We had an extraordinary time interviewing Joseph White about his series SUBVERSE. SUBVERSE is a sci-fi odyssey to the dark side of the Internet. It is free to watch and is a web series available on IGTV, Vimeo, YouTube, and iTunes podcast. Check out the interview below.
Hi, Joseph! Thank you for granting the interview. Congrats on your new series SUBVERSE. It’s an indie sci-fi web-series designed to for viewing on smartphones. You’ve written and directed the US/UK production. Tell us what inspired the award-winning series.
Thanks, Occhi. Yeah SUBVERSE is designed as a sci-fi thriller to be watched on IGTV, YouTube and iTunes Podcast. These platforms offer a new challenge and I don’t think anyone’s truly nailed the mobile web-series format yet, so that’s what excites me about trying it. It feels like new territory that’s ready to be explored. I wanted to make a series that had all the freedom and visual inventiveness of YouTube videos, indie games, music promos and the experimental art I see on Instagram; but the aim was to combine that creativity with a tight, fast-paced narrative that makes you want to watch more.
I’m a big fan of David Lynch and Twin Peaks The Return. That show was definitely an inspiration. We set out to make something that is similarly surreal and intriguing, but where each episode is short, compact and exciting, and where the plot (hopefully) is a bit easier to follow.
The show was shot in Brooklyn, self-funded and developed between myself and producer Julian Rad. I wrote, directed, edited and created the visual effects myself. Julian did just about everything else. He was a producer, casting agent, AD, camera op, cinematographer, grip, boom op, runner, you-name-it… An amazing one-man film crew.
Since the shoot production has moved to London where I’m currently living, but the cast and crew are still in NY, so we’re all eager to get back together and shoot the next episodes.
What sets it apart from other sci-fi series?
I think SUBVERSE has a pretty unique vibe. There’s a huge amount of sci-fi content out there at the moment, but most of it seems to adhere to strict genre rules; cyborgs, spaceships, holograms, actors speaking in monotone ‘serious’ voices etc… SUBVERSE has none of that. It’s far more strange and unpredictable. We wanted to make something with that raw, rebellious attitude of old public-access TV or the low-fi weirdness of the early days of the internet. It might not look slick, but it’s got a lot of character – and I think that’s rare for sci-fi these days.
The series is described as a “hallucinogenic trip to the ‘Dark Side’ of the Internet.” Tell us more.
The world of SUBVERSE is much like our own; everyone is addicted to the internet, but in SUBVERSE people connect to their machines with hypodermic needles and inject the internet directly into their bloodstream, so their experience online becomes a visceral and immersive hallucination. Imagine trying to navigate a social media tweet-storm whilst locked in virtual reality, or exploring the dark-web while on acid; that’s what I hope SUBVERSE feels like.
Is it a challenge to produce a series strictly for smartphones?
My previous short THE BRAIN HACK was designed specifically to be watched on the internet at a time when most short filmmakers were aiming for their films to be seen at festivals. For that reason, I think it stood out and resonated with people who watched online.
Now people are spending more time on their phones, for better or worse. Some filmmakers might find that depressing, but as a storyteller, I see that as a challenge. How can we create content that’s suited to this strange new format?
The narrative of SUBVERSE is structured very differently to a TV series or most web-content. The episodes are snappy and direct, and the focus is very much on story and drama over technical aspects such as cinematography or art department. The lighting and composition of each frame are tailored for visual clarity on mobile phones; so the images are bold and graphic.
We also spent a greater portion of our time on the audio than you would on a traditional production. People tend to use headphones in combination with their phone, therefore they’re getting a higher quality audio experience than when they watch TV at home. For that reason we wanted the score and sound design to play a huge role in the story-telling. I’m extremely proud of what we achieved. I think the audio for SUBVERSE is far more creative and articulate than you’ll find in most web-content, and credit for that has to go to the talented guys at Immerse Audio.
SUBVERSE is developing a cult following. How has the production exceeded your expectations?
We’re so grateful for the response the show is getting online and at festivals. We’ve won BEST SCI-FI SERIES at London Short Series Festival, BEST EPISODIC at the Infinity Film Festival, and BEST NEW MEDIA at the Boston Sci-Fi Film Festival. We’ve also been nominated for BEST DIRECTOR WEB-SERIES and MOST IMAGINATIVE at the First Glance Film Festival in LA. It’s definitely doing better than we could’ve imagined.
There’s also a fantastic Russian dub with over 19,000 views, so that’s currently my favorite way to watch.
