Among all cinematic experiences of 2009, none were remotely like the unforgettable “Severed Ways: The Norse Discovery Of America.” Filmed in high definition digital video, the largely plotless film follows two vikings in their journeys in the woodlands of America, placing a sense of importance not on linear storytelling or on character depth but you-are-there immediacy, all set to an abrasive all-star black metal soundtrack. “Severed Ways” is mostly the work of Tony Stone, who made his directorial debut with the picture. He also served as the writer, main editor, producer and star of the ambitious effort, which is currently available on DVD. We engaged in an e-mail interview with the filmmaker where he talks about his inspirations and working methods.
Playlist: What was the genesis of the idea for “Severed Ways”?
Tony Stone: Well, its story that hadn’t really been told before. I had been fascinated with the Norse episode in America since I was a kid and there were hardly any Viking films about the topic, except for a couple crappy 70’s ones that used aluminum garbage pails for shields, were shot in Barbados, and had horns on their helmets. So I wanted to tell the story more accurately, and very visually based, submerged in the woods where I spent my childhood. And of course, a metal Viking film seemed to be another void. There’s been a long history of Viking iconography in rock and metal, but the connection has never really been explored in the feature film. So intertwining the metal spirit into a naturalistic Viking film just seemed like it would be natural fit.
P: The aesthetic goal of the film seems to be a strong sense of realism. Were there any concessions to the film medium you made translating from page to screen?
TS: Well, there weren’t many pages, so there wasn’t much to translate. But in terms of the story, we stayed true to the initial outline and the idea was to let the filming process influence the story evolution. Letting the reality of the woods dictate and prioritize what should be shown. And in terms of realism, there weren’t many concessions. There was nothing in the film that we the characters didn’t do, except for actually killing each other. The physical immersion gave everyone a deep connection to the environment and what the characters were experiencing and going through.
P: How did financing come together for the film?
TS: Um, First Card. It’s this amazing company based out of Delaware that let’s your borrow money and charges you 23% interest rate if you miss one payment. Really great folks.
P: How did you cast the film?
TS: I used friends or friends of friends. It was small enough of cast and I lucked out with some very key people.
P: What kind of preparation was required for the cast members?
TS: There was some. I did do some training and put on about 30 pounds for the roll. We trained with the weapons a bit. But I think it was more about immersion than preparation. We were off the grid without the electricity or phones. You’re living dirty, smelling like shit, wearing the same unwashed costume for weeks. Hands bleeding from chopping, hands numb from frostbite. There was no faking the physicality.
P: What is the significance of the title?
TS: Well, it has a few different meanings. There is the literal meaning, but I like to let people decipher it on the their own.
P: How did you decide which filming locations to use?
TS: Most of the film was made in Vermont on land that my dad bought in 1969. He built a hippie house in the middle of the woods. It’s still standing but the nearest neighbor is miles away. You’re left to your own devices and there’s a freedom to filming there. Its sort of become a back-lot for all the projects I’ve done since. You can crash cars, blow things up, shoot up the place. You don’t need insurance or a film permit. The anarchy is pretty liberating.
But we also went to Maine and Newfoundland, retracing the steps the Vikings sailed and settled. We had to go all the way to the very Northern coast of Maine to get to a coastline that still had raw woods and very little evidence of humans. We did a pilgrimage to L’Anse Aux Meadows were Leif Ericson’s base camp was located and reconstructed. The sod houses there are used in the flashback scene.
P: What was your approach to the combat and violence in the film?
TS: Well, it’s quick and an auto reflex. But there’s true violence and pretend violence put along side each other. After a “pretend” execution of a monk by the Viking, he then chops off the head of chicken which isn’t faked. I guess the approach is to balance the pretend and realism, side by side.
P: Severed Ways is unlike any film in recent memory with this subject matter. Were you conscious of providing a natural corrective to any other films depicting this time period?
