In the realm of independent filmmaking, few storytellers can transform the mundane into the magnificent quite like Jonathan Hawes. The Nottingham-born Director’s award-winning short film “Cosmo”—a darkly comedic tale about a man’s obsessive quest to identify the animal defecating on his lawn—has captivated festival audiences worldwide, earning accolades for its comedy, cinematography, and storytelling. Hawes’ new short film “Sorry We’re Closed”, about a young couple who indulge in a night of spontaneity by breaking into a dish and chip shop, is due to be completed this year.
Behind the peculiar premises of Hawes’ work, a distinct creative philosophy: finding profound human truths within life’s most absurd moments. In a candid conversation with Indie Shorts Mag, Hawes reveals how his filmmaking approach embraces spontaneity and meticulous visual language to create stories that resonate on multiple levels.
Indie Shorts Mag: “Cosmo” has garnered significant recognition on the festival circuit. What inspired you to tell a story about something as peculiar as a man obsessed with finding a defecating animal, and how did you transform this seemingly simple premise into an award-winning narrative?
Jonathan Hawes: Love the question – my parents will be proud! Well, “Cosmo” is based on a true story. A neighbour visited my parents’ house to complain about our cat pooing on his lawn. He was wielding photos of cat excrement and demanding answers. There was a passive-aggressive desperation to the whole interaction that seemed quite British. I imagined this aggrieved neighbour documenting his ‘evidence’, determined to restore the peaceful tranquillity of his idyllic garden, and the film essentially wrote itself from there.
“Cosmo” was a real team effort. Everyone went above and beyond to capture this absurd little story. We were fortunate to film in a beautiful country house, which was provided by actor Mark Aldrich (who plays the owner of the cat in the film) and his wife, Caroline. Mark does a fabulous job of communicating the neighbour character’s incredulous indifference to our protagonist’s plight in the film.
My co-cinematographer Stanley Roubaix did an outstanding job capturing the energy of my storyboards. I’m proud of the slow-motion scene in the film where Eliot first locks eyes on his feline nemesis.
Another stroke of luck came with the casting of Michael Muyunda. In my opinion, he has such an understated but powerful screen presence, and his comedic expressions are really what make the film work.
Indie Shorts Mag: Your work consistently explores trauma, obsession, and loss through dark comedy. What draws you to this particular intersection of themes, and how do you maintain the delicate balance between humor and heavier subject matter?
Jonathan Hawes: I think those themes are powerful sources of drama that resonate with me, but comedy permits me to explore them with much more freedom. As long as the comedy is rooted in the characters or the narrative, that’s where the balance lies.
Indie Shorts Mag: Having founded One Door Films, what unique vision do you aim to bring to independent filmmaking, and how does this align with your creative philosophy?
Jonathan Hawes: Write your stories without budget or practicalities in mind. You can figure that stuff out later. A recent example of this is my new film “Sorry We’re Closed”, which is about a young couple who break into a fish and chip shop after an argument. There was an early draft of the script where the couple never broke into the shop, just because I was trying to avoid having to get a chip shop to film in. But I eventually just went with the flow of my imagination, and this wonderful new ending presented itself to me. I then got excited about making the film again. Then, through my renewed enthusiasm, we ended up doing a city-wide hunt to find a fish and chip shop to film in and eventually secured a location. “Sorry We’re Closed” is due to be completed this year, and we’re very excited to show it to people!
Indie Shorts Mag: Since beginning your filmmaking journey in 2015, how has your approach to storytelling evolved, and what key lessons have you learned along the way?
Jonathan Hawes: Not to overthink. The screenplays I’m most proud of have always been penned in a frenzied stream-of-consciousness writing session. Maybe because they came from pure inspiration, they almost don’t feel like my ideas. They came from somewhere in outer space. I’ve found that the ideas I’ve deliberated over the most are always the weaker ones because I can see myself trying too hard, and that’s not fun for you or the audience. If that initial spark isn’t there or got lost along the way, it shouldn’t be forced.
