tag:blogger.com,1999:blog-55795939114322499432024-03-26T23:35:16.845-07:00the world in a frameWelcome to the blog of filmmaker and designer Sophie Black. Follow for updates of her work, and to read her thoughts on other films. All opinions are her own.
www.triskellepictures.co.ukSophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.comBlogger175125tag:blogger.com,1999:blog-5579593911432249943.post-75276601936042315622023-10-29T10:11:00.001-07:002023-10-29T10:15:56.081-07:00Archiving my blog posts<p><span style="font-family: georgia;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbHoBT-f1H6XA3O-fEY3a13-eQ0pg7Jb9iYpVOfmupDS-pqN3v4a71W6C7Q4crD2jzsL5Ef-tFofU3Ebddhk9lAleIbGL5J76wWLz6qjuGB8l8Z1OTfAx6TOq4jIVZvWvJ8umrM0FpQ91sduTH49_tNkDJexdwJ48aLNaWb36fBsP4L08udfRMEegkBJk/s4288/mr-cup-fabien-barral-o6GEPQXnqMY-unsplash.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="2848" data-original-width="4288" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbHoBT-f1H6XA3O-fEY3a13-eQ0pg7Jb9iYpVOfmupDS-pqN3v4a71W6C7Q4crD2jzsL5Ef-tFofU3Ebddhk9lAleIbGL5J76wWLz6qjuGB8l8Z1OTfAx6TOq4jIVZvWvJ8umrM0FpQ91sduTH49_tNkDJexdwJ48aLNaWb36fBsP4L08udfRMEegkBJk/w640-h426/mr-cup-fabien-barral-o6GEPQXnqMY-unsplash.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /></span><p><span style="font-family: georgia;"> I've been promising it for a little while now, but the time has come for me to finally archive all the posts from this blog. It took me a while to go through all my various labels (I've come up with some silly ones over the years!), but hopefully they're all a bit more streamlined and easier to navigate now.</span></p><p><span style="font-family: georgia;"> I'm not closing the blog down - not for the time being, anyway. It is a treasure trove of memories for me (even going through it and re-labeling everything made me very nostalgic and emotional!), and I think I've shared a few useful bits of advice over the past few years, so I think it would be good to keep the posts online.</span></p><p><span style="font-family: georgia;"> But there are two good reasons to stop writing posts here. F</span><span style="font-family: georgia;">irstly, this blog is another site I have to maintain, and although to begin with I thought it would be good to have multiple sites and send traffic back and forth between them, I think it would be better for my sanity if I had everything in one place. I definitely don't have as much free time as I did when I first started posting on here!</span></p><p><span style="font-family: georgia;"> Secondly, the branding has never quite worked for me; this site was originally called the Triskelle Pictures blog, as I post a lot about <a href="https://www.triskellepictures.co.uk/" target="_blank">my production company</a> and its work on here, but I do post about my work for other studios too - such as <i>Ren</i> - as well as in the past having blogged about my production design and costume design work. What I really need is a personal blog platform, and although I changed the name of this blog to 'The World In A Frame' a few years ago, I couldn't do anything about the URL, so that still read as 'Triskelle Pictures'.</span></p><p><span style="font-family: georgia;"> Anyway, the long and the short of it is, I've set up a brand new, shiny, <a href="https://www.sophieblack.online/" target="_blank">personal website</a> - dedicated to my work as a director, for the most part - and my blog will be hosted on there very shortly (<a href="https://www.sophieblack.online/blog" target="_blank">via this link</a>). I'm still going to talk about Triskelle Pictures and the great work my company does, both with narrative pieces and with our work for clients, but it also gives me the freedom to talk about my other work too, without any confusing branding attached to the blog page.</span></p><p><span style="font-family: georgia;"> So, I'll see you all on the other side. A huge thank you to everyone who has followed along and commented on my blog posts over the past decade (and a bit!). I hope you'll all come back and enjoy the future posts on my new site. I'll certainly do my best to keep the labeling a bit cleaner on there!</span></p><p><span style="font-family: georgia;"> And if any of you want to go back and read through my old blog posts, here's a few shortcuts:</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">BLOG POSTS ORGANISED BY PROJECT NAME</span></b></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/a%20different%20place" target="_blank">A Different Place </a>(Working Title: Room 515)</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/ashes" target="_blank">Ashes</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/good%20grief" target="_blank">Good Grief</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/poison%20ivy" target="_blank">Growing Shadows: The Poison Ivy Fan Film</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/hidden" target="_blank">Hidden</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/lepidopterist" target="_blank">Lepidopterist</a> (Originally released as 'FIFTY/FIFTY')</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/Night%20Owls" target="_blank">Night Owls</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/night%20owls%20and%20early%20birds" target="_blank">Night Owls & Early Birds</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/Ren" target="_blank">Ren: The Girl With The Mark</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/songbird" target="_blank">Songbird</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/stop%2Feject" target="_blank">Stop/Eject</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/the%20barn" target="_blank">The Barn / Tokos</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/the%20dress" target="_blank">The Dress</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/the%20opening%20night" target="_blank">The Opening Night</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/clients" target="_blank">Client work</a> (e.g. branded content, commercials, promo videos)</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/music%20videos" target="_blank">Music videos</a></span></p><p><b><span style="font-family: georgia;"><br /></span></b></p><p><b><span style="font-family: georgia;">BLOG POSTS </span></b><b><span style="font-family: georgia;">ORGANISED</span></b><b><span style="font-family: georgia;"> BY PRODUCTION STAGE</span></b></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/funding" target="_blank">Funding</a> (including crowdfunding)</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/screenwriting" target="_blank">Scripts / Screenwriting</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/pre-production" target="_blank">Pre-Production</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/casting" target="_blank">Casting</a> </span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/directing" target="_blank">Directing</a> (general tips and mindset)</span></p><p><span style="font-family: georgia;">- </span><a href="https://triskelle-pictures.blogspot.com/search/label/stories%20from%20the%20set" style="font-family: georgia;" target="_blank">Stories from the Set</a></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/post%20production" target="_blank">Post-Production & Editing</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/sound%20design" target="_blank">Sound Design</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/score" target="_blank">Music / Scores / Composing</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/film%20festivals" target="_blank">Film Festivals</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/marketing%20and%20distribution" target="_blank">Marketing and Distribution</a></span></p><p><b><span style="font-family: georgia;"><br /></span></b></p><p><b><span style="font-family: georgia;">BLOG POSTS </span></b><b><span style="font-family: georgia;">ORGANISED</span></b><b><span style="font-family: georgia;"> BY COLLABORATOR</span></b></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/aislinn%20de%27ath" target="_blank">Aislinn De'Ath</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/charlie%20clarke" target="_blank">Charlie Clarke</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/charlotte%20ball" target="_blank">Charlotte Ball</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/christopher%20newman" target="_blank">Christopher Newman</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/halo%20haynes" target="_blank">Halo Haynes</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/Ian%20Cudmore" target="_blank">Ian Cudmore</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/jema%20hewitt" target="_blank">Jema Hewitt</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/michelle%20darkin%20price" target="_blank">Michelle Darkin Price</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/neil%20oseman" target="_blank">Neil Oseman</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/sarah%20lamesch" target="_blank">Sarah Lamesch</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/tommy%20draper" target="_blank">Tommy Draper</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/will%20j.%20carman" target="_blank">Will J. Carman</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/will%20price" target="_blank">Will Price</a></span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">ART DEPARTMENT AND RANDOM OTHER BITS!</span></b></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/costume%20design" target="_blank">Costume Design</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/set%20design" target="_blank">Production Design, Props and Set Dressing</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/end%20of%20the%20year%20review" target="_blank">End of the Year Reviews</a> and <a href="https://triskelle-pictures.blogspot.com/search/label/summer%20update" target="_blank">Summer Updates</a> from previous years</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/review" target="_blank">Film Reviews</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/female%20directors" target="_blank">Female directors</a> - lists, shout-outs, and general celebrations of their work</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/fantasy" target="_blank">Fantasy</a> (general blog posts about one of my favourite genres!)</span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/halloween" target="_blank">Halloween</a></span></p><p><span style="font-family: georgia;">- <a href="https://triskelle-pictures.blogspot.com/search/label/personal" target="_blank">Personal posts & updates about my life in general</a></span></p><p><br /></p><p><span style="font-family: georgia;"> Thank you all again. It feels a little weird to move away from this part of my life, particularly as I'm in the process of closing down my old email addresses as well (on top of using Twitter and Facebook much less than I used to!). But I look forward to continuing to share thoughts and ramblings with you all in my <a href="https://www.sophieblack.online/" target="_blank">new online home</a>! It's a clean slate, and sometimes we all need that.