In terms of the production, I’m thrilled by the performances that the actors bought to the roles. Particularly Eric Robinson who really threw himself into the role of a drunk, lonely, depressed loser. haha. His performance has shades of comedy, tragedy, and desperation that make him extremely watchable. He’s an incredibly talented performer and the show wouldn’t have been possible without his endless commitment.
Tell us about what a typical day on the set was like.
The SUBVERSE shoot was crazy. We had no money, no time, and for the most part, only myself and Julian as crew. We’d designed the shoot to keep things simple, but when you don’t have any money, nothing is simple.
On a typical day, Julian and I would arrive at 8 am to set up. Then Eric would turn up at 9, drunk from the night before, without having slept – ‘I’m doing this to get in character’ he’d tell us. haha. He’s a stand-up comic and performer in a popular NYC show BATSU, so he’s used to burning the candle at both ends, and his disheveled look was perfect for the role.
The three of us would shoot whatever was needed, jumping back and forth between various scenes in the storyboard, often making it up as we went. There was very little pressure, so the whole experience was extremely creative and enjoyable; but physically exhausting.
What is going to surprise people about the series?
The entire first season is outlined, and the next 10 episodes are scripted. It’s going to be a rollercoaster ride. We’ve aimed to make each episode go somewhere unexpected, with constant action, cliff-hangers, plot twists, and set-pieces. And it will also play games with the audience in a way no other series does. I can’t say anything yet, as I don’t want to give the game away, but if you want an idea of how my mind works then check out The Brain Hack, and take this as a warning. haha.
Without giving anything away, what’s your favorite episode and why?
From the episodes we’ve made so far, it’s got to be Episode Two. It gets pretty wild. And that was certainly the most fun to storyboard and shoot.
But there are some great sequences in future episodes that I’m looking forward to even more. One of my favorite moments is definitely in episode seven where Max becomes embroiled in the machinations of a secret group of anarchist artists. I have a particular visual effect technique in mind that I’ve been developing for years, and there’s going to be one insanely trippy revelation.
When looking back on the production, what resonated with you the most and why?
I definitely feel like we’re attempting something unique with SUBVERSE. There’s a symmetry between the medium and the message; it’s a show about the crazy, surreal world of the internet, and we’re creating it in a crazy, surreal way – both in format and execution.
This has continued into post-production. Instead of locking the cut, posting it online and forgetting about it, I’m keen to create something that evolves and changes as people interact with it. We’ve posted green-screen footage on this great new creative collaboration site called Modulatr – so if anyone feels they can improve upon a scene, they can download and re-design, and if we’re impressed we’ll update our official cut to include their work. I think this could be a really exciting way to make SUBVERSE feel more like the open-source, free-market world of the internet itself.
In your opinion, what scene in the series is going to blow people away and why?
I think the scene in Episode Two, where Max re-winds through his browser-history, is the most likely to blow people away. That’s the scene that best captures the low-fi but limitless potential of the world we’re creating. It’s unlike anything I’ve seen before. It’s glitchy and uncomfortable and bewildering, but it also ends in a moment where the whole narrative comes together, and I think viewers are left with a genuine desire to find out what happens next.
What did you enjoy most about the production?
For me, the most enjoyable bit is writing. I love the process of figuring out how to entertain the audience while communicating something that’s hopefully worth saying. I currently have so much of this series in my head and the process of making it and publicizing it often means filtering so much out; whereas the writing process feels the most creative and fulfilling.
Do you have anything else you would like to share about SUBVERSE?
Firstly, I’d love for anyone who enjoys the show to please tell other people about it; whether that’s by ‘liking’, ‘following’, ’subscribing’ or simply old-school recommending it to a friend via ‘talking’. I feel like all filmmakers these days are trapped in a perpetual fight with algorithms just to get their content trending, but personally, I’d much rather be making films, so any help would be greatly appreciated.
Secondly, if anyone feels moved to support SUBVERSE and speed up the process of making more episodes, please consider becoming a Patron www.patreon.com/sbvrs we’ll make sure you get something special for your loyalty.
And third, if you’re a digital artist, animator or designer and would like to get involved, please check out the project on Nerdeo.com and Modulatr – where you can find more info on becoming part of the team. We’re constantly looking for new artists to craft obscure and dangerous regions of the SUBVERSE. We’d love to hear from you.
Thank you for chatting with us about SUBVERSE. I hope we can catch up in the future for another interview.
Thanks, Occhi! It’s been a pleasure.
And here’s the all-important social links for social types:
Web: www.subverse.online
Facebook: www.facebook.com/sbvrs
Twitter: www.twitter.com/sbvrs
Instagram: www.instagram.com/sbvrs
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