GARY JACK HEWITT TALKS MÀTHAIR

Behind the Coastline

You are reading an independently published interview-series published and carefully curated by Swedish pop-culture journalist Daniel John. Ever since its start in 2015, the core curiosity remains the same, surfing the creative currents of music, film, fashion and everything else on the pop-radar, catching the waves of culture as creative

Culture Coast TalksDaniel John

Two siblings loitering in the countryside are confronted by the land, nature, itself. What were the seeds from which the story of 'Màthair' took root?

I have always had a real love for folk horror, those stories rooted in landscape, tradition and the uneasy relationship between people and the natural world. When the 48 Hour Film Project came around, I wanted to challenge myself to create something within that genre, but with a slightly different perspective. Folk horror often explores the idea of worshipping the land, but I was more interested in what happens when we stop respecting it. 'Màthair' came from that thought, a story about people hurting the planet and the planet fighting back. In many ways, it’s about Mother Nature taking revenge, a kind of environmental reckoning.

Where did you shoot?

We shot the film at Kelburn Country Park, just outside Largs in Scotland. It’s a place with a real sense of ancient presence forests, rocks, and landscapes that almost feel alive. That atmosphere really helped shape the tone of the film and gave it an authenticity that I think folk horror relies on.

You’ve directed shorts, features, and series, each with their own natural challenges. But even so, a 48 hour film project sound like a unique beast of its own?

The 48 Hour Film Project is always a lot of fun, it pushes you to be creative within tight constraints and to trust your instincts completely. You don’t have time to overthink or polish, you just have to make bold decisions and commit to them, that kind of pressure can actually make you a better filmmaker. We had a team of around twelve people, including the cast, and I took on writing and directing duties. Everyone really pulled together. It’s also a great way to see how people really handle pressure, if someone can deliver quality work in forty-eight hours, you know you can trust them on a bigger, longer project.

What did your start in film look like?

I studied film at college, where I realised that they had equipment, so I just started booking it out and shooting short films with friends. My first short was a horror, and creating the practical effects and so forth was so much fun. I had no idea what I was doing, but I loved trying to work it all out. It had a few jump scares but I knew nothing about creating a thematic story back then but at least I learned how to scare.

Creatively, who or what have been your maternal figures. The guiding forces so strong they became inspirations you just could not escape?

I am drawn to filmmakers who know how to get under your skin emotionally as well as visually, people like Danny Boyle, and David Fincher. They do not always work in horror, but their sense of tone and control over tension really inspire me. Within the genre, I admire directors like Mike Flanagan, Robert Eggers, Wes Craven, and Ari Aster. Storytellers who use horror not just to shock, but to dig into grief, guilt and the darker parts of human nature. Honestly, I’ve never really had a single guiding figure, it’s mostly just been me figuring things out and watching way too many horror films far too young, my uncle introduced me to them! That early exposure to horror definitely shaped me, though. It taught me how powerful atmosphere, tone, and storytelling can be when you’re completely immersed in a world that both scares and fascinates you. In a way, the genre itself became that guiding force, the thing that kept teaching me, challenging me, and pulling me back in. Every film I’ve watched, good or bad, has influenced me.

Even in its darkness, horror can be many things, from message-carrying and important to purely absurd and fun. What is it about the qualities and possibilities in this genre that sprout your fascination and imagination?

I’ve always loved horror. What fascinates me about it is the freedom it gives to explore deeply human themes in a way that’s raw, emotional and sometimes uncomfortable. For me, it’s not just about jump scares, it is about finding the human story at the centre of the fear and telling it through a horror lens. The best horror, I think, reflects something real about who we are.

Based in Glasgow, how would you put words to the film–industry in Scotland?

The film industry in Scotland is small, so there is not a lot of opportunities. This means I have had to grow my network outwith Scotland. I have managed to find more success outwith Scotland with three of my projects option in the last year, two of which was in America.

With your work receiving nominations and screenings at prestigious film festivals, what does that kind of recognition really mean. Does it open new opportunities, or is it just nice to be acknowledged?

When a film wins an award, it is great for the full cast and crew, that it was worth their time and it usually gives the team some momentum. But it all depends on how you measure success, some measure it by how rich they are, others measure it by trophies and measures but for me it is about reputation. Do people want to work with me? That comes down to being a nice person and delivering on the projects. Awards and being selected at festivals are great and simply helps me build on my reputation as a filmmaker.