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia; font-size: large;">Sophie</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-30961075204794875832023-09-28T05:08:00.001-07:002023-12-29T03:35:49.973-08:00The Funding Conundrum<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSuYhdg2qjjeVf0oNY9IwTJoloXdkMbZox_K-9YjkptzCk9C4Sah1PSyQa_SDdOHRICruErsqM_BZ3WcFUapSN98zgj0Rk24gIEhRb2Odc_IUus-yWvb_j4fQMcemiiie10TAcOPL3ZefELhLcuxwRNJY_MWuJjRODvjhQ5gXctRllxkBLweIHkEB9oeU/s4471/josh-appel-NeTPASr-bmQ-unsplash.jpg" style="background-color: #fcf5ec; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3357" data-original-width="4471" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSuYhdg2qjjeVf0oNY9IwTJoloXdkMbZox_K-9YjkptzCk9C4Sah1PSyQa_SDdOHRICruErsqM_BZ3WcFUapSN98zgj0Rk24gIEhRb2Odc_IUus-yWvb_j4fQMcemiiie10TAcOPL3ZefELhLcuxwRNJY_MWuJjRODvjhQ5gXctRllxkBLweIHkEB9oeU/w640-h480/josh-appel-NeTPASr-bmQ-unsplash.jpg" width="640" /></a></div><span style="background-color: #fcf5ec; font-family: georgia;"><br /> I'm juggling a lot of work right now, with a full calendar; it's all wonderful work and I'm very grateful to have it, but I'm aware that we're approaching the end of another month and I haven't posted anything to my blog since July. So in yet another change to my intended post, here's a matter which is very much on my mind (and that of a few others I've spoken to) at the moment...</span><p></p><p><span style="background-color: #fcf5ec; font-family: georgia;">_</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> So I've been lucky enough to mentor a few directors at the start of their careers, and I stress to them how exciting that time of their lives is, and why they should cherish it. When you start out, and you want to make your first film, you grab anyone you can, other filmmakers or even just your friends, and make a film for next to nothing using any locations or assets you can gather - perhaps spending a bit of your own money on buying costumes (or making them, in my case) and things like coffee and crisps. It's a safe space to learn, grow and make mistakes without having to worry about impressing investors or spending their money in the right way. You may not even like your first film, you might not show it to anyone, but that's ok. My first films never made it onto YouTube, some are still stuck on DV tapes, but that doesn't mean I didn't cherish the experience of making them.</span></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUlX-iT_0M_g7NX8zKJ-TO_wFQuRGOgrTPO7V5aFJBmhExVf0dXRs-f4xjpDfln3SwgiiJKzRNN0VA7XY-IUiFLPEKvf75jT1RDMGpfjSFL1eVzWcHfjPOspbHf7nsBqQ7XLwSmpVEXCH8NeExRqN2XCjqr634PzYqZBSez8rBKm9PS6e_nyeBdtlo5hE/s2048/470118_365268483496708_650537865_o.jpg" style="background-color: #fcf5ec; clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1365" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUlX-iT_0M_g7NX8zKJ-TO_wFQuRGOgrTPO7V5aFJBmhExVf0dXRs-f4xjpDfln3SwgiiJKzRNN0VA7XY-IUiFLPEKvf75jT1RDMGpfjSFL1eVzWcHfjPOspbHf7nsBqQ7XLwSmpVEXCH8NeExRqN2XCjqr634PzYqZBSez8rBKm9PS6e_nyeBdtlo5hE/s320/470118_365268483496708_650537865_o.jpg" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Above: 22-year old me trying<br /> to raise funding for <i>Ashes</i>]</span></td></tr></tbody></table><span style="background-color: #fcf5ec; font-family: georgia;"> What comes next? Well, you gather a bit of a budget to make your next film, which is maybe <i>slightly</i> more ambitious in terms of content, or maybe you just want to make something simple but hire more experienced actors or crew to sell the story in the best way possible. Some people save up their own money, some people crowdfund - or rather, they used to, before the market became over-saturated - and you make a film for £2-£5K. Maybe you make another one after that for the same money. Or maybe you make five more.</span><p></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> Your skills improve, and then if you're lucky, one of your shorts screens at a respectable film festival, something BAFTA-qualifying or on the British Council list of named festivals. You get on peoples' radars. You win places on talent lists. You've 'proven' yourself. At this point, maybe you attract a known actor to appear in your film, helping you to raise a higher amount in crowdfunding, or maybe you're lucky enough to win funding from BFI NETWORK. Everything's exciting, your career feels like it's getting some momentum now, and you can't wait to make the next project...</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> And then... what comes next?</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> It's at this point that many people look to make their first feature. But it doesn't just happen like that, except for the lucky minority. A debut feature film is <u>not</u> the logical next step after a short film; there is a huge difference between managing a film with a £10-£20K budget, and making a feature film that costs approximately £1million to make. There needs to be something in-between. Otherwise how will any investors trust you with that level of money?</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> So instead, you might have an idea for a 'bigger' short, something with a budget of around £40,000, something that really excites you and will create a strong level of engagement with audiences at film festivals. But how do you get that film funded? </span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> In this time of financial crisis, it's harder than ever to raise funds through crowdfunding, you can't even guarantee to raise £2,000 these days (unless you have named talent attached, or an existing fan base), and it's very unlikely that anyone is going to invest high amounts of money into short films, because they don't have a return on investment like features <i>usually</i> do.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> At this stage, many filmmakers - with so many stories left untold and un-tellable, their previous short films getting older and less relevant by the day, and their debut features feeling like an unreachable goal - decide that it's time to stop trying.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> It's known as a 'glass ceiling' in our industry. I see it as a bottle-neck, where so many filmmakers have gone as far as they can without further support, and in the mean time more and more new filmmakers are coming along, making their low-budget shorts, and then joining the throng within the neck of that bottle.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> It's also the place where I currently find myself, and I feel like I've been here for a while, wading through water. Or perhaps it's mud.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> Quite a few people have asked me recently 'what are you working on next?'. And I have to tell them the truth - there isn't anything. I'm busy with my client work, which I enjoy and I need right now, but I also don't have any 'small budget' stories left in me that I want to tell. I'm desperate to take the next step, and I've spent days on days applying for funding applications and talent schemes, and reaching out to producers, only to receive rejections and for that time to be wasted. Every time I take a few hours, days or even weeks off to pursue a new funding pot or to write another draft of my feature script, that's time when I potentially lose paid work, and with the bills still going up all the time, it just isn't sustainable for me anymore.<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuECcwMRnTJdzlmiFWYEZmOfp_WqlMNWhN9lb41f2weo-QQte3oNm5goJasmroPA04a6dj71rpypJnnyiSEihAoxSeqaF_p6W8aAk46bUP7YcUCzvzb50-ElI4q8WnkSgD-VlaQOanSoUjEoiLLRToSlkN0GE_fFr1xGkKjN3b3bYbGn_wBZsXXGFMu4A/s1920/Directing%20Night%20Owls%202.jpg" style="background-color: #fcf5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuECcwMRnTJdzlmiFWYEZmOfp_WqlMNWhN9lb41f2weo-QQte3oNm5goJasmroPA04a6dj71rpypJnnyiSEihAoxSeqaF_p6W8aAk46bUP7YcUCzvzb50-ElI4q8WnkSgD-VlaQOanSoUjEoiLLRToSlkN0GE_fFr1xGkKjN3b3bYbGn_wBZsXXGFMu4A/w640-h360/Directing%20Night%20Owls%202.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Above: rehearsing with the incredible Jonny McPherson and Holly Rushbrooke, on the set of<a href="https://www.triskellepictures.co.uk/night-owls" target="_blank"> <i>Night Owls</i></a>, exactly 10 years ago next Spring!]</span></td></tr></tbody></table><span style="background-color: #fcf5ec;"><span style="font-family: georgia;"><br /><br /> It's 10 years next year since I directed </span><i style="font-family: georgia;">Night Owls</i><span style="font-family: georgia;">, which was supposed to be the pilot for my feature film </span><i style="font-family: georgia;">Night Owls & Early Birds</i><span style="font-family: georgia;">. Apart from a brief flicker of interest last year, which was so exciting for a time, I am no closer to making that feature film than I was a decade ago. And that stings.</span></span><p></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> Today, the BFI and FILM4 <a href="https://www.screendaily.com/news/bfi-film4-greenlight-nine-high-budget-shorts-through-future-takes-programme/5186349.article" target="_blank">announced the 9 films they've chosen to greenlight</a> through their Future Takes scheme, a rare fund that was designed to support higher-budget shorts. The films sound great, and I look forward to seeing them; it's also worth noting that BFI and FILM4 chose to fund 9 shorts, rather than 7 as originally intended, which is really admirable. But they had 400 applications, all of which they claim were of a high standard; that's 391 bold and visually striking films we could've seen, 391 directors and producers who could've taken the next leap in their careers... and goodness knows how many filmmakers mourning the rejection and questioning what to do next. All of these filmmakers were already 'qualified' to apply, they had to be, with strong, proven track records, including numerous producers on the prestigious BFI Insight Programme, but it wasn't enough on this occasion.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> As <a href="https://twitter.com/Jessi_Gutch/status/1656564027630157824" target="_blank">Jessi Gutch</a> so perfectly summarised on Twitter at the time, this rejection was particularly difficult for many because "the ambition [of the projects] means it's hard to see another route to production." In the past, when myself and many other filmmakers had their work turned down by things like Creative England's iShorts Scheme or even BFI NETWORK funding, we'd scale down the project, save up any money we can, maybe run a small crowdfunding campaign, pay the crew less, pay ourselves nothing, and still get the film made somehow. That's actually how I came to make <i><a href="https://www.triskellepictures.co.uk/songbird" target="_blank">Songbird</a></i>. But it's just not possible with higher-budget shorts, that need a certain level of investment to even exist at all.