WHEN AND HOW DID YOU GET INTO FILM?

My story is pretty unusual. Filmmaking has been a part of my life basically since I was born. My dad’s an editor and part-time filmmaker with a habit of pointing a camera at what felt like literally everything. I remember being obsessed with watching things back on the camera screen. Pretty soon I was using it to record my own dumb little stories. That was back when I was around four and I’ve been doing it ever since.

 

WHAT DO YOU LIKE ABOUT FILM COMPARED TO OTHER MEDIUMS?

That's a difficult question to answer because, to me, film represents an amalgamation of other mediums, rather than a separation from them. In regards to literary mediums, It takes the same leaps of imagination to pen a good screenplay as it does to write a novel or a line of poetry. With respect to visual mediums, A good cinematographer will have the same consideration for colour, light and composition as a good painter. Finally, looking at the mediums of performance, I believe a skilled actor puts the same thought and dedication into the delivery of a line as a dancer will put into the movement of a step. I guess that’s what makes film so great. It’s not a matter of rising above other mediums but of drawing them together in brilliant collaboration to produce something that is extraordinary.

 

WHERE DO YOU DRAW YOUR INSPIRATION FROM? 

I’m inspired to make films by those around me. Funnily enough, what ignites the most drive in me is seeing the excitement in my friends eyes when I describe an upcoming script, or their dedication and selflessness when helping me out on a set. It’s an electric feeling when you show the final product to those you care about and see it really affect them emotionally. I make films for those moments.

 

WHAT IS YOUR FAVOURITE ASPECT OF FILM-MAKING? 

Pressing ‘export’ on the final cut of a film.

 

WHAT DO YOU THINK IS MORE IMPORTANT - STORYTELLING OR AESTHETICS?

 I think that whilst aesthetics is hugely important, what separates film-making from abstract video-art is it’s connection with narrative (however subtle in some-cases). That’s why to me, the best directors, whilst they may spend a huge amount of time on aesthetics, always recognise that they must serve narrative and not the other way around.

 

HOW USEFUL DO YOU THINK A UNIVERSITY EDUCATION IS FOR GETTING INTO FILM?

I think, depending on the course, a degree can be useful for getting into the industry but is by NO MEANS necessary. I come from a background in two unfinished film degrees (one in directing, one in screenwriting). I found the greatest benefit of these two courses was by far meeting new and like-minded people. I know I’ll be calling on my friends from these degrees for many years to come. This is also particularly useful for people who have no previous connections in the film industry. In regards to learning the skills, a degree is useful because it regiments your learning and creative output, but really, if you have the self discipline, there is absolutely no reason why you can’t go out and create and teach yourself the skills you need. In the end, a potential employer in this industry won’t be looking at what degree you have, but at what you have already created, what you can do, and how dedicated you are to working hard and always learning.

 

WHAT KIND OF JOBS HAS YOUR FILM-MAKING ABILITY QUALIFIED YOU FOR?

Right now I’m working as an assistant editor on a feature documentary. It’s a pretty standard beginner job in the industry. Others like this include note-taker in a writer’s room, runner on a set, production assistant in a production studio etc. Some more left of field jobs that a film-making skill set can qualify you for include freelance video maker, film festival director, and video journalist. That’s all I can think of from the top of my head.

​