synopsis / trailer / reviews / screenings / cast / crew

Still photo from film.

/ director's notes

/ interview with Noli


NOLI – writer/director
NOLI is the writer/director of numerous stage plays including BLUE EYES RED which premiered in London in 1995 as a Time Out Critics’ Choice selection, and DADDY COME HOME which has recently been adapted for the screen. In 2003 he founded DAY4NIGHTFILMS with the sole motive of emulating the thought-provoking and uncompromising European and American Independent Cinema that first inspired him. His startling debut film MARRIED/UNMARRIED receives a worldwide theatrical release in Spring 2004. Noli was recently selected by The Observer as one of the ‘20 most influential British filmmakers at this year’s Cannes Film Festival’. He has written and will direct MOI NON PLUS and WHITE IRIS as the showcase features for DAY4NIGHTFILMS.

PAUL SADOURIAN – Cinematographer
The script attracted me primarily by its cold honesty about human relationships. It seemed to tackle the complexities of love in a way more akin to continental films. From the word go this was always going to be a European film rather than a British film and that excited me. It’s a bleak film of beautiful images. It was all a totally collaborative effort and preparation before shooting was the key. Obviously budget and time restrictions were against us and maybe if we had more time we could have explored a more kinetic use of the camera at times. However the static use of the camera worked well in this case and the director always had a clear vision of it being that way. On such a tight schedule you have to trust your director and vice versa, and you have to be very instinctive and survive chaos. Fortunately this film had an extremely talented core crew who went that extra mile because they rated the director and the script. Also, the cast came to the shoot extremely well prepared which meant that time wasn't wasted and we had a director who knew when we had the scene in the bag and didn't need to cover himself. It was hard work. We were shooting six-seven pages a day. My concern for the actors made sure we were quick and would always get it in one or two takes – pre-lighting the master was the key to this.

RACHEL PAYNE – Production Designer
Married/Unmarried has a very strong, stylised structure, which reveals the
truth about each of the characters through a series of duologues. What I
found interesting was how each of the duologues impacted and coloured each
of the other characters’ worlds. Very early on in my meetings with Noli we established that these characters did not live in the real practical world. We wanted to create styled almost lifestyle images for the worlds in which the characters existed, to contrast their crumbling, dysfunctional emotional states. I used colour to heighten
the stylised effect and it enabled me to compliment the strong structure
in the script. The colour choices came from the traits of each of the four
characters and I then used these four colours as my pallet and the rule
for my design choices, right down to the cigarettes each character smoked,
even the colour of their drinks. It was very much a collaborative process, particularly with Noli, as we had worked together before and had already established shorthand. Because of the very stylised design choices, each shot needed to be a striking freeze-frame, so a close collaboration between the director, the DOP and myself was essential, particularly on such a low budget.

It was so inspiring to work on a film that wanted to do what the cream of European arthouse movies seem to do so effortlessly. The British film industry has become very stale with it’s over-reliance on safe formulae. Here was something very dark and very brave. Noli has such a dangerous and unique way of telling stories. On reading Married/Unmarried I was keen to meet him immediately. The writing is exquisite and his direction has a wonderful emotional sense of storytelling matched with an instinctual talent for performance. As an editor this is a delightful combination. The creative collaboration in the cutting room was a combative joy. He challenged and provoked me to do my best work.

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