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> I don't mean to criticise the Future Takes fund in any way at all. I'm so grateful that it even exists, where no other similar-sized fund is available. The head of BFI NETWORK, Alice Cabañas, said in the new Future Takes press release: "<span style="font-size: 16px;">We’re all acutely aware that securing funding for indie debut features is tougher than ever, and many short filmmakers are getting stuck.</span>" The issue is that, if there is only one fund available of this size, and so many filmmakers are in need of it, the competition is going to be so aggressively fierce that success is near-impossible.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> I will just add that you don't always <i>need</i> a high-budget short to stand out at film festivals. A great example of a really simple short, executed flawlessly, was Keith Allot's film <i>Lifelike</i>, which is now available on <a href="https://youtu.be/gfrjnHkctDY?si=4_5_K1sZZZ7KYFWI" target="_blank">Omeleto</a>. The film had a great festival run, and I always share it as an example of how to do a one-person-one-location film right. But I also believe that, in a sea of thousands of low-budget shorts, if your production is visually memorable, perhaps with enough finance to hire named talent, it definitely helps people notice your film. And a lot of festivals do love a bold screenshot or a still of a famous person that they can put on the front of their programme...</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> Although all of the above sounds a bit doom and gloom, and it is a genuine reflection of how myself and others see the film industry at this stage in our careers, I haven't completely given up. Things are harder than when I first picked up a camcorder and put blazers on my teenage mates so they'd 'pass' as adults, but I have a few years of fight left in me.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> The option now is to change track - and that's something I've been discussing with a few other filmmakers recently. I adore the BFI, I am so grateful for everything they've done for myself and my peers, particularly through BFI NETWORK, and I will continue to support them as an organisation as much as I can. But there cannot be one gatekeeper for funding. Since the decline of funding organisations like Creative England iShorts/iFeatures and the long-dead IdeasTap, and with brilliant funding bodies such as FILM4 and BBC Film slightly less approachable without an agent or established producer attached to your project, there is currently too much pressure and expectation being put on the BFI. Many people are just waiting for their next funding windows to open, and completely losing hope when they eventually get a 'no'.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> The UK is not the best place for the arts right now. I won't get political in an already-ranty blog post, but I can't see that changing any time soon. So it's time for us to think outside of the box again, in the same way we did as fledgling filmmakers who took risks and tried new things; it's time for us to go out into the world. I know a few filmmakers who are setting their sights abroad, learning how to make global productions or tweak their script to adapt it to the needs of a different country, and I'm going to look to do the same. I've already had some wonderful meetings with Icelandic producers, and I'm keen to find out more about the film production scene in other countries. The UK population has been raised to believe that we are the only country that exists or matters on this huge planet, full of people and opportunities, and it's time for us to open our minds.</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"> When the only alternatives are to sit in development limbo forever, or to rely on a single funding body which is already doing everything it can to support our industry in a time of austerity... what do you have to lose?</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></p><p><span style="background-color: #fcf5ec; font-family: georgia; font-size: large;">Sophie</span></p><p><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></p><p><span style="background-color: #fcf5ec; font-family: georgia;">P.s. I'm in the process of creating a new personal/directing website, as a separate resource to the Triskelle Pictures <a href="https://www.triskellepictures.co.uk/" target="_blank">company website</a>, and I'll likely be hosting my blog on there in the future. I'll let you all know what happens, and I'll also keep this blog online as a sort of archive - if I can ever find time to tidy up my page tags properly!</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-86345623177182223162023-07-30T06:21:00.003-07:002023-10-29T09:00:05.430-07:00Stories from the Set: Beautiful Things Antiques<p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHLL9BhdLas1RCzgjSCGQJLwK8s8FDrpvDQMnDnjnIJFjEGRozB0H8-8sDYUdpcVB3MHn3v6C1b-TjExf6_egJzFrCeaOYQX4Wjp8DY4XKQrUC9YQsvblwl4r13V39M3W6gOt71TCA8XsqjutKLWmzSaYrBm08A06vv6gpZtJD7_xU07GP1DIeeIW93Cc/s1920/311566077_655398402684212_607916667737405701_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHLL9BhdLas1RCzgjSCGQJLwK8s8FDrpvDQMnDnjnIJFjEGRozB0H8-8sDYUdpcVB3MHn3v6C1b-TjExf6_egJzFrCeaOYQX4Wjp8DY4XKQrUC9YQsvblwl4r13V39M3W6gOt71TCA8XsqjutKLWmzSaYrBm08A06vv6gpZtJD7_xU07GP1DIeeIW93Cc/w640-h360/311566077_655398402684212_607916667737405701_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: screenshot from the Beautiful Things Antiques promotional film. DOP: Will J. Carman]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> It's been a while since I released a behind-the-scenes story from some of my client work, so for this month's blog post I thought I'd talk about one of my recent favourite branded content projects: the suite for <a href="https://www.instagram.com/beautifulthings.uk/" target="_blank">Beautiful Things Antiques</a>, which was released around this time last year.</span></p><p><span style="font-family: georgia;"> Beautiful Things now have two bases (they've recently opened up a showroom in Hemswell Antiques Centre), but at the time their main showroom was in <a href="https://www.facebook.com/derwentside" target="_blank">Derwentside Shopping Mill</a>, in Belper, Derbyshire, just round the corner from where I grew up. This is a very special location to me, not just because of the nostalgia of it being in my old hometown, but because it's a stunning, multi-storey converted stone mill, with atmospheric rooms full of antiques. It's also the place where we shot a couple of live music videos for Halo Haynes back in 2013 (one of which is still online <a href="https://youtu.be/QQ8KvupP_mM" target="_blank">here</a>), and I was very eager to bring a camera inside that gorgeous building again. </span></p><p><span style="font-family: georgia;"> (Note: you can read the behind-the-scenes story from the Halo Haynes music video shoot <a href="https://triskelle-pictures.blogspot.com/2013/08/stories-from-set-halo-haynes-music-video.html" target="_blank">here</a>).</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbt-PiRlo-yVDNGGrOkkt9L8CIv0h2Rej9ZiLaKivhh5_y8u_qZFGEMnrognsycTFKcB3F5bGh8-vVFLx6jYRTO6l0ujctkE_YFNNXxoX5be2X45tDgT8_T814hesuR_n9umMcpyAHvaDt44IhzOTmNsyEpCBfEgMQl0no76eBxPqq7Bf0sdOMWLqd56Y/s1600/IMG_0304.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="898" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbt-PiRlo-yVDNGGrOkkt9L8CIv0h2Rej9ZiLaKivhh5_y8u_qZFGEMnrognsycTFKcB3F5bGh8-vVFLx6jYRTO6l0ujctkE_YFNNXxoX5be2X45tDgT8_T814hesuR_n9umMcpyAHvaDt44IhzOTmNsyEpCBfEgMQl0no76eBxPqq7Bf0sdOMWLqd56Y/w640-h360/IMG_0304.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Shooting with Halo Haynes in the same location, almost a decade ago! Photo by Sam Tansley]</td></tr></tbody></table><span style="font-family: georgia;"><br /> My meeting with Tim, who owns Beautiful Things antiques, came about very serendipitously through another client. After a lunch meeting in Belper with </span><a href="https://www.youtube.com/@CathyHay/videos" style="font-family: georgia;" target="_blank">Cathy Hay</a><span style="font-family: georgia;">, who runs </span><a href="https://foundationsrevealed.com/" style="font-family: georgia;" target="_blank">Foundations Revealed</a><span style="font-family: georgia;">, I couldn't resist showing her around Derwentside as I knew she'd love it. Tim was in his showroom, some luscious furniture caught our eyes, and we got talking - and Cathy, bless her, was quick to sing my praises to Tim.</span><p></p><p><span style="font-family: georgia;"> I initially wanted to create a video for Beautiful Things because the quality antiques they were selling were so visually appealing, and also because of my desire to work within Derwentside Antiques Centre again. But then, when me and Tim got talking again at a second meeting, I was really taken by his journey and the story behind Beautiful Things. He shared so generously with me, and I heard all about the incredible life and careers he'd had previously, as well as the inspiring message of 'chasing the dream' and opening a business - which seems to be a common message throughout the promotional films I make for clients!</span></p><p><span style="font-family: georgia;"> From that point onwards, I wanted to use Tim's story as a foundation for the video, as I knew that audiences would respond to it as well as I did. We therefore decided to create an interview-based video, replicating the conversation myself and Tim had. For the interview, Tim sat in his 'favourite' armchair (the same chair he sat in when he first told me his story), so that it felt like the audience was being invited to have a cosy chat with him. The setup had the feel of, "Are you sitting comfortably? Then I'll begin", which was appropriate for a life story as epic and feelgood as Tim's! </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVq11TrvYJzH9qWfkhlJVBwVtYxowufPpba-XVOa1NbjxURBsuh02Kk_gp0MD8w8QZ35WcGenf9UBp-WwkRX1CHRKG-bgnSb0yFE6ilyD7mpH1ad3NlCS3jsGrPzgce7OK61yzEmcsIwUc-NbQ8nkJpQpC2ZKVCKckNtlEmfpKDzWhyajhnHipxM1qV0/s1890/Beautiful%20Things%20for%20blog%20post.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1051" data-original-width="1890" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVq11TrvYJzH9qWfkhlJVBwVtYxowufPpba-XVOa1NbjxURBsuh02Kk_gp0MD8w8QZ35WcGenf9UBp-WwkRX1CHRKG-bgnSb0yFE6ilyD7mpH1ad3NlCS3jsGrPzgce7OK61yzEmcsIwUc-NbQ8nkJpQpC2ZKVCKckNtlEmfpKDzWhyajhnHipxM1qV0/w640-h356/Beautiful%20Things%20for%20blog%20post.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[A couple of BTS phone pics from Tim's interview. Thank you to the Derwentside Team for helping us to capture some of these.]</td></tr></tbody></table><p></p><p><span style="font-family: georgia;"><br /> I also made sure to weave Tim's great personality into the cutaways, from little touches like him patting/saying hello to the antiques when he opened the shop in the morning, to the dedication and concentration he implements when polishing and restoring furniture. By showing the man behind the business, as well as showing the wonderfully unique products, we were telling the customers the full story of the experience they'd have when buying from Beautiful Things Antiques.