Life Out of Balance
Exploring the rising wealth inequality in the UK with Gary Stevenson
Directed by Steffan Griffiths
Interview by Tatev Avetisyan
Inspired by an article written by Gary Stevenson, a former interest rate trader, and published in The Guardian, Welsh filmmaker Steffan Griffiths felt compelled to delve into the captivating story of Stevenson's accumulation of wealth through his bets on economic downturns. This led him to craft a portrait of the economist and his current advocacy for wealth inequality in his recent film titled Gary Stevenson - Life Out of Balance.
In conversation with Steffan Griffiths, we trace his first steps into the filmmaking industry, his encounter with Gary Stevenson, and the intricate creative process behind the making of the film.
How did you start working in filmmaking?
I have been filming and editing for as long as I can remember. My parents bought me a camera, and it just went from there. Most of the early things I made were skateboarding videos or recreations of my favourite films growing up: Lord of the Rings, The Matrix, Star Wars etc. Throughout my life, I have always found myself filming and photographing everything around me. And, I have always felt deeply affected by films. At age 22, I moved to Kyoto, Japan, to teach English at a high school with the JET (Japan Exchange & Teaching Programme). During that time, when I had many formative experiences, I decided I wanted to dedicate my life to creating films. As a way to focus my emotional expression in a medium that is most effective for me.
Can you tell us about your experience covering the story of Gary Stevenson? What drew you to his persona?
I think everyone today can see that the economy is not working — it’s not creating prosperity for the majority of people. And this is especially clear in places like the UK and London. Both my parents are British and were able to study at university for free, immediately secure well-paying jobs after graduation, and purchase a property. It isn’t possible anymore.
I came across Gary through an article in The Guardian. He clearly articulated why the economy is the way it is today, and how he predicted this situation back in 2010/2011. There is a story to convey the problems in our economy through Gary’s life, and his own detailed understanding of economics. In the article written by Gary, I saw that he had lived in Japan too. I searched for him on Facebook and noticed that we had mutual friends. I reached out to him, we had some conversations about the economy, and then I suggested we make a video/film together. At the time, his YouTube channel (GarysEconomics) wasn’t getting as much traffic as he would have liked. The initial idea was to create a simple piece to be shared online. As often happens with my projects, it becomes more complex and ambitious than I had planned.
What were some of the most significant insights or perspectives you gained from interviewing Gary Stevenson and those who support or oppose his views? Did your understanding of wealth inequality change during the process of making this documentary?
Through interviewing Gary, a lot of theories were confirmed — that over time, without regulation, power and wealth will generally ’snowball’, and be pulled towards whoever already has power and wealth. What I began to understand through speaking to Gary was how quickly this is happening, and how difficult it will be to stop, without huge collective understanding and action.
“Through interviewing Gary, a lot of theories were confirmed — that over time, without regulation, power and wealth will generally ’snowball’, and be pulled towards whoever already has power and wealth. ”
How did you decide on the location and the shot sequence? There is also a moment when the film turns black and white, accompanied by suspense and dramatic melody. Why did you decide on this approach?
As much as circumstances allow, I try to approach my films with curiosity and an open mind. And as this is Gary’s story, I essentially wanted to prompt him and explore. There was no preplanned shot sequence — I asked him for a list of interesting and meaningful locations to go to. The plan was to explore the locations and film what felt interesting to us, and have conversations relevant to each area. I believe that with documentaries, it makes sense to create the story in the editing room after collecting all of the material. Then, it is only clear what the story can or should be. I try to accommodate the footage in what I feel it wants to say. Naturally, while editing, it becomes a dialogue between myself and the footage.
With regard to the final black-and-white sequence and the dramatic melody, I felt that this choice was a way for me to help convey the seriousness of the situation. I wanted to express a sense of impending doom. Given the topic, I don’t feel this is melodramatic.
What were the key challenges you faced while capturing Gary Stevenson's story? Was capturing footage in crowded or restricted areas easily managed?
Although I believe it is best to approach this kind of explorative film with as much curiosity and open-mindedness as possible, without a clear script or shot plan, it is always a worry that it won’t work. It takes a lot of faith.
What sometimes helps me in being flexible while shooting this type of film, is being a one-man crew. I can be inconspicuous while shooting in crowded areas. So it is generally not a problem. I say ’sometimes’ as I shot this film on my Black Magic 6K Pro with some heavy prime lenses - this can be quite tiring when doing long explorative shoots without assistance.
"The winners and the losers have been decided", says Gary Stevenson, and we can see the shot of the pedimental sculpture on the Royal Exchange building that reads: "The earth is the Lord's and the fullness thereof". Was this layout and timing intentional; in other words, were you driven by visually creating metaphors?
I did time this intentionally. I felt that this sculpture encapsulates the sense of immovable power and wealth that normal people have to contend with today. The quote 'The earth is the Lord's and the fullness thereof’ again conveys a kind of seriousness. I don’t believe it is an overstatement to say that for many people, if the problem of rapidly growing wealth inequality isn’t properly addressed - we are on a path to a living hell.
How did you ensure the works you create are unbiased? What steps did you take to leave space for discussion and avoid potential biases or misrepresentations?
Although in my answers above, I have mentioned the desire to convey certain feelings and ideas, I always like to leave my films open to interpretation. I believe there is no right or wrong way to interpret them. And I love that for everyone, who watches, it could mean something different - it creates a dialogue. I didn’t necessarily intend to create an ‘unbiased’ film here. My goal was to express my understanding of Gary’s story and message as memorably and succinctly as possible. And, as with all of my work, emotion was an important part of the story, which naturally makes it biased, and that is okay with me.
While directing his story, did you want to also, in some way, contribute to the ongoing conversation on this issue? What kind of feedback have you received, and do you plan to continue this project as a series?
Yes. Gary has already clearly explained his understanding of the problem of wealth inequality and how we might address it on his YouTube channel, in media appearances and articles. I wanted to contribute to the conversation by incorporating Gary’s personal story with the global economic story. And do this in a cinematic documentary that also serves as a standalone piece.
What are you working on next?
I am working on a few projects. One is a film that explores the creative process of the Japanese-Filipino Sound Artist & Composer, Eiji John Infante Mitsuta. I shot this film with Eiji in Japan last Winter. We are now shaping the footage and sound recordings into a film. This piece is co-directed between us. Eiji also did the sound mix for Life Out of Balance. And an explorative feature-length film about Japanese culture through the lens of skateboarding. A trailer is coming soon. I am also working on a long-term project about my father’s paintings, his life and his creative process. Steve Roe. My second narrative short film is also in development.
Director: Steffan Roe Griffiths
Sound Mix: Eiji John Mitsuta
Key Cast: Gary Stevenson