TS: Yeah, definitely. The usual Vikings are depicted as either chain-mailed chieftains or horn-helmeted barbarians. However, the Vikings were way more sophisticated and progressive than people realize. While they did fight when need be, they weren’t all the murdering raiders they’re made out to be. They’re highly skilled carpenters and farmers, who I think we can learn a thing or two from. They ended up not staying in America because of too much fighting and conflicts with Natives. Greenland was a much more peaceful place to reside and farm, were they ended up staying for almost 500 years. And part of ‘Severed Ways’ was to personalize the Viking a bit. They’re just dudes, stuck living in their time, like we are today. Their intimate tale of failed glory is usually not shown cinematically.
P: How did you get the artists on the soundtrack involved?
TS: Some of the artists were pretty hard to track down, so we spent a long while digging up their representatives info, and reaching out to them directly. We sent the film with a letter explaining the importance of their music. All the bands were unbelievably helpful and generous with allowing us to use their music. I was very lucky, because I had placed all of my favorite and influential music in the film, and couldn’t imagine replacing any of it, because it had all been so integral in the shooting and editing process. It’s a real honor to have all them be a part of the film.
P: At the beginning of Chapter Two a character headbangs to the heavy metal on the soundtrack. Did you have any other ideas for similar fourth-wall-breaking moments?
TS: Yeah, there were a few others that shouldn’t ever see the light of day. There was a Indian skull football toss that was completely absurd. The Vikings find the skull in their watering hole and throw it around like a pigskin. The great American game played 1000 years ago while a track by Mortiis played in the background. Also, we blew up the Viking camp. It was pretty bitching explosion- but too ridiculous. The idea was to not be afraid to go “too far”, because you can always pull back.
P: Will a soundtrack be released?
TS: Probably not, the bands were already so generous with the music for the film, I think it would be very difficult to work out the logistics between so many different record companies and bands. But you never know.
P: Curiously, the film uses digital video in a similar way to another recent film, “Public Enemies.” Is digital video a way of bringing verisimilitude to a historical drama?
TS: Exactly. It modernizes the image and brings it into the present. The familiarity of it can be disorienting if you’re dealing with a period piece. There is no longer a wall or sheen up. Part of using video and especially mini-dv, is you can be far more intimate and spontaneous with in the period piece. There’s usually a very sterile feel to those films. The production is so immense that there is this big anchor around creativity. You very constricted to what you can show. We able to be in the spur of the moment, we moved around, going from location to location based on the weather or light that day. The woods are endless, but each part has its own characteristics to focus on and bring out. We sort of approached the film as a nature film, following these animals that just happen to be humans.
P: What do you say to people who critique the film by saying it is empty and substance-less? Conversely, how do you feel about people misappropriating the film’s story line for their own completely unsupported theses?
TS: Substance-less. Ouch…haven’t heard that one yet. Well, in this age of the blog, I guess everybody is a know-it-all and people want to show it. Sometimes I am amazed how safe every thing is, in terms of what people like or make. The indie-cinema world is so unbelievably cautious. It is painfully predictable and cookie cutter for the most part. ‘Severed Ways’ is definitely a “weird” film but its inspired by a lot of other “weird” films that don’t get made as often as they used to. If you’re not conscious watching ‘Severed’, you’re going to be bored out of your fucking mind. It’s a process oriented film, actions that range from mundane to violent. It’s not a traditional narrative, and not character or dialogue-driven. But I find it hilarious that everyone is obsessed with the rules of how films have to be. There are these talking points that people are automated to spew. It all seems pretty antiquated.
‘Severed Ways’ is more of an experience than anything else. If you’re in it and following these images, the payoff and experience of it can really impact you. If you’re not, than you’re confused, and wonder what’s the point of it all. But the film is definitely not for everybody, kind of like metal. some people just hate it. NOT to say only people who like metal will like this film- I have come across lots of people of many age groups, who don’t know much about it, but who really get this film. As for the people who critique this film as “empty”, I suppose films about the struggles of dating would be more their cup of tea.
P: What’s your next project?
TS: A remake of William Friedkin’s “Cruising.”