</span></p><p><span style="font-family: georgia;"> Behind the camera on this project was <a href="https://www.willjcarman.co.uk/" target="_blank">Will J. Carman</a>, one of my handful of regular DOPs. He has an eye for enhancing atmosphere with lighting, which was absolutely perfect for this project. For one shot, he was able to create a beam of light - like moonlight poking through the cracks in an attic roof - that back-lit the moment Tim sprayed polish on a table. A use of slow-motion elevated this shot further, highlighting the importance of the craftsmanship on show:</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx92ZPNLSQ5Ow557fRV60MicioerSOxh4CJdwmjPNLYD8NPMcaJyXgLcziXvEDy913fD3O_7NdtlXKsXfjyLDteI7NvxpJuIN04YGssXJiCYPs5RA9Eob0-mWh3zcLU03f4MhzXaj00jtzFXDWLovQX3ZrJiDbzWibhs9FPLCHuROphZll8Tq9FeFlLb8/s1920/Beautiful%20Things%20lighting%20example.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx92ZPNLSQ5Ow557fRV60MicioerSOxh4CJdwmjPNLYD8NPMcaJyXgLcziXvEDy913fD3O_7NdtlXKsXfjyLDteI7NvxpJuIN04YGssXJiCYPs5RA9Eob0-mWh3zcLU03f4MhzXaj00jtzFXDWLovQX3ZrJiDbzWibhs9FPLCHuROphZll8Tq9FeFlLb8/w640-h360/Beautiful%20Things%20lighting%20example.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[A blink-and-miss-it lighting moment from DOP Will J. Carman that worked so perfectly]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> It's hard to picture it right now, with all the drizzly weather we've had lately, but June 2022 played host to a heatwave in the UK - and this shoot took place in the middle of that! Luckily Derwentside Shopping Mill, with its deep stone walls and high ceilings, stayed perfectly cool and provided a comfortable environment for us to film within, as well as looking fantastic on camera.</span></p><p><span style="font-family: georgia;"> And when we were packing away the equipment, something happened which I'll never forget: we heard a thunderous buzzing sound, looked up, and saw the biggest swarm of bees I've ever seen! It was enormous, and I'm saying that without my usual touch of exaggeration. This swarm was getting slowly closer to us (and louder), so we had a race to get all the kit into the car before we were surrounded by the bees! I was backing up footage onto a laptop at the time, so I really had to leave things last minute, and dived into the back of Will's car just as the bee tornado started to circle around us. He drove away very slowly, and so I can confidently say that no bees or humans were harmed in the making of this video.</span></p><p><span style="font-family: georgia;"> I have no idea why the bees did that, but I did wonder if it was a bad omen. It was in fact the opposite, as everything went well. I couldn't be happier with how the three Beautiful Things videos - one overall promotional film (below), one <a href="https://youtu.be/ed2zk55BEnw" target="_blank">social video</a>, and one film about the business' <a href="https://youtu.be/jVvqjeE4WFs" target="_blank">eco morals</a> - turned out. With the perfect location and camera operator, the videos look truly cinematic, but due to Tim's incredible life journey and personality, they have a lot of heart too. When I completed the first edit and watched it back ahead of sharing it with Tim, I actually felt quite emotional.<br /><br /></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/f5ymFn0WPXc" title="YouTube video player" width="560"></iframe><br /></p><p><span style="font-family: georgia;"><br /> Not every client shoot ends with an apocalyptic bee swarm, but they do all feature a balance of creativity and humanity, and they all make me feel incredibly proud. If any of you would like to check out more of Tim's work (and I recommend you do - the produce he sells is amazing), then please visit the <a href="https://www.mybeautifulthings.co.uk/" target="_blank">Beautiful Things website</a>. I certainly hope I'll be lucky enough to make more films for him again in the future.</span></p><p><span style="font-family: georgia;"> And if any of you would like a cinematic promotional film that's made with love, promoting your business in the best and truest light, I am now taking bookings for Autumn and Winter 2023, so please visit the Triskelle Pictures <a href="https://www.triskellepictures.co.uk/services" target="_blank">services page</a> and get in touch via info@triskellepictures.co.uk</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia; font-size: large;">Sophie</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-43013405076220906562023-06-29T09:26:00.007-07:002023-06-29T09:37:01.615-07:00The Summer Update 2023<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_TV3psp1KNWmzYQnBaAlAwRElUB86PO2AIUCe3Mv0gPPAurpHMn1Mj0123k36Ovy7gRfvKxIKPkl7B9qr4uy9MHINkaH5UvcTafMqLOK-Y0FU6VesNmWfSS5_ad3b021V2q1ZnpLffQR9kb8RxssSVbWajoOKpccglL8dvS08K_6-_IqkALRoUXUeAkg/s7633/A%20Different%20Place_BFI%20Millie%20Turner%201.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5091" data-original-width="7633" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_TV3psp1KNWmzYQnBaAlAwRElUB86PO2AIUCe3Mv0gPPAurpHMn1Mj0123k36Ovy7gRfvKxIKPkl7B9qr4uy9MHINkaH5UvcTafMqLOK-Y0FU6VesNmWfSS5_ad3b021V2q1ZnpLffQR9kb8RxssSVbWajoOKpccglL8dvS08K_6-_IqkALRoUXUeAkg/w640-h426/A%20Different%20Place_BFI%20Millie%20Turner%201.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: some of the proud <i>A Different Place</i> team at BFI Flare in March. <br />Photo credit: BFI/Millie Turner]</td></tr></tbody></table><br /><p></p><p><span style="font-family: georgia;"> Believe it or not, we are now half way through 2023 - which means it's time for me to do my annual Summer Update, looking back at how things have gone for the first six months of the year.</span></p><p><span style="font-family: georgia;"> 2023 started incredibly strongly for my previous short films, <i><a href="https://www.triskellepictures.co.uk/a-different-place" target="_blank">A Different Place</a> </i>(which I directed) and <i>Good Grief </i>(which I co-produced). <i>Good Grief</i> had its world premiere at none other than <a href="https://slamdance.com/" target="_blank">Slamdance</a>, officially the biggest festival any of my films has ever screened at, which felt like a real Cinderella moment. Then, as the film entered the second year of its festival run, and we were able to target smaller festivals, the screenings came in thick and fast, and Good Grief was shown to audiences across the world. One highlight along the way was a screening at <a href="https://www.beestonfilm.com/" target="_blank">Beeston Film Festival</a>, always one of my favourite festivals to attend (and now BIFA-qualifying!), where <i>Good Grief</i>'s director Rob Sharp did a shout out for my 2014 film <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a> </i>during the Q&A, citing it as one of the major influences on his filmmaking journey. Cue me welling up in the audience like a proud parent!</span></p><p><span style="font-family: georgia;"> <i>A Different Place</i>, still in the first year of its festival run, screened at two more large and respected festivals - <a href="https://whatson.bfi.org.uk/flare/Online/default.asp" target="_blank">BFI Flare</a> in London in March, and <a href="https://mumbaiqueerfest.com/kashish-2023-matters-of-heart/" target="_blank">KASHISH Mumbai International Film Festival</a> (the only mainstream LGBTQIA+ festival in India) at the start of this month. </span></p><p><span style="font-family: georgia;"> A lot of the crew were in attendance for BFI Flare, which was such a special day; London's South Bank is one of my favourite places in the country, but I haven't been since before the pandemic, nor had I ever been luck enough to watch a film at the BFI before, let alone one of my own. It looked stunning on a huge, sold-out screen, and the audience was buzzing with energy. But the best thing was the way that <i>A Different Place</i>'s lead actor, <a href="https://www.facebook.com/michelle.darkinprice" target="_blank">Michelle Darkin Price</a>, was flanked by admirers after the screening - even when we left the cinema and went to eat some burritos outside! I wanted to keep that day in my heart forever, and so I did something I never do: I shot footage on my phone and made a <a href="https://www.youtube.com/shorts/oA4raRY82yw" target="_blank">social media reel</a> about it!</span></p><p><span style="font-family: georgia;"> We were able to celebrate both <i>A Different Place</i> and <i>Good Grief </i>again this month, as both films had multiple nominations at the 2023 <a href="https://www.midlandsmovies.com/midlands-movies-awards-2023-winners" target="_blank">Midlands Movies Awards</a>. During a wonderful night, where we had possibly the giddiest and loudest table, <i>Good Grief </i>took home Best Editing (well done Borja Torres Sánchez!), and then Michelle won Best Actress In A Leading Role for <i>A Different Place </i>- the first award she's ever had, after years of great performances - and the photographers took a photo which sums up everything I love about directing in a single image:</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNaX3Ut6WHqv6KdgtH_2yt4gyH0xtMpWa63UOdHOetYAZfp7heh311WpFs2brAYJzUMtb3kMUHosT6LdggdM3kaOsd-c1p8unxYZv9ikqlw05e8mPI9D0jdhgFNg2clq9iAMfHLKuEBCbwCtqe6d23EryDuOqgXel0EbJTCREK9E5BmadAec2Bms3818/s1600/352873752_1686366651836264_8925696131979604682_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNaX3Ut6WHqv6KdgtH_2yt4gyH0xtMpWa63UOdHOetYAZfp7heh311WpFs2brAYJzUMtb3kMUHosT6LdggdM3kaOsd-c1p8unxYZv9ikqlw05e8mPI9D0jdhgFNg2clq9iAMfHLKuEBCbwCtqe6d23EryDuOqgXel0EbJTCREK9E5BmadAec2Bms3818/w640-h426/352873752_1686366651836264_8925696131979604682_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Photo credit: Poyner & Me Photography. You can also see <a href="https://youtu.be/VlyQ3esGlps" target="_blank">Michelle</a> and <a href="https://youtu.be/oyM9xi9yuWQ" target="_blank">Borja</a>'s winner speeches in full on the Midlands Movies YouTube channel]</td></tr></tbody></table><p><span style="font-family: georgia;"> As my regular creative collaborator, </span><a href="https://www.tommydwriter.co.uk/" style="font-family: georgia;" target="_blank">Tommy Draper</a><span style="font-family: georgia;">, said shortly after the BFI Flare screening, moments like this don't come along very often, so you need to be present for them. I couldn't have put it better myself. Both </span><i style="font-family: georgia;">A Different Place</i><span style="font-family: georgia;"> and </span><i style="font-family: georgia;">Good Grief </i><span style="font-family: georgia;">have more screenings coming up next month (keep an eye on the Triskelle Pictures' </span><a href="https://www.facebook.com/triskellepictures" style="font-family: georgia;" target="_blank">social pages</a><span style="font-family: georgia;"> for details), and we're still waiting to hear from many more festivals - but if everything stopped tomorrow, I don't think I could be more proud of how well both of these films have done, and how they've touched people along the way.