Interview: BAFTA-Winning Short ‘Rock, Paper, Scissors’

Editor in Chief of Ikon London Magazine, journalist, film producer and founder of The DAFTA Film Awards (The DAFTAs).

Franz Böhm’s powerful war drama “Rock, Paper, Scissors,” a BAFTA-nominated short film, demonstrates how student filmmakers, under the guidance of a visionary director and producer, can tackle challenging contemporary subjects while navigating practical production constraints. Made as part of the National Film and Television School (NFTS) graduation program, the film showcases how institutional frameworks can support ambitious storytelling.

Ikon London Magazine sat down with the writer-director Franz Böhm and producer Hayder Rothschild Hoozeer ahead of the BAFTA that is set to take place on the Sunday of the 16th of February to talk about the challenges and the path to success for the filmmakers.

Production Framework and Resources

Working with a £20,000 budget and a 10-day shooting block, the production operated within the NFTS graduation structure. Producer Hayder Rothschild Hoozeer explains: “As part of the parameters of the MA courses at the NFTS, each of the specialisations for the students… all the films are made equally so they have the same amount of time to shoot, they have the same amount of budget to work with, and you have access to the same resources by way of equipment and tutoring.”

Location Challenges and Creative Solutions

Unable to film in Ukraine, the team had to recreate authentic environments within the UK. “We shot the interior sequences in a brewery that was formerly a bunker in Watford near London,” Böhm reveals. For exteriors, they found a former slate mine in North Wales that matched the Ukrainian landscape. As Böhm notes, “The real story happened in this sort of old mine, in that sort of very post-industrial landscape, and we were trying to find something quite similar within the UK.”

Collaborative Spirit

The production’s success stemmed from strong team dynamics. As writer-director Böhm describes, “Everybody kind of left ego at the door, everybody understood the weight of the story that we were trying to tell… I was very proud that everybody felt very inspired to do their best work on this one.”

Working with Ukrainian Talent

The film is mostly in Ukrainian language, with some phrases in Russian. It features Ukrainian actor Olexander Rudynskyi in the lead role. Having him attached to the role requiring special arrangements due to Ukraine’s martial law. “We had to make a special dispensation or a special request from the Ministry of Culture in Ukraine to allow for him to travel for the purpose of shooting this film,” Hoozeer explains.

The actor has joined the military, following the path of the protagonist Ivan. “We are working with BAFTA on another dispensation to have Oleksandr allowed to travel to the awards ceremony”, intimated Hoozeer.

Speaking of mitigating the issues of the language barrier, the team worked with Ukrainian crew members including the Ukrainian script supervisor who was instrumental for Böhm. His work serves as a testament of how things can be done when there is a will, unlike this year’s another BAFTA nominee Emilia Perez which, according to native Spanish speakers, hasn’t been executed quite as elegantly.

Performance-Centred Approach

Böhm emphasises his directorial focus: “I love to run a very performance-centered set, and I think with a story like this that is not so much defined by the dialogue but very much defined by the characters and their emotional journeys, that was very important.”

Development and Pre-production

The project maintained a streamlined yet thorough development process. “We really started working on the project in March or April 2023,” Böhm shares, noting how early collaboration with departments helped shape the film’s language. The 2024 graduation work deadline has allowed for thorough preparation. “We were able to have these meetings, to have these discussions early on… I remember Marin preparing some early cues, some sort of first drafts of the music that we were then able to show to the actors.”

Reality of Ivan’s Heroism

One of the most powerful elements emerges not from the technical filmmaking, but from the extraordinary character of Ivan himself, who approached his potential death with remarkable clarity and courage.

Director Franz Böhm describes Ivan as “not only very funny and charismatic” but also “brutally honest” with “a directness that I really appreciated.” This directness extended to Ivan’s unflinching willingness to discuss his own mortality, a conversation that arose from the harsh realities of war.

“Many, many people in his unit were killed before him,” Böhm reveals in the interview, explaining how this led to crucial conversations about Ivan’s possible death. What’s particularly striking is that Ivan initiated these discussions with multiple parties, including the filmmakers and his family, showing extraordinary maturity and foresight.

“It speaks to the extreme matureness that he already had at his young age,” Böhm reflects. The fact that Ivan was able to openly discuss what should happen to the film in the event of his death reveals both his commitment to the project and his clear-eyed acceptance of the risks he faced.

This preparation proved tragically prescient. Ivan did see multiple versions of the film, including a nearly finished cut, before his passing. His early conversations with the filmmakers allowed them to honour his wishes in the final version, adjusting the end titles according to their discussions.

While “Rock Paper Scissors” delves into the brutal realities of war, it also highlights the importance of unity and compassion. It serves as a tribute to my father, Bohdan, who was not just a doctor but a symbol of unwavering dedication to our community’s well-being.

This film is a plea for understanding, a call to empathise with the countless individuals who have experienced the devastating impact of war. It’s a reminder that behind every conflict, ordinary people are trying to live their lives, • protect their families, and hold onto hope.

I hope that “Rock Paper Scissors” will entertain and inspire audiences to reflect on the indomitable human spirit and the resilience of those caught in the crossfire of war. I sincerely hope this film is a tribute to the countless unsung heroes who have faced similar challenges.

Thank you for taking the time to experience our story, and may it remind us all of the enduring importance of compassion, unity, and the pursuit of peace.

Ivan

IIvan’s approach to mortality – direct, honest, and pragmatic – offers a powerful testament to the human spirit in the face of war. His willingness to confront death while remaining committed to telling his story demonstrates a kind of courage that transcends the battlefield. Through “Rock, Paper, Scissors,” his legacy lives on, not just as a character in a film, but as an example of extraordinary human resilience and bravery.

Impact and Recognition

The film’s recognition extends beyond its technical achievements. As Hoozeer notes, “It’s been such an incredible opportunity to have the film recognised at this level and for the film to have impacted so many people… The topic is obviously still very current and still very prevalent.”

Key Takeaways for Filmmakers:

Institutional frameworks can provide valuable structure for ambitious projects
Early collaboration across departments maximizes limited resources
Performance-centered production requires careful planning and preparation
Working with communities involved enhances authenticity
Strong relationships with subjects of true stories deepen impact

The success of “Rock, Paper, Scissors” demonstrates how student filmmakers can create meaningful work within institutional constraints while addressing challenging contemporary subjects. As Böhm concludes, it was “a very, very intense time defined by hard work,” but one that resulted in a powerful and resonant film.