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Disney Channel’s Fast Layne
director Hasraf ‘HaZ’ Dulull
By Randi Altman
London-based Hasraf “HaZ” Dulull is a man with a rich industry background. He started out in this business as a visual effects artist (The Dark Knight, Hellboy 2) and VFX supervisor (America: The Story of the US), and has expanded his resume in recent years to include producer, screenwriter and director of his own feature films.
Even more recently, he added television series director to that long list, thanks to his work on Disney Channel’s action-comedy miniseries Fast Layne, where he directed Episodes 1, 2, 7 and 8. He is currently developing a slate of feature and TV projects, with his next film being a sci-fi/horror called Lunar, which is scheduled to start shooting later in the year.
Fast Layne focuses on a very bright 12-year-old girl named Layne and her eccentric neighbor, who find a self-driving (and talking) car named V.I.N. in an abandoned shed. The car, along with the girls and a classmate with experience fixing cars, embark on high-speed adventures while trying to figure out why V.I.N. was created, all the while tangling with bad guys and secret agents. You can watch Fast Layne on Sundays at 7:00pm ET/PT on Disney Channel.
We reached out to Dulull to find out more about establishing the look of the show, as well as his process, and how he uses his post background to inform his directing.
As Fast Layne’s pilot director, what was your process in establishing the look for the show?
My process was very similar to how I worked on my feature films, since I come from a filmmaking-style that is very visually driven and hands-on. As a director, I would usually do lots of look development on my end anyway, which for Fast Layne involved creating style frames in Photoshop with direction notes and ideas. These eventually became a look bible for the show.
I worked closely with the Disney Channel’s development team and the showrunners Matt Dearborn, Tom Burkhard and Travis Braun (the creator of the show). We would discuss the ideas from the early style frames I had created and developed them further, along with a set of rules of what the color palette should be, the graphics and even the style of framing with the key sequences.
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