</span></p><p><span style="font-family: georgia;"> Even <i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a> </i>had one more big-screen outing recently, as it was shown at a London Film Night called 'Exploding Cinema', the same day as the Midlands Movies Awards, so that was an unexpected and lovely thing to happen.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Ki4QKTpzXx1puUyDb-aq1qSCFO6xEKRm05GFvqRyOWtPYAwPjwH4kz3xRlF5ayWUqz4rxC5JGWuBph8odl5wBAL8l_cCgwQttRNbbZ9GTu21oUo5K-qL89ob_fYBUO-XWiLKFWzNwvNpD8OTe0WoXTpgWRrW_HcEHQJb2aHhlIn7L6pnEhZuqd5RDSE/s818/354207345_758629542823162_3731066883665186668_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="539" data-original-width="818" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Ki4QKTpzXx1puUyDb-aq1qSCFO6xEKRm05GFvqRyOWtPYAwPjwH4kz3xRlF5ayWUqz4rxC5JGWuBph8odl5wBAL8l_cCgwQttRNbbZ9GTu21oUo5K-qL89ob_fYBUO-XWiLKFWzNwvNpD8OTe0WoXTpgWRrW_HcEHQJb2aHhlIn7L6pnEhZuqd5RDSE/w640-h422/354207345_758629542823162_3731066883665186668_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[With DOP/Showrunner Neil Oseman on my last day of the <i>Ren</i> shoot. Photo by Emma Barrott]</td></tr></tbody></table><p><span style="font-family: georgia;"> But of course, most of the first half of this year was taken up by my work towards the fantasy web series <i><a href="https://www.facebook.com/rentheseries" target="_blank">Ren: The Girl With The Mark</a>, </i>for which I directed the fourth episode of series 2. The whole thing was like an intensely exciting whirlwind, doing auditions and then fight rehearsals in March (straight after BFI Flare - Tommy and I had to dash across London!), followed by a table read and set visit in April, and then the shoot itself in May. </span></p><p><span style="font-family: georgia;"> I knew how challenging the project was going to be, and so I threw myself into as much prep as possible to help things run smoothly from my end. The filming days were jam-packed, and with a load of 'firsts' for me, such as my first time directing an ensemble cast, first time directing inside a custom-build set, first time directing fight scenes, the list goes on... so there were no easy days, but there were a lot of really fun moments too, particularly when we relocated to the stunning <a href="https://sandonhall.co.uk/" target="_blank">Sandon Hall</a> for my last day of filming, and the fancy road trip put everyone in high spirits.</span></p><p><span style="font-family: georgia;"> Difficult and exhausting as it was, I've been missing the shoot ever since, and I am longing for the next narrative challenge already. If you want to find out more about <i>Ren, </i>I have written a couple of blog posts about my experiences on the project (<a href="https://triskelle-pictures.blogspot.com/2023/05/dont-go-through-pre-production-alone.html" target="_blank">here</a>, <a href="https://triskelle-pictures.blogspot.com/2023/04/what-if-it-doesnt-have-to-be-stressful.html" target="_blank">here</a>, and a much older one <a href="https://triskelle-pictures.blogspot.com/2014/11/production-assistants-those-unsung.html" target="_blank">here</a>), but the best thing to see is the shiny new teaser trailer which dropped this week. I've embedded it below. You can also support the project on <a href="https://www.patreon.com/renthegirlwiththemark/posts" target="_blank">Patreon</a>; the team has just set a target of 250 backers, which will enable them to make a new series of <i>Ren </i>every two years, so please give that page some love if you're able to.</span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/N5d16cUKqu0" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"> For me, what's really interesting about working on <i>Ren </i>is that, because it's a television series, the work is over for the directors after the initial cut of the film (hence the term 'director's cut') and any necessary pickups. They aren't involved in later stages like the final cut, colour grade, score, sound mix, or VFX. That's very different to the involvement I've had on the shorts I've directed, but it's also one of the reasons I really wanted to work on this project, as it's vital to have that experience for the future jobs I want to get. It does feel a little strange, but my Directors UK Inspire mentor, <a href="https://www.imdb.com/name/nm1098790/" target="_blank">Justin Molotnikov</a>, has been talking me through the process, describing it as 'decompressing quicker', and his insights have been invaluable.</span></p><p><span style="font-family: georgia;"> For my other creative projects, things have gone a little quiet again - partly because I had to shelf everything in order to dedicate the time I needed to <i>Ren </i>during its pre-production. I didn't receive funding for my 'dream short' from the BFI / Film4 Future Takes scheme (that was always going to be a long shot, and so competitive, so I wasn't expecting to get it); and in spite of ending 2022 on a high in terms of interest for my long-gestating feature film, <i>Night Owls & Early Birds</i>, all my leads for that project have now gone cold too. StudioCanal passed on the script at the start of the year, but not before sending me the best rejection email I've ever received (honestly, I nearly framed it!), filled with praise for the writing and giving me a much-needed confidence boost that the film <u>does</u> have merit and is worth pursuing. It's not just something for me to love alone.</span></p><p><span style="font-family: georgia;"> I'm not going to let the trail go cold forever. Now that <i>Night Owls & Early Birds </i>finally has legs again, I don't want it to lose them. I want to build it little shoes and keep it running forever. There's also been some healthy developments towards <i>Contamination</i>, the animated film (my first animated film!) that I'm co-producing with Jo Lewis at <a href="https://hipster-films.com/films/" target="_blank">Hipster films</a>, and I've enjoyed meeting with people about that project, including some Zoom calls with companies in Iceland!</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUY9cro3Nw4A7w_4jiZswlrwtNaSEA_FKk8WSg4jQHwDPpYsoXwdGqSz_yPvfs-J4kQvBXZJLbkBGeIrdLn6H49JNobAy7sGZ_IuFU84RA_0fEd45A8oXPDn8Sgn8A1DEriAV7-lZX29Sh1TKeWgK8j7EMsGGWxP4086TzbcGUOyAwLF2eubyLDZdwsUo/s1980/contamination%20cleanse%201.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1980" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUY9cro3Nw4A7w_4jiZswlrwtNaSEA_FKk8WSg4jQHwDPpYsoXwdGqSz_yPvfs-J4kQvBXZJLbkBGeIrdLn6H49JNobAy7sGZ_IuFU84RA_0fEd45A8oXPDn8Sgn8A1DEriAV7-lZX29Sh1TKeWgK8j7EMsGGWxP4086TzbcGUOyAwLF2eubyLDZdwsUo/w640-h350/contamination%20cleanse%201.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Early concept art for <i>Contamination </i>by director/lead animator Martyn Pick. The film should hopefully go intro pre-production soon]</td></tr></tbody></table><p><span style="font-family: georgia;"> But my main focus for now needs to be my business. Whichever way you look at the film industry, it's in dire straights right now; the narrative industry is closing its doors further, with continued writers strikes and streaming services decimating their budgets (the <a href="https://www.screendaily.com/news/netflix-uk-reworks-emerging-filmmaking-initiative-breakout-and-reshapes-local-film-team-exclusive/5183168.article" target="_blank">recent news</a> about Netflix's Breakout Scheme was genuinely shocking - I'm one of many filmmakers who applied for that); in terms of branded content, with everyone's bills rising exponentially at the start of 2023, people have had to spend less on everything, including their marketing budgets, which means booking less video projects. Every freelancer I've spoken to is feeling the impact, whereas last year there was a post-pandemic boom for our industry, when all the delayed projects finally went into production.</span></p><p><span style="font-family: georgia;"> I dedicated a week last Autumn to finishing the latest draft of <i>Night Owls & Early Birds</i>, and I spent most of May working solely on <i>Ren</i>; both of these projects were incredibly fulfilling on a creative level, but they were also unpaid passion projects which - for the time being - haven't had a fruitful impact on my career. And I am not in a situation where I can just pursue these types of endeavors without financial repercussions. I don't regret the time I spent on either project, not even for a moment, but I also need to face facts, keep my head down and out of the stars for a bit, and bring in more work which does pay the bills in the short term.</span></p><p><span style="font-family: georgia;"> Because times are financially difficult for everyone right now, I am even more grateful to my regular clients for continuing to commission Triskelle Pictures and enabling us to work on such brilliant, creative projects together. Our clients are all such a joy to collaborate with, and long may it continue! I'm also delighted to say that Triskelle has a new client (technically two in one), who we've admired from afar for a long time: <a href="https://www.deda.uk.com/" target="_blank">Déda</a> and <a href="https://www.derbyfeste.com/" target="_blank">Derby Festé</a>! The day after I got back from the <i>Ren </i>shoot, myself and <a href="https://ljcollins.co.uk/" target="_blank">Luke J. Collins</a> (who was also the DOP on <i>A Different Place</i>) went along and filmed their first 'Altered Streets' event, a sunny, family-friendly book-themed day, and we're excited to film the next two Altered Streets events as well, starting with <a href="https://www.deda.uk.com/whats-on/d%C3%A9da-dance-party" target="_blank">The BIG Déda Dance Party</a> this coming Saturday. You can see the first video we made for them below:</span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YGGl_HSyW9U" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><span style="color: #cc0000;"> </span>That's an update on everything I've been up to so far this year (apart from re-joining the gym in January - there's still a lot of progress to make there! - and turning 34 in April). Looking ahead, although I do need to bring in a bit more work, I still want to find a balance and enjoy the summer while it's here. I need to try and get my weekends back, as my house still needs more work, and I haven't spent enough time with my family lately - although I did have the opportunity to read some more of <i>The Lord of the Rings</i> to my 10 year old nephew the other day, which felt like a genuinely precious moment.</span></p><p><span style="font-family: georgia;"> It's tricky when I'm a workaholic who actually <i>enjoys</i> being at her desk 7 days a week, but I need to make a positive effort to create a balanced schedule again, and stick to it, rather than waiting for my body to give me warning signs (and it sure has done that again this year, particularly in March and April). That's my next task, as well as overseeing the 'director's cut' of my episode of <i>Ren. </i>I'm excited for both things, as well as the upcoming client work and short film screenings, and I look forward to updating you all on my progress in future blog posts.