Indie Shorts Mag: The cinematography in “Cosmo” received special recognition. Please share your collaboration process with your Director of Photography and how you developed the visual language for the film.
Jonathan Hawes: I have to shout out my co-cinematographer, Stanley Roubaix, again. We spoke a lot about camera techniques in pre-production. For instance, we shot the opening of the film with primarily static tripod shots to convey the calm and measured dynamic of Eliot’s character. Then, as the cat pushes Eliot’s character to the brink, we introduce shaky hand-held footage. Details like this are something an audience may not consciously register, but they are crucial to the visual language of the film and the storytelling.
Indie Shorts Mag: Being selected for the BIFA-qualifying Beeston Film Festival is a significant achievement. How has this platform impacted your career trajectory and future creative opportunities?
Jonathan Hawes: I was very proud to have been selected for the Beeston Film Festival. It’s my home festival, so it was an honour to see the film playing on opening night. With filmmaking being such an immense collaborative effort, this festival selection opened up my network and gave me the opportunity to work with some incredibly talented people.
Indie Shorts Mag: As both a writer and director, how do you navigate the transition from page to screen, and what elements of your scripts typically undergo the most transformation during this process?
Jonathan Hawes: I strongly encourage performers to speak in their natural dialect where possible and rewrite certain lines if they don’t sound natural to them. So I’d say the dialogue is the most transformative element. 90% of my dialogue usually stays as written, but the remaining 10% can really make a difference to capture an authentic performance.
Indie Shorts Mag: Could you walk us through your editing process, particularly how you maintain comedic timing while dealing with darker themes in post-production?
Jonathan Hawes: Sometimes you have to transition from a comedic punchline to a serious narrative beat, and it can be really challenging. If you’re having issues with a scene not working, it’s a case of identifying why it’s not working. But I think these things become easier to resolve with experience. Sometimes, your reaction shots are as important to the comedy as the characters actually saying the funny line. In my latest film “Sorry We’re Closed”, a young couple stand outside a fish and chip shop and have an argument, and some of the reactions of Michael Muyunda and Jemma Bentley add so much humour to their scenes together. They’re just absolutely great actors, and it makes my life as an editor a lot easier!
Indie Shorts Mag: What filmmakers or specific works have influenced your distinctive style of blending dark comedy with serious themes?
Jonathan Hawes: Good question. Off the top of my head: Billy Wilder, Paul Thomas Anderson, Martin McDonagh, Cohen Brothers, Stanley Kubrick and David Lynch.
Indie Shorts Mag: Looking ahead, what stories are you eager to tell next, and how do you plan further to develop your voice in the independent film landscape?
Jonathan Hawes: I’ve got a story about a learner driver who has been failing their test for years because they are infatuated with their instructor. I see this being a comedy/drama with a bit of action. Shooting a parallel parking scene like I imagine Jerry Bruckheimer would sound pretty fun. In terms of developing my voice, I’d like to produce a short film with the BFI and then set my sights on my feature film directorial debut within the next few years.
As our conversation with Jonathan Hawes draws to a close, what emerges is the portrait of a filmmaker who understands that the most compelling stories often begin in the unlikeliest places—a neighbor’s lawn, a fish and chip shop, or the backseat of a driving instructor’s car. Through One Door Films, Hawes continues to craft narratives that balance the precarious edge between humor and heartache, creating works that are as thought-provoking as they are entertaining. With his next project already in development and aspirations for BFI collaboration and a debut feature film on the horizon, Hawes represents a new generation of independent filmmakers unafraid to let their imaginations lead the way through the creative process. For aspiring directors navigating the complex world of independent cinema, Hawes offers perhaps the most valuable insight of all: sometimes the best stories aren’t meticulously planned, but rather arrive in “frenzied stream-of-consciousness” moments when we’re open enough to receive them.
