10 years ago, Northern Ireland probably couldn’t (or wouldn’t) have been able to make a film like ‘Jump’. As a young actor coming up in the industry, what is your impression of filmmaking in Northern Ireland and of the talent on offer there?

NB: From the actors that I have worked with in Northern Ireland, the talent appears endless. Often growing up in oppression makes you want to fight and strive more to better yourself and things around you. This combined with a great honesty and naturalness makes for the perfect actor/actress.

TP: Leading on from that, another film you have in the pipeline is ‘Twenty8k’ which, like ‘Jump’, has started doing the festival circuit before a potential nationwide cinema release. What can you tell us about that film and your role?

NB: ‘Twenty8k’ has 50+ speaking characters and a very complex story. My character is a bit of a ‘rude girl’ with an ‘I don’t care’ attitude. She initially is with a very messed-up guy who is involved in some heavy situations, she then gets with a character not that much better, however holds slightly better morals. She lets on to a massive secret that could potentially save or disgrace a lot of people.

TP: Finally, what is next for you in your career?

NB: I have ‘Twenty8k’ coming out shortly and have recently completed a film calked ‘Svengali’.

TP: Good luck with it. Thank you for taking the time to speak with us, Nichola.

Watch the trailer for ‘Jump’ here and follow Nichola on Twitter at @nichola_burley.

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Using only a handheld camera and a small cast of characters, Mike Ott’s “Littlerock” leaves a lasting impression. The sweeping landscape and ethereal lighting contribute to the overall magic taken from the mundane. The town of Littlerock, California, which serves as the backdrop to this intriguing film, is really a remnant of the American Dream. In this movie, the place itself could not have been better cast.

When Atsuko (Atsuko Okatsuka, who also co-wrote the film) and her brother, Rintaro (Rintaro Sawamoto), come to America to experience something completely unlike their own lives, they are warned by their father that they will regret it. What they are met with is certainly not the golden age of America, just a place full of people as different from their Japanese friends as they could be.

The most important of these locals is aspiring model, Cory (Cory Zacharia), whose puppy-dog affection for Atsuko is both endearing and slightly off-putting. It is Atsuko who becomes captivated by the unlikely charm of this rundown place. She even begs her brother to let her stay a little longer.

He reluctantly leaves her there, and gone is Atsuko’s only hope of translation, and ours, as her subtitles drive off into the sunset with him. As a result, we become involved in this frustrating situation of miscommunication.

When Cory cries out in exasperation because he can no longer fool himself that he and Atsuko don’t need words in order to understand each other, it affects you on a deeper level than most films. As a viewer, you have not been taking a passive role. Instead, you have been attempting to decode Atsuko in the same ways Cory has been trying.

The film was almost painful at times because it was so relatable, so human, so personal. With the characters and actors almost being the same person – actors kept their names and, sometimes, their back stories – their performances were heartfelt and vulnerable. It results in quite a melancholy experience.

You don’t know whether to laugh or cry with or at them, partly because if you did one or the other, you would not just be reacting to a character but also be affected by a real story and real people. Ott’s powerful ability to tell a story that is both personal and relatable comes from using his own life as a starting point.

“It was a really organic process making this movie,” Ott said. “It started with this idea I had after going to South America for a film festival. And I met this girl when I [was] down there that only spoke Spanish. And I only speak English. So we kind of had this romance, but I mean she didn’t speak a word of English and my Spanish is minimal.

And then I tried to phone her after I left and it was just this super awkward conversation just trying to express that I had a good time hanging out with her. It just doesn’t translate. So I just started thinking about that.” It is his own personal experiences, and those of the actors, that have helped shape this movie into a tender, thought-provoking journey.

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