</span></p><p><b style="font-family: georgia; font-size: x-large;"><br />Sophie</b></p><p><br /></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-44653034485590190342023-05-29T11:09:00.001-07:002023-05-29T11:20:02.526-07:00Don't Go Through Pre-Production Alone<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhso_TkW2OnSlymJu-rwX2lNgxE2bHec9L__bzlcu849v0keaOtEd1OwTxZQ1HCXhMEHRd0yMOpfpbsHvv7q7ljV-dDUDjoYuRFph5uR9fxIeEZEahxYiqX-jrWtuEjfDWu7w_2FpCb0DxjYdNhrF_MA_W0G0wNxxd5rIGciWEY6KcUPN0qdKmk37gX/s4032/20230509_165731.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2268" data-original-width="4032" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhso_TkW2OnSlymJu-rwX2lNgxE2bHec9L__bzlcu849v0keaOtEd1OwTxZQ1HCXhMEHRd0yMOpfpbsHvv7q7ljV-dDUDjoYuRFph5uR9fxIeEZEahxYiqX-jrWtuEjfDWu7w_2FpCb0DxjYdNhrF_MA_W0G0wNxxd5rIGciWEY6KcUPN0qdKmk37gX/w640-h360/20230509_165731.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: how my desk looked during the last two weeks of pre-production on <i>Ren</i>. Being able to juggle two spreadsheets at once feels like I've unlocked a new level of organisational skill!]</td></tr></tbody></table><br /><p></p><p><span style="font-family: georgia;"> Late last Thursday night, I traveled back from the <i><a href="https://www.youtube.com/@MythicaEntertainment" target="_blank">Ren: The Girl With The Mark</a></i> shoot and crashed into my bed (and not a tent!) for the first time in a week. The bigger the shoot, the bigger the post-shoot come-down, and I'd likely be struggling with that right now if I hadn't thrown myself into three back-to-back jobs from the moment I got home.</span></p><p><span style="font-family: georgia;"> I will have so much to say about <i>Ren</i> over the coming months, I'm sure. It may well turn out to be the best thing I've ever directed (time will tell on that one - it's gonna take a lot for anything to knock <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i> off my top spot!). But I can say with full certainty that it was the most challenging thing I've ever done, in my career at least, and there was so much to organise on the run up to the shoot.</span></p><p><span style="font-family: georgia;"> As a result, I learned an important lesson about pre-production - and about myself - which I wanted to quickly share with you all ahead of my upcoming annual 'Summer Update' blog post, which is always a hefty article.</span></p><p><span style="font-family: georgia;"> What was unique about pre-production on <i>Ren </i>was that it sort-of started without me, or rather, our production stages were out of sync. Four episodes were filmed back-to-back, with four different directors, so by the time I was doing my final director prep, the rest of the crew were already filming episodes two and three, and they were doing so in beautiful, remote Welsh locations, often without signal when I had queries and wanted to reach out to any of them. Gorgeous BTS images were drip-feeding onto my Instagram, and I had serious 'fear of missing out' as I scrolled through them in solitude from my tiny box-office in Derbyshire. It was quite a lonely time.</span></p><p><span style="font-family: georgia;"> Of course, once I traveled down to Cambridge and met up with the excellent crew, ready to shoot my episode, we all bonded and re-bonded very quickly, and everything felt wonderful again, even in the face of such hard work. All my unanswered questions got answered, and anything I'd worried about had already been sorted, ready for us to step into the studio and work our magic.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1xqDDinWyZkv7wRfa7CL4MJyiqxQIEDrG8Xs2yR5efJfSeZH16isuBDuIvwplRSwO_oFfXAxw4z-2HCzXSUZqvol_h454Jtt8Vbc0ldZaaxj-_OLF762pBFpxw7xdVk1EnGcrWP-4JM-v3ELf-KAC92okbeWzng-lobNVAOXqu14uhJWg0EeBGP12/s1800/EB-Ren-160423-24.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1800" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1xqDDinWyZkv7wRfa7CL4MJyiqxQIEDrG8Xs2yR5efJfSeZH16isuBDuIvwplRSwO_oFfXAxw4z-2HCzXSUZqvol_h454Jtt8Vbc0ldZaaxj-_OLF762pBFpxw7xdVk1EnGcrWP-4JM-v3ELf-KAC92okbeWzng-lobNVAOXqu14uhJWg0EeBGP12/w640-h426/EB-Ren-160423-24.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The four directors of <i>Ren </i>Series 2, captured by the lovely production photographer <a href="https://www.instagram.com/emmabarrott/" target="_blank">Emma Barrott</a>. Yes, I am genuinely that much shorter than the other directors. I call this 'imposter syndrome in a photo'.]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Although everything ultimately worked out great, it really struck me how much pre-production had affected me on this occasion. I've attempted (and mostly managed) to adopt a <a href="https://triskelle-pictures.blogspot.com/2023/04/what-if-it-doesnt-have-to-be-stressful.html" target="_blank">more chilled attitude</a> about film shoots these days, but the last week or two of pre-production is always going to be the most intense time, when the to-do list is still huge and the days left with which to tick things off are getting fewer and fewer. And with a project on the scale of </span><i style="font-family: georgia;">Ren, </i><span style="font-family: georgia;">that to-do list was enormous.</span></p><p><span style="font-family: georgia;"> My anxiety reached a peak when I was packing to leave for the shoot. I couldn't find a bag that was big enough to fit everything I needed to take with me - which, on a normal day, would be a minor inconvenience. But on this occasion, when I was carrying the most stress (and being somewhat of a drama queen at the best of times), I massively overreacted. I saw it as a bad omen, bemoaning along the lines of: "if I can't even manage this first, small task without difficulty, how is the rest of the shoot going to go??"</span></p><p><span style="font-family: georgia;"> Cue my wonderful, always-patient partner <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward Harvey</a> stepping in. He calmly looked at everything I had to pack, and after a few short moments said, "what about the gazebo bag?" </span></p><p><span style="font-family: georgia;"> This was a genius suggestion, and something that I never would've thought of alone, particularly not with the doom-and-gloom mindset I was holding onto at the time. I would've been wallowing in self-pity on my bedroom floor if I hadn't had someone there to offer a second opinion.</span></p><p><span style="font-family: georgia;"> At that moment, it really struck me how important it is to have someone to springboard ideas off of. The saying goes that a problem shared is a problem halved, and that's never been more true for me than in pre-production. I do still strongly advocate for 'director's alone time' ahead of a shoot, I do think that's important too, but if I look back to all my good memories of pre-production, I always had supportive people around me. The week before cameras rolled on <i><a href="https://www.triskellepictures.co.uk/a-different-place" target="_blank">A Different Place</a> </i>last year, co-producer Charlie Clarke and I both had large to-do lists that were stressing us out, so she came over to my house, I ordered us the best brunch, and we talked over each others' worries until there was nothing left to worry about. We both cracked on and got so much done, feeling much calmer just by having someone sat a few meters away.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPGHAEJRDSe0cpH91FIjhn1OVlLMY0uTUb8dViIRKyhhvwCYQTFD54gZ7feKS-zvFLrFsnRL8Z4VzojbIXX_S5KUI4IhhTYYP6SOQodnkJ9EAbbmHO841N9TLJEIn9P90Ruv8R4iKVgkSctM8RJbtp9ooLjvFUKv0OPy5p5HXzJR_b38aYewDuUrmw/s1889/temp%20for%20may%2023%20blog.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="945" data-original-width="1889" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPGHAEJRDSe0cpH91FIjhn1OVlLMY0uTUb8dViIRKyhhvwCYQTFD54gZ7feKS-zvFLrFsnRL8Z4VzojbIXX_S5KUI4IhhTYYP6SOQodnkJ9EAbbmHO841N9TLJEIn9P90Ruv8R4iKVgkSctM8RJbtp9ooLjvFUKv0OPy5p5HXzJR_b38aYewDuUrmw/w640-h320/temp%20for%20may%2023%20blog.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: exactly one week before cameras rolled on my episode, Edward persuaded me to get out of my office and go for a walk. We went to the graveyard and surrounding woodland where I shot all my teenage films, as well as part of <i><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a></i>. It really helped calm and ground me, as well as reminding me how far I've come.]</td></tr></tbody></table><br /><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> In 2014, when we were in pre-production on <i>Night Owls</i>, we had to completely re-cast the project (purely due to actor availability issues) less than a week before the shoot. That kind of situation is always massively stressful, and yet I have fond memories of the way we tackled it. I met up with <i>Night Owls' </i>two producers, Lauren Parker and (the dearly, dearly missed) Sophia Ramcharan, and we went to Lauren's office where she stocked us up with chocolate and mango juice while Sophia calmly went over our options. Not only did we find a fantastic new (award-winning) cast for the film, but I remember laughing that day, in spite of the fact that - when I first walked into that office - I had felt like 'the worst had happened'.</span></p><p><span style="font-family: georgia;"> The film industry is a vast and wondrous thing where literally anything is possible - and I mean that in terms of what goes on behind the scenes, not just what you see on screen. There are very few challenges that can't be overcome, even if it takes work sometimes. But you always need two, three, or even more heads to come together to make that happen, either because it opens you up to new ideas you hadn't considered before, or because it means you have someone to rant to until your own mind feels a little clearer.</span></p><p><span style="font-family: georgia;"> So that's it - that's today's big lesson. Never do pre-production alone. It's as simple and true as that.</span></p><p><span style="font-family: georgia;"> That's the first thing I'll take away from my time on <i>Ren</i>. As for everything else... you'll have to wait and see. I'm certainly excited to get into the edit and see how my episode comes together. It was a breathtaking shoot, in more ways than one, and hopefully I'll be able to share more with you all soon.</span></p><p><span style="font-family: georgia; font-size: large;"><br /></span></p><p><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p><p><span style="font-family: georgia; font-size: large;"><b><br /></b></span></p><p><span style="font-family: georgia;">P.s. If you want to see more updates on <i>Ren</i> (not just my episode, but all the others too) before anyone else, please consider supporting the project on <a href="https://www.patreon.com/renthegirlwiththemark/posts" target="_blank">Patreon</a>.