Today we’d like to introduce you to Ryan Henderson
Hi Ryan, we’d love for you to start by introducing yourself.
I am originally from Scotland, hailing from the fair capital Edinburgh where my love for cinema and filmmaking started. I had made films a teenager but never truly took it seriously; it was not a viable profession. I was a graphic artist for the longest time, creating comics and illustrations to sell (something I continue to this day) but making films felt like the perfect marriage of story and visuals of what I wanted to achieve artistically. I College-d and I University-d and eventually, I had worked as part of a writing team for a Police procedural for several years until it was inevitably shelved.
I had started out as a Cinematographer for short films realizing other Director’s visions but I was not content until I decided to branch out and focus on my own work. Over several years I had established myself as a music video Director working with underground and indie bands; genres ranging from grind-core metal to traditional folk music with a bit of everything in-between. I felt I had an individual style that harkened back to classic cinema with a dark and baroque palette. The way I lit and shot was referred to as “inky” which I preferred for reference. I made work that was a bit “out-there”, hyper-realistic and fever-dream-like, harkening to my own influences from Wong-Kar Wai, the Silent Cinema era, Takashi Miike and 70’s New Hollywood.
The scale of the projects I was making as a soloist were intimidating to people who wanted to hire me; I built models, painted backgrounds, developed stories that commanded tonnes of extras and wove narratives that had scale and size. When a band allowed me to go “all-in” on what I could offer them, that’s when we created some real magic. I cite Robot Death Monkey, Echo Arcadia and King Witch as bands in particular who really let me go a bit crazy with some of the stuff I wanted to make. I wasn’t the biggest fan of some of the music videos being made in the scene at the time and some of the horror stories I had been hearing from bands with ill-conceived forays from other music video makers into promoting their music. I felt I came in with a fresh injection of style and individuality that really punched a hole into their apprehension. Plus, I tried to make videos that were entertaining and funny because, why not?
This output over this number of years saw me produce more than 50 music videos, a collection of short films and documentaries. By 2020, I met the love of my life, got married and made the leap to move to the United States. I went on to make a collection of music videos, multi-award winning Internationally screened short films and work as a Live Events Videographer for CityArts in Downtown Orlando.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
In short, no.
But I am certainly not going to make this a response of the “impoverished artist desperately trying to make his art”. My journey has had its pratfalls, it’s expected lessons and moments of self-doubt but I haven’t wavered in wanting to make “art”. If anything, I’ve always had the integrity to stick to my principals and what I have wanted to achieve. It really comes down to who wants to join me on this “artistic journey”.
Appreciate you sharing that. What else should we know about what you do?
I adopted the label “Gamut Flicks” as it refers to the range of my skills, abilities storytelling within the ‘gamut’ of filmmaking with the more tongue-in-cheek “flicks” because I want the work I do to be fun. I find as I get older, I don’t want everything to be taken too seriously (drama aside, haha) or pretentious.
I love analogue techniques; shooting on tape, celluloid and VHS and the natural artifact-ing it brings. I grew up with Mini-DV, VHS and 16mm and loved the softness those mediums bring and if it’s not available, I replicate it as best I can. I’m not the biggest fan of its resurgence for the ‘social media age’ as filters (I am an old man) but it does mean that I can buy a digital camera that will spit out a 240p quality file straight out of 1999. There’s a texture and a feeling of nostalgia that those elements bring to my work and I try to employ those techniques whenever possible. I paid $10 for a giant CRT in 2020 which I have used for filming animations as I won’t accept it any other way. For me, doing it practically is just better. My background as a fine artist and sculptor has influenced the way I compose, light and color my frames from my beginner influences ranging from Edward Hopper, Caravaggio, Gustave Doré and many more. I’m much focused on the strength of my visuals as a filmmaker, blocking out long tracking shots and wide extravagant frames, weaving narratives that shock, bemuse and amuse with performers who want to test themselves and take real ownership of the characters I’ve written be it in a real environment or one that I’ve painted and constructed.
I only know that what sets me apart is something that’s indescribable but noticeable to an audience and that I want to be known for a dedication to detail and to the craft with influences spanning the history of cinema. But honestly, please, don’t take me too seriously because life is far too short.
Can you talk to us a bit about happiness and what makes you happy?
A decent movie in a dark cinema (like a celluloid magpie).
A cold, crispy pint in a beer garden in 60 degree weather.
Drawing or panting in my dining room.
The satisfaction of a project completed, well done.
Pricing:
- See the “About Me” on my website!
Contact Info:
- Website: https://www.gamutflicks.com
- Instagram: @gamutflicks
Image Credits
Profile image taken by Laura Hensel.
