James Demitri: Starting Fire Alive

by Anthony Frajman

Few genres lend themselves to microbudget filmmaking like horror. Prolific Sydney filmmaker, James Demitri’s latest feature, the handsomely shot found-footage film, Fire Alive, was shot with just two iPhones entirely by Demitri himself.

A psychological horror with a retro flavour, Fire Alive follows four students who persuade an old woman who owns a ‘Witch House’ to let them film a low-budget documentary in the location. When they play a game called ‘Fire Alive’, things take a turn and begin to spiral out of control.

How did Fire Alive begin?

“I’d just wrapped a film that I’d been shooting for about ten months, and suddenly I had a rare window, a couple of free months with no commitments. I knew I wanted to make a horror film, but I also wanted to strip the process right back and make something that felt lighter and more immediate than the traditional production model.

“I decided to pick up an iPhone, which I’d actually shot a film on four or five years earlier, and treat it as an experiment. The phone naturally lends itself to the found footage genre because we’re so used to consuming imagery that way. We watch everything on our phones now. That familiarity adds a layer of realism that’s really hard to fake.”

Can you talk through the budget? How many people worked on the film?

“It was essentially a solo production. I shot the film and edited it myself. From the outset, I set very clear rules: five solid shoot days, no more. Post-production capped at two weeks. Whatever we captured in that time was the film.

“I wanted to work entirely with practical lighting and use only the phone’s native lenses, no add-ons, no plugins, no external lenses. The idea was to prove a point to myself: that storytelling isn’t dependent on gear. Phones have evolved to the point where they’re no longer a compromise, they’re a valid creative choice if the project suits the aesthetic.

“Budget-wise, it was completely micro-budget. We stayed in one location and were lucky enough to find an incredible house out west. The owner was generous enough to let us use it for the full five days, which made the whole thing possible. Everything was intentionally kept small and contained.

“For this film, it needed to feel homemade. If it started to look too polished or “cinematic,” it would’ve broken the illusion. Using a phone helps the audience lean in rather than step back. It’s a slow burn. The first half hour is about hanging out with these filmmakers, getting to know them, letting their humour and dynamic breathe. When things turn, you’re already invested. I genuinely don’t think the film suffered from using a phone, if anything, it benefited from it.”

Your previous film, DRAX, is also a genre film. What do you love about horror?

“I’ve always had a real soft spot for horror. I grew up loving ’80s slasher films and ’70s grindhouse indie cinema. Those films had a kind of freedom to them, a lot were straight-to-video, so they weren’t weighed down with rules or expectations about how things should look.

“There’s also something about that 16mm texture from the era that feels romantic to me. Those films were my gateway into the more elevated horror we see today. I’m not particularly drawn to gore-for-the-sake-of-gore. I prefer psychological horror, something that creeps under your skin and stays with you long after the credits roll.”

What was the biggest challenge of making the film?

“Honestly, the biggest challenge was the limitations I imposed on myself, especially the time constraints. Five shoot days, two weeks of post, and absolutely no going back for pickups. Once those five days were done, that was it.

“It was stressful, but I wanted to prove to myself that it could be done.

“Sound was another challenge. Phone audio isn’t always perfect, but instead of fighting it, I leaned into it. We didn’t ADR anything. Keeping the raw phone sound gave the film the authenticity it needed.

“Because I’ve worked with Tatiana (Marianovic) and Finn (Middleton) before, there was a real film-family vibe on set. Sometimes scenes would naturally drift as we were riffing, and we’d think, this is interesting, let’s follow that. I gave the actors room to expand beyond the script, which made the edit more playful and alive.

“Logistically, the final café scene was tricky. Due to clashing schedules, we had to shoot half the scene one day without an actor, then come back later, on the very last day, to shoot the other half. It was a bit of a puzzle, but it cut together really well I thought.”

How did you approach casting?

“Tatiana was an easy choice. She’s also in DRAX, which is premiering in Melbourne next week. I originally reached out to her after seeing her in another film, I loved her work, her energy, and her instincts. We’ve now made three projects together.

“Finn came through an actor platform. I met with him, immediately connected with his energy, and cast him in DRAX as well. Katrina Foster came via a mutual contact. She’s incredibly experienced, she’s written for Home and Away and worked extensively in Australian TV as an actor. Every time I work with her, she completely blows me away.

“Ezekiel (De Castilla) was someone I hadn’t worked with before. I wanted someone with a very specific, slightly unpredictable vibe for that role. He sent in a self-tape and instantly nailed it. I knew straight away this is our guy.”