DAVID SILSET
WHAT INSPIRED YOU TO BECOME A FILMMAKER?
I had a proper eureka moment at my acting school when we were asked to direct a "null-text" (I don’t actually think such a thing exists, but let’s call it a text stripped of almost all exposition). This meant I had to invent all the circumstances for the scene. It was just me, two actors, a table, and two chairs. What we ended up creating was an intense and gripping moment between a father and his son in prison.
Afterward, I rushed to tell some of my friends about my big revelation. Their response? "We know, you always direct." This was total news to me – but apparently, everyone else knew already. Honestly, it would have been so helpful if they had just told me! Could’ve saved me a lot of time searching for my path. Anyway, that same year, I started writing and directing my first theatre play and my first film.
WHY DID YOU CHOOSE TO ATTEND THE FILM SCHOOL 18FRAMES?
I was searching for a form of recognition for all the work I’d poured in – someone to take me seriously as a filmmaker. But most of all, I felt quite alone in my filmmaking journey. I had directing networks, sure, but what I really longed for was my filmmaking crew-family. I wanted to create films with a family-like team, where the process and the love for the craft take center stage. And I still do.
HOW DO YOU SEE THE DIFFERENCE BETWEEN THE FILM SCHOOL APPROACH OF CREATING FILMS COMPARED TO THE VAST AMOUNT OF D.I.Y. FILMMAKERS WAY OF BEING CREATIVE?
Well, I can't speak for The National Film School of Denmark since I haven’t attended, but I can frame it from my experience at 18Frames. 18Frames is quite different from traditional film schools because we don’t have formal teachers, administration, or institutional directors. Instead, we’re a group of 18 members who work together over 2,5 years. Midway through, we select the next cohort from a pool of applicants.
We’re the ones who find funding. We bring in teachers. Shape the vision. And we figure out our own path – of course, there’s plenty of guidance available if we seek it, but the responsibility ultimately lies with us. On top of that, we have the support of alumni and an incredible network of talented people in the industry who help point us in the right direction. This makes 18Frames both a unique institution and a collective that’s stronger than any sole filmmaker.
We’ve built a brand that the industry recognizes – one that signals the kind of fire and passion that drives us. And I believe people genuinely want to support that. Personally, I’ve learned a lot about my own method, the kind of process I thrive in, the mentors I need, and how to grow with the film family that’s gradually forming around me.
That was a bit of a tangent. To answer your question more directly, I think the biggest difference lies in time and guidance. While you can get access to both as a DIY filmmaker, you’d have to prioritize them over making films. I don’t think I would have done that if I weren’t part of a school like 18Frames that encouraged me to think in those terms.
HOW DO YOU WORK AS A FILMMAKER, AND WHAT'S YOUR BEST ADVICE FOR ASPIRING FILMMAKERS?
That’s quite a massive question, but I’ll do my best to boil it down to my core values.
First off, I know I can’t make the films I want to make alone. I need my team, my companions. And I’ve realized it’s crucial to understand why they want to make films with me – what they gain from it all. Let’s face it: no one works a week without pay just for my sparkling blue eyes, right? So, I’ve learned that I have to offer them something. It’s different for everyone – it might be creative ownership, opportunities to learn, or a chance to try out bold, new ideas. Those are the most common reasons, but there are others. Everyone wants to create something amazing and extraordinary, and it’s my job to help make that happen. In return, I expect them to lean into my vision and let me act as the conductor. Everyone on my team has incredible creative muscles, and we’re here to train them and flex together. I absolutely love that.
As for advice? It’s simple: it’s up to you to make things happen. Want a mentor? Go find one. Dreaming of making a sci-fi film? Figure out what it takes and go for it. And here’s a big one – cheer on other filmmakers. If someone gets into the festival you dreamed of, don’t get grumpy and bitter; cheer them on. It’ll make you happier, and they’ll cheer for you in return.
But remember this: no matter what you do or how much you’re willing to sacrifice, at the end of the day, it’s just a film. Making movies is tough, there’s no denying that, but the mental and physical health of you and your crew is far more important than the project. If you take care of them, they’ll be there for you when it’s time to make your next one.
FUTURE GOALS?
That’s another big question. I’m constantly looking to grow – both as a filmmaker and as a storyteller. One theme that especially fascinates me is exploring men and their challenges with emotions. It’s no secret that society still struggles with this topic; men aren’t often encouraged to be open about their feelings or discuss what’s going on inside. For me, this is not just a personal interest, but a subject with the potential to spark meaningful conversations and create real change.
Lately, I’ve been drawn to the horror genre. Its ability to build tension and stir emotions makes it an exciting space for storytelling. It feels like a natural playground for me as a filmmaker. Horror has this incredible ability to disarm the audience and tap into universal fears and truths – It’s a powerful tool for exploring human nature.
Like many filmmakers, my ultimate dream is to make a feature film – and to create films full time. I’ve already started working on my first feature-length project. It’s still in the early stages, but I’m thrilled about the journey ahead, and I can’t wait to see where it leads.
ABOUT
David Silset is a Danish film director known for DEATH GRIP and BATTLEMIND / IMDb
