Howard Byrackk, Director
The films of Howard Byrackk are surpassed only by his reputation as one of the world’s most daring guerrilla filmmakers. His penchant for putting himself and his crew at risk has become the stuff of legend. During the filming of his 1974 film “Hand of God”, Byrackk sent his crew into the heart of war torn Cyprus, capturing documentary style images of actors fighting amongst actual Greek soldiers. By the end of the shoot, his life-long cinematographer Georg Fritsche had contracted Malaria and was subsequently hospitalized for weeks.
Eventually Byrackk would become well respected for his non-fiction work, gaining critical attention with his feature documentary ‘The Lost are Found’, chronicling the miraculous journey of Meredith Herrera, a woman born blind and deaf, and her participation in an experimental surgery that would give her back her sight. Questions of the authenticity of Byrackk’s film were raised upon the discovery that Herrera’s death, alluded to in the film as being a result of the experiment, was of natural causes unrelated to her surgery. Byrackk’s response would enlighten documentary filmmakers around the world. “There’s as much truth in documentary film making as there is in a charlatan bending spoons or a woman being cut in half, but nobody ever accuses the magician of dishonesty because we’re too busy being entertained. I want to make documentaries that entertain.”
‘The Goblin Man of Norway’, Byrackk’s latest documentary, is possibly his most controversial. The questions raised within the film challenge modern mythologies, suggesting that the discovery of a supposed ‘Goblin Man’ in northern Norway could actually be proof that Norse mythology is in fact reality. Mark Hoyt, one of the men who originally discovered the ‘Goblin’, has openly rejected the ideas expressed in the film, claiming that his interview was taken out of context. However, Byrackk insists that all of the information presented in The Goblin Man of Norway is fact, and has subsequently accused Hoyt of distancing himself from the work due to outside pressures.
Exclusive Interview From Howard Byrackk
Norwegian Film Committee: What are your feelings on being known as a ‘cult’ film director?
Howard Byrackk: It’s just a label. I’m fine with it. I suppose the content of my films usually exist on the fringe, so it only makes sense that those people who also exist on the fringe are the ones watching them.
NFC: But does it ever bother you that more people aren’t seeing your films? Have you ever thought of adapting your style for a wider audience?
Byrackk: Not really. To be honest, I don’t think my films are any more unusual than most mainstream movies. I’m not exactly sure why they haven’t caught on, but if I had to guess it would have to do more with resources and logistics rather than whether or not they touch a nerve. I simply haven’t had much luck with distribution. It’s tough enough to get funding for my projects, let alone assuring that millions of people will see them.
NFC: So I guess the controversy your films usually generate is probably important for spreading the word?
Byrackk: No no. I don’t aim to create controversy. That’s created completely by you. I make the film, the film then goes off to live its own life. What ever trouble it gets into at that point is of no concern of mine.
NFC: There’s been some criticism towards your non-fiction filmmaking. Some people say you take too many liberties in your storytelling.
Byrackk: Yes, well I suppose that’s a legitimate concern for some. Personally, I’m more interested in telling fascinating stories and creating unique images. There’s as much truth in documentary film making as there is in a charlatan bending spoons or a woman being cut in half, but nobody ever accuses the magician of dishonesty because we’re too busy being entertained. I want to make documentaries that entertain.
NFC: One point of contention in your most recent film ‘The Goblin Man of Norway’ is your use of re-enactments. Some say they misrepresent what actually happened.
Byrackk: The re-enactments are simply a tool to convey a sense of mystery and awe that those involved must have been feeling. It’s like the game where everybody whispers a secret to each other, and by the time it gets to the other end of the table it’s completely different. I was not there when this discovery was made. Those who were are telling their stories from their own distorted viewpoints. When someone talks of a bar fight they were in, the opponent is usually a foot taller than he actually was. It’s the art of story telling. We embellish for the sake of the audience. I’m simply giving a third-hand account of what actually happened. Take, for example, the ice arena scene. Were there hockey players on the ice in the arena where the block was stored? Probably not. This was just a device I used to get across the sense of urgency…that this ice was rushed into this rink and set up so quickly that those players’ game was literally interrupted. We didn’t even shoot in the same arena. The one we shot in was probably three times bigger, just like the embellished bar fight opponent.
NFC: Another film of yours, ‘The Lost are Found’, also seemed to blur the line between fiction and non-fiction. What was the reaction from the families portrayed in the film?
Byrackk: That film was less about the individual families and more about the impact technology has had on those dealing with certain afflictions. We mainly follow a woman who’s deaf and blind, but the story is much broader then that. It’s about technology.
NFC: A theme that’s present in most of your work.
Byrackk: Yes, most certainly.
NFC: In ‘Goblin Man’, one of your interview subjects (Mark Hoyt) has actually spoken out against the film. Have you been in touch with him since?
Byrackk: Not really. There was a screening, his first time seeing the film, in which he brought up some of his feelings towards myself and the finished product. I suppose he felt used or twisted. Ultimately, the film is not about him. It’s fine if he doesn’t like the film. I still thought he was great in it.
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