</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-46671523197336388642023-04-28T04:55:00.002-07:002023-04-28T04:58:34.881-07:00What if it doesn't HAVE to be stressful?<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDRM7nlj6W-rOhnJCvp3uwom4L8MeWt0TIfflILuzzZYZoyq8RtKkrvfdVizql_NDAUwtYL8KLZEMSMLlXzpDqo3Rye-J7yCdw0wjxSbzj1nlscyOmxo6SW5DGv8P5g9ZsLswgi4TPJ4vPG-6jdKQyEEblrAocUcX7cbpiG5Y0nKCYd2N2j3CU7Jg/s1890/Ren%20PreProduction%20for%20blog%20post.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="641" data-original-width="1890" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDRM7nlj6W-rOhnJCvp3uwom4L8MeWt0TIfflILuzzZYZoyq8RtKkrvfdVizql_NDAUwtYL8KLZEMSMLlXzpDqo3Rye-J7yCdw0wjxSbzj1nlscyOmxo6SW5DGv8P5g9ZsLswgi4TPJ4vPG-6jdKQyEEblrAocUcX7cbpiG5Y0nKCYd2N2j3CU7Jg/w640-h218/Ren%20PreProduction%20for%20blog%20post.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: a few snapshots from pre-production on <i>Ren: The Girl With The Mark</i> series 2]</td></tr></tbody></table><span style="font-family: georgia;"><br /> The spring weather may not be as warm as predicted, but my seasonal workload has exploded as it seems to this time every year. I've been juggling lots of (lovely) client edits, with work for an exciting new client coming up soon; I've also been managing my business alongside all the ongoing renovations and challenges my fixer-upper house throws at me, as well as currently being a little unwell.</span><p></p><p><span style="font-family: georgia;"> Yesterday was my birthday, and hard as it is to relax right now, I was able to take a few hours out of the office (thanks to the support of my wonderful partner, <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward</a>). In film terms, I am now the same age as Marge Simpson - which is an odd thought to process - but 10 years off Seymour from <i>Ghost World</i>.</span></p><p><span style="font-family: georgia;"> But the biggest thing going on in my life right now is Series 2 of <i><a href="https://www.facebook.com/rentheseries" target="_blank">Ren: The Girl with the Mark</a></i>. The team actually started shooting this week (you can follow their progress predominantly on <a href="https://www.patreon.com/renthegirlwiththemark/posts" target="_blank">Patreon</a>, and also via <a href="https://www.instagram.com/renthegirlwiththemark/" target="_blank">Instagram</a> stories), but my episode starts shooting at the end of May. There's a lot for me to organise - physically, logistically, and mentally - before that happens.</span></p><p><span style="font-family: georgia;"> As is often the case these days, this blog post isn't the one I originally intended on writing this month. I wasn't sure I'd have time to share anything at all. But as I expect this will be my last post until June at the earliest, I wanted to do a quick check in, to tell you all where I'm at, as well as keeping my SEO levels happy in the process!</span></p><p><span style="font-family: georgia;"> Pre-production is an intense time, but an exciting one too. At the start of March, I traveled down to London for my first in-person auditions in years, where so many amazing applicants came and shared their skills with us (everyone was so brilliant, it made casting for <i>Ren </i>a tricky but rewarding process!). This was followed by numerous production meetings, which I relished, particularly the initial design meeting where my fabulous HODs showed me sketches and fabric samples, making me feel like I was a bride planning a wedding! Then, a couple of weeks ago, cast and crew came together in <i>Ren</i>'s beautiful studio location, hidden away in the Cambridgeshire countryside, where we did a table reading. </span></p><p><span style="font-family: georgia;"> A lot of the series' casting reveals are still to come, but some of our actors have already teased their involvement - with a couple of my beloved regular collaborators mixed in with the new faces - and our two leads have been announced. Oriana Charles and Alexander Hackett (both of whom are incredibly lovely to work with) will be taking the roles of Ren and Hunter for series 2, and the first gorgeous promo image of them in costume was shared with the world earlier this week:</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1034SQmRS-oPgzrHO2fFyxMvMLtei7mVPFGPbY4Aijl2Bh5Gl8h5MH44hmOEQs0BBgVOdxakuNVhmYkLy55itlmdQHkVRAyTVx9DmY_Ob41HIGfXVQdzeeS88G8zpu1Wb6N6GOUBX4fb4MMr9OJ5np3QZHY-aWoVZdU_tiXLwKp4jOwuqNsJ_zN4y/s1600/EB-Ren-160423-6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1034SQmRS-oPgzrHO2fFyxMvMLtei7mVPFGPbY4Aijl2Bh5Gl8h5MH44hmOEQs0BBgVOdxakuNVhmYkLy55itlmdQHkVRAyTVx9DmY_Ob41HIGfXVQdzeeS88G8zpu1Wb6N6GOUBX4fb4MMr9OJ5np3QZHY-aWoVZdU_tiXLwKp4jOwuqNsJ_zN4y/w426-h640/EB-Ren-160423-6.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Photo credit: Emma Barrott]</td></tr></tbody></table><br /><p></p><p><span style="font-family: georgia;"> When my calendar hit one month to go until my episode of <i>Ren </i>starts shooting, my adrenaline really kicked in - even more so than before - and my brain started to go into its default pre-production setting: aka, stressed. No matter how much you love a project, how much you're looking forward to being on set (and Production Designer Rose and her team have built us <a href="https://youtu.be/JBW4MgqPL2M" target="_blank">a great set</a> for this series!), it is natural for directors to go into automatic 'stress mode' during pre-production, even if everything is running smoothly. This time around, it's made me think: what if it doesn't have to be like that? What if it doesn't <i>have </i>to be stressful?</span></p><p><span style="font-family: georgia;"> This new mindset comes partly with age and experience, but mostly because of my current mentor, Justin Molotnikov, who <i><a href="https://directors.uk.com/" target="_blank">Directors UK</a></i> generously paired me up with last year. I was lucky enough to shadow Justin on the set of his latest production in Dublin, in October 2022, and it opened my eyes to a fresh way of thinking. I'll be writing a separate article about that experience for <i>Directors UK</i> soon, so I won't reveal too much in this blog post, but it was incredible to watch Justin and his crew tackling a huge scene, with numerous actors and multiple production challenges, all the while keeping their heads cool and working hard to overcome whatever was thrown at them. </span></p><p><span style="font-family: georgia;"> Don't get me wrong, when it comes to film productions, there will always be stressful elements - particularly with lower-budget projects like <i>Ren </i>(locations, for example, are a big logistical challenge). For me, the biggest hurdle is freeing up my time to prep for the shoot around my existing client commitments; I always like to prepare as much as possible - as I detailed in <a href="https://triskelle-pictures.blogspot.com/2023/02/a-different-approach-journey-of-room-515.html" target="_blank">this recent blog post</a> about my short film <i>A Different Place</i> - but on an unpaid project, when you can't prioritise your prep or book it in like a paid job, you have to work with any pockets of time you can get, and just do as much as you can with them.</span></p><p><span style="font-family: georgia;"> BUT there is no point going into 'automatic stress mode' or assuming things are going to be stressful the moment pre-production starts. When challenges arise, analyse the issues, work damn hard, get it sorted, and reap the rewards. Repeat until all problems are solved and the shoot has wrapped. That sounds like an over-simplification of the process - but really, that <i>is</i> how is should be.</span></p><p><span style="font-family: georgia;"> This is the approach I've opted for throughout all of my work on <i>Ren </i>thus far. Furthermore, I've made sure to appreciate the process along the way. I feel so lucky to be part of a project with an <a href="https://www.instagram.com/p/Cq6Iwb2se0l/" target="_blank">enthusiastic</a> existing fan base, to be playing within such a magical world, and to be collaborating (and often <a href="https://www.instagram.com/p/Cpsdh4UKmxo/" target="_blank">laughing</a>!) alongside such a wonderful group of filmmakers. Above all, doing this project means being reunited with <a href="https://neiloseman.com/" target="_blank">Neil Oseman</a>, and working with one of my all-time favourite collaborators again for the first time since before the pandemic. Neil is not only DOP on Ren, but he's also the producer, co-writer, <u>and</u> showrunner, and we're all so grateful to him for everything he's done to bring this series into existence.<br /><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZw3hfL4H-tt_Yrz0WQZQHhaPI54VQQMUp1jbeZPslaWMA0f-cWZw3f6t34rQarUcKgTBVMc3D8EiIBRbOsphgMjraHcT3VHRpE1VnWISrY7aa5JS3e9juXrS2TATeJi8kxHOcAtaU5F-7hzQITQgnytVvp1grIqQXBAdcEinNGhbWlFttSsuWPM9N/s1994/Interview%20cover%20image%20temp.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1103" data-original-width="1994" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZw3hfL4H-tt_Yrz0WQZQHhaPI54VQQMUp1jbeZPslaWMA0f-cWZw3f6t34rQarUcKgTBVMc3D8EiIBRbOsphgMjraHcT3VHRpE1VnWISrY7aa5JS3e9juXrS2TATeJi8kxHOcAtaU5F-7hzQITQgnytVvp1grIqQXBAdcEinNGhbWlFttSsuWPM9N/w640-h354/Interview%20cover%20image%20temp.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[If you want to hear more about my process & plans for my episode of <i>Ren Series 2</i>, you can watch an extended video interview on the <i>Ren</i>'s <a href="https://www.patreon.com/renthegirlwiththemark/posts?filters[tag]=video" target="_blank">Patreon page</a> - and you'll be helping to make the project possible in the process!]</td></tr></tbody></table><br /><p><span style="font-family: georgia;"> Whether or not I'm able to keep this cool new attitude remains to be seen - but I'll let you know how I get on, as well as sharing updates on my other projects (</span><i style="font-family: georgia;">A Different Place </i><span style="font-family: georgia;">and </span><i style="font-family: georgia;">Good Grief</i><span style="font-family: georgia;"> have been doing brilliantly at festivals lately!), in my next blog post - which you can expect to land in June or July this year.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia; font-size: large;">Sophie</span></b></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-39058916704224877722023-03-08T00:46:00.005-08:002023-10-29T08:59:30.270-07:00An Appendix to the list of Female Directors!<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_CbpJ-PTvqTvtO6wGPI6tXeIapkQesUyNYBm2bFxkoCb0tJeTWtOa9NF_j7rzLCuWVariOOkLlzyg_h0U81UMoNS5qhaafQPM0seJwc1B9S7bSRRw3yUMoo_RIMN_HgvCH3y05h9kDMBoUqv0xzGlnLx3dHJEAAglCJAgi0zqzWUc6YZIaZBn60r/s2500/210426-chloe-zhao-mc-1247.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1666" data-original-width="2500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_CbpJ-PTvqTvtO6wGPI6tXeIapkQesUyNYBm2bFxkoCb0tJeTWtOa9NF_j7rzLCuWVariOOkLlzyg_h0U81UMoNS5qhaafQPM0seJwc1B9S7bSRRw3yUMoo_RIMN_HgvCH3y05h9kDMBoUqv0xzGlnLx3dHJEAAglCJAgi0zqzWUc6YZIaZBn60r/w640-h426/210426-chloe-zhao-mc-1247.