Similar But Different is not only the moniker for the directorial duo of Dani Girdwood and Charlotte Fassler but also in some respects an apt description of their feature filmmaking debut, My Fault: London (Amazon MGM Studios).
The movie, which premiered last week on Amazon Prime Video, has on one level some select elements similar to what we’re accustomed to in the young adult (YA) universe–which helps make it familiar, comfortable and relatable–yet at the same time My Fault: London brings a new, decidedly different dimension to YA entertainment, uniquely meshing action-adventure, mystery, music, romance and humor. The film captures the feel of the underground London culture, lending an authenticity and contemporary vibe that’s a departure from the norm when it comes to the adaptation of YA literature.
This mesh of similar but different has served the film well in that there was some target audience skepticism initially over the notion of doing an English adaptation of the popular, fan-favorite Spanish-language novel “Culpa Mia,” the first of the “Culpables” trilogy. Thus it’s most gratifying for Girdwood and Fassler to see the social media response after the release of My Fault: London, with many viewers enthusiastically embracing the film.
My Fault: London introduces us to Noah (portrayed by Asha Banks) who’s uprooted from her U.S. hometown, having to leave her boyfriend and friends behind to move with her mother (Eve Macklin) to London. Mom has a new rich husband (Ray Fearon) in London and their new residence is a mansion. There Noah meets Nick (Matthew Broome), her new stepbrother. They have an immediate mutual dislike for each other which blossoms into something quite different over time. Along the way we discover that Noah and Nick each have to cope with darkness from their past, which they hide from each other and to some degree from themselves.
Girdwood and Fassler were drawn to Melissa Osborne’s screenplay for My Fault: London, in part due to the varied genres it entailed, ranging from high octane action to thoughtful, emotional scenes. Girdwood added that she and Fassler grew up as fans of YA storytelling as reflected in the movies of the late 1990s and early 2000s. Observing that those films still hold up, Girdwood noted that she and Fassler were very much motivated by the challenge “to take a YA film and mature it for a new generation, to bring our modern edge to it” while still making an ode of sorts to the cinematic roots of YA. Girdwood felt a hunger on the part of Amazon for a younger voice that still had an appreciation for the YA tradition–as well as a respect for the YA audience.
Girdwood and Fassler also have a respect for each other and a collaborative bond forged over their extensive work in commercials and music videos, which began under the Similar But Different banner in 2017. Their music video fare spans such artists as Katy Perry, The Chainsmokers, Amy Allen, Mainland and Liam Payne, among assorted others. The duo has also directed ad campaigns for brands including New Balance, McDonald’s, Nestle, Spotify, Google and Diesel. For the latter, Girdwood and Fassler helmed “Enjoy Before Returning” out of Publicis Italy, which made its mark on the awards show circuit as well as in the Cannes Lions Creativity Report, earning Similar But Different the lofty ranking of the third most awarded commercial director globally in 2021.
For My Fault: London, Fassler noted that she and Girdwood worked together similarly to how they have approached commercials and music videos over the years. There’s no typical division of labor. Rather, said Fassler, it’s sort of “an ambidextrous flow,” in which they are “as hands-on together on everything as possible.” Through their work in short form, they’ve established a friendship, a rapport, a shorthand, and what Fassler described as “a slightly telepathic connection” that’s rooted in being simpatico creatively.
At the same time, observed Girdwood, there’s a learning dynamic which has proven invaluable. “There’s a huge amount of learning on any project. We want to keep learning for the rest of our careers.” But there’s an inherent advantage to being a duo, related Girdwood. “So many directors don’t get the chance to watch other directors direct.” But as part of a duo, Girdwood noted that there are times when she can “grow and learn” from watching Fassler direct–and vice versa.
Still both directors had to adjust to their first feature, perhaps the biggest challenge being the scope and length of production. Prior to My Fault: London, their longest shoot lasted six days. The movie entailed 40-plus shoot days, requiring a special “stamina” in order to “keep our creative wits about us,” said Girdwood. “We take our roles as leaders on set seriously, making sure we’re fresh to lead the team, to support everyone who needs decisions from us quickly, to make sure our team feels really healthy and prepared.”
Conversely the team assembled was a source of strength for Fassler and Girdwood, who cited cinematographer Ed Moore and editor Rob Frost as examples. This marked the first time Similar But Different had worked with Moore and Frost. Girdwood said that she and Fassler found the DP and editor to be both inspiring and supportive creatively, adding that this was Frost’s first feature. Moore, said Girdwood, was “constantly very protective” of her and Fassler’s creative vision.
While Girdwood and Fassler were teamed with first-time collaborators pretty much across the board on the movie, the directors managed to bring one key colleague from their commercialmaking endeavors into the My Fault: London fold–choreographer Simon Donellon. As a movement director, Donellon lent a great deal to the action and music-driven scenes.
Girdwood and Fassler found that their experience in commercials and music videos informed their work on the feature. For example, Fassler observed that “with commercials you go so deep into every single creative layer, even in the pitch process where you’re thinking and concepting.” That translated nicely into their tackling the feature script–”how we saw it, how we could hear it.” The attention to detail for every frame of a commercial, that thoroughness helps to shape, define and hone a creative vision which she and Girdwood applied to My Fault: London.
Fassler noted that commercials have given Similar But Different extensive experience with A-plus crews around the world, building a technical and communication expertise which served the directors well on their first feature as they connected and dovetailed with a larger crew on My Fault: London.
Girdwood added that commercials have directors thinking a lot about pacing, the value of each shot, the impact of music and sound on each frame–a honed focus which translates well to the correlation of visuals and songs, for example, on a feature.
On the flip side, Fassler observed that she and Girdwood’s experience on My Fault: London will allow them to bring something different back to their commercial and music video work. Prior to the feature, Fassler shared that the lion’s share of their commercials were a bit more musically driven–which helped them tackle the movie. But now the narrative and dialogue experience on My Fault: London, its humor and drama, could help them garner more such assignments in the commercialmaking arena. Plus the high adrenaline car racing sequences in My Fault: London might open up some automotive advertising opportunities for Similar But Different, who continue to be represented for commercials by production companies division7 in the U.S., SMUGGLER in the U.K., and Soft Citizen in Canada.
Girdwood noted that division7, part of the SMUGGLER family, took a leap of faith on Similar But Different from the outset, committing to the directors after seeing just a couple of their early music videos. From there, the directorial duo went to higher profile music videos, diversified into commercials, and now their first feature, with the intent of being active moving forward in all those filmmaking disciplines and more.