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Chloe Zhao became the second woman, and first woman of colour, to win the Best Directing OSCAR in 2021. Photo credit: POOL / Reuters]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Today is International Women's Day. Back in 2020, I celebrated this day by compiling a </span><a href="https://triskelle-pictures.blogspot.com/2020/03/the-updated-list-of-female-directors.html" style="font-family: georgia;" target="_blank">list of female directors</a><span style="font-family: georgia;">, naming all the ones I could think of and giving them a shout-out in the process. It was such an exhaustive list (and so much bigger than when I </span><a href="http://triskelle-pictures.blogspot.com/2015/08/personal-challenge-name-10-female.html" style="font-family: georgia;" target="_blank">previously attempted to make a list in 2015</a><span style="font-family: georgia;">), that it gave me hope that the film industry was moving in a positive direction, and I thought I might never need to make a similar list again.</span></p><p><span style="font-family: georgia;"> But since then, two things have happened. Firstly, I've become aware of some more fantastic female directors, as well as meeting a few in person, and their work deserves showcasing. Secondly, in spite of the fact that women won the Best Director OSCAR in both 2021 <i>and</i> 2022, NO women have been nominated for that award this year - and only one was nominated for Best Director at this year's BAFTAs. </span></p><p><span style="font-family: georgia;"> Some might say "maybe the men were the best directors this year?" Well, some years that might've been the case - but this year, there were some phenomenal examples of directing from women, such as Marie Kreutzer and Charlotte Wells, and I don't think all the male nominees <i>did</i> match the standard of their work (not to take away from the efforts of phenomenal filmmakers such as Park Chan-wook, who did a masterful job on <i>Decision To Leave</i>).</span></p><p><span style="font-family: georgia;"> So, as it seems we still need to be amplifying the voices of female directors, here's a new list of brilliant filmmakers who have come to my attention in the last three years - in addition to the 'classic' names such as Agnes Varda, Jane Campion, Maya Deren, and Sofia Coppola on my previous list.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><i><span style="font-family: georgia;">Please note: this list is in no particular order!</span></i></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqXMefN2GsvPnRu9ZG8vikT02mgRsqn5QgNM1KM2_ogJOkgCYg-qXx6FJF5y3JSTktaCWaZGgF2-36v1EMBkSq9wY3YJl13EaA8z4igvPtgrjsVCkdrbVbETTRiVUtMiYEAWon8PFnt1TKr-Q2elKRVWijkzZDjAxwsaFUapkMG5px0t9qrBzba6gE/s1600/MV5BNmM4ZDM1ZWMtNjViYS00MTEwLWExYTItMmM1MjBmYzZkNzdkXkEyXkFqcGdeQWpnYW1i._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqXMefN2GsvPnRu9ZG8vikT02mgRsqn5QgNM1KM2_ogJOkgCYg-qXx6FJF5y3JSTktaCWaZGgF2-36v1EMBkSq9wY3YJl13EaA8z4igvPtgrjsVCkdrbVbETTRiVUtMiYEAWon8PFnt1TKr-Q2elKRVWijkzZDjAxwsaFUapkMG5px0t9qrBzba6gE/w640-h360/MV5BNmM4ZDM1ZWMtNjViYS00MTEwLWExYTItMmM1MjBmYzZkNzdkXkEyXkFqcGdeQWpnYW1i._V1_.jpg" width="640" /></a></div><br /><b><span style="font-family: georgia;">1. Chloe Zhao</span></b><p></p><p><span style="font-family: georgia;"><a href="https://www.imdb.com/name/nm2125482/" target="_blank">Chloe Zhao</a> became a hero pretty much overnight when she became only the second woman - and the FIRST ever woman of colour - to win the Best Directing OSCAR, which she won for the beautiful road trip movie <i>Nomadland </i>in 2021. Her earlier work includes <i>The Rider</i>,<i> Songs My Brothers Taught Me</i>, and most recently she brought a new approach to Marvel with <i>The Eternals.</i></span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">2. Sam Taylor-Johnson</span></b></p><p><span style="font-family: georgia;"><a href="https://www.imdb.com/name/nm0853374/" target="_blank">Sam Taylor-Johnson</a> is perhaps best known for directing <i>Fifty Shades of Grey</i>, but before then she did the gentle John Lennon biopic <i>Nowhere Boy</i>. </span><span style="font-family: georgia;">I wanted to put her quite high up this list, because I forgot to include her in my last list (and nearly forgot to mention her in my 2015 attempt, as well!).</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">3. Emerald Fennell</span></b></p><p><span style="font-family: georgia;">Also nominated for Best Director at the 2021 OSCARs, <a href="https://www.imdb.com/name/nm2193504/" target="_blank">Emerald Fennel</a> started her career as an actor (she played Camilla Parker Bowles on <i>The Crown</i>), and she wrote the incredible series <i>Killing Eve</i>, before creating her striking directorial debut <i>A Promising Young Woman</i>. Her next directorial film will be <i>Saltburn</i>, starring Barry Keoghan and Carey Mulligan.</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixAGv4XK3HsqQSWPIY0EnA5EjcNeMjfuH992_TJyDG4AwKAecQvZ4HkPygY_QyzPTvJeLipSSSfzFjX89S2tlAtjkZMYcedacR4q7_Q9gxtZXkT2e_mOCAHNecw841Di_ED7eW07U1zH4iE0ph4KD1XYiRCKwhrzbqa6ICJBSEEtkUiX2S7wRhP4N/s700/titane-car-thumb-700xauto-241873.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="289" data-original-width="700" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixAGv4XK3HsqQSWPIY0EnA5EjcNeMjfuH992_TJyDG4AwKAecQvZ4HkPygY_QyzPTvJeLipSSSfzFjX89S2tlAtjkZMYcedacR4q7_Q9gxtZXkT2e_mOCAHNecw841Di_ED7eW07U1zH4iE0ph4KD1XYiRCKwhrzbqa6ICJBSEEtkUiX2S7wRhP4N/w640-h264/titane-car-thumb-700xauto-241873.png" width="640" /></a></div><p><span style="font-family: georgia;"><b>4. Julia Ducournau</b> </span></p><p><span style="font-family: georgia;"><a href="https://www.imdb.com/name/nm4469445/" target="_blank">Julia Ducournau</a> caused a stir with the unforgettable <i>Titane</i> in 2021; that film may not be for everyone, but it's impeccably made, and definitely an experience to watch! <i>Titane</i> won her the Palme D'or at Cannes, and she was nominated for Best Director at the BAFTAs, but criminally overlooked at the OSCARs that year. <i>Titane </i>features one of the best one-take scenes in recent memory.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">5. Alice Lowe</span></b></p><p><span style="font-family: georgia;">Perhaps best known for her razor-sharp writing talents (she wrote and starred in the black comedy <i>Sightseers</i>), <a href="https://www.imdb.com/name/nm1546686/" target="_blank">Alice Lowe</a> also directed the brilliant <i>Prevenge</i>, and her next film, <i>Timestalker,</i> is in post-production now. I've chatted with Alice on Twitter a few times now, and as well as being a great filmmaker, I can attest that she's also a very lovely person!</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><b>6. Lynne Ramsay</b></span></p><p><span style="font-family: georgia;">Another director I meant to include on my previous lists, but foolishly forgot, <a href="https://www.imdb.com/name/nm0708903/" target="_blank">Lynne Ramsay</a> wrote and directed the harrowing <i>We Need To Talk About Kevin</i>, as well as <i>You Were Never Really Here</i>. She's one of the first names that springs to mind when most people are asked to list female directors, so I'm sorry for not thinking to give her a shout-out sooner!</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHVGPkcEZFGR1fq0EPST4M1SkTpTVhZE0FRGY7btnp6HRbXt7gYK_Je9SSt_mDJwPrPKj7GUHQgU73M9dqlLLQvz3wnn-WZdZeEOe0eGmWfwmX0sS1fOpjqzW6jXv0uhhHVdcrAHtLm2H_pXJYk2ixLD76cUiTRAyAYG7ZcgTlu71GHe7Rp6luk2xf/s1917/Portrait-of-a-Lady-on-Fire-451.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1033" data-original-width="1917" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHVGPkcEZFGR1fq0EPST4M1SkTpTVhZE0FRGY7btnp6HRbXt7gYK_Je9SSt_mDJwPrPKj7GUHQgU73M9dqlLLQvz3wnn-WZdZeEOe0eGmWfwmX0sS1fOpjqzW6jXv0uhhHVdcrAHtLm2H_pXJYk2ixLD76cUiTRAyAYG7ZcgTlu71GHe7Rp6luk2xf/w640-h344/Portrait-of-a-Lady-on-Fire-451.jpg" width="640" /></a></div><p><span style="font-family: georgia;"><b>7. Céline Sciamma</b> </span></p><p><span style="font-family: georgia;">The only reason I didn't include <a href="https://www.imdb.com/name/nm1780037/" target="_blank">Céline Sciamma</a> on my previous list was because I hadn't actually seen any of her films; I have since rectified that mistake, and I can now say that the films she makes are beautiful, emotive and poetic to watch. It blows my mind that <i>Portrait of a Lady on Fire </i>wasn't up for any OSCARs, or Best Director at the BAFTAs, but it was nominated for the Palme D'Or at Cannes (it also won Best Screenplay and the Queer Palm award there). Other tender, notable works of Céline's include <i>Tomboy </i>and <i>Petite Maman</i>, which I loved.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="background-color: #fef5eb; font-family: georgia;"><span style="font-size: 16px;">8. Lina Wu</span><span><span>ertm</span><span>ü</span><span>ller </span></span></span></b></p><p><span style="font-family: georgia;"><span style="font-size: 16px;"><span style="background-color: #fef5eb;"><a href="https://www.imdb.com/name/nm0921631/" target="_blank">Lina Wu</a></span></span><span><span style="background-color: #fef5eb; color: black;"><a href="https://www.imdb.com/name/nm0921631/" target="_blank"><span>ertm</span><span>ü</span></a></span><span><span style="background-color: #fef5eb;"><span style="color: black;"><a href="https://www.imdb.com/name/nm0921631/" target="_blank">ller</a></span> made history by becoming the first woman ever nominated for Best Director at the OSCARs - and that didn't happen until 1977!! She was nominated for her work on </span><i style="background-color: #fef5eb;">Seven Beauties</i><span style="background-color: #fef5eb;"> (she lost to John G. Avildsen for </span><i style="background-color: #fef5eb;">Rocky</i><span style="background-color: #fef5eb;">), but Lina directed thirty-three films and TV movies throughout her career. She sadly died only a couple of years ago, in 2021, and I'm sorry that her inclusion on this list is posthumous.</span></span></span></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><b>9. Gina Prince-Bythewood</b></span></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb; font-size: 16px;">From first-nominated directors to latest-nominated directors: </span><span style="background-color: #fef5eb; font-size: 16px;"><a href="https://www.imdb.com/name/nm0697656/" target="_blank">Gina Prince-Bythewood</a> was the ONLY woman nominated for Best Director at this year's BAFTAs, for her work on the epic and powerful <i>The Woman King</i>, and she was snubbed completely by this year's OSCARs! Before <i>The Woman King</i>, Gina had already built up an incredible credits list, working in both films and television since the early nineties, with notable credits including <i>Beyond the Lights</i>,<i> Love & Basketball</i>, and <i>The Secret Life Of Bees.</i></span></span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrYoM5BHNBw914FQOxsICjYZdcVNZ6K_ia4iqKqhBzRiv5WNzLmTSM9qsTTnBC9DA7slkATGdGCf3cvRE7-4qrlNoCw6cClBROGkL7jk2Dni4AAuGvyi8plQws63Ahk1peX8SNTkIhLAdFkmqaXNhBSWXTzn2SK134F9-m1MbG5Z--fu9bghLV-NUj/s1000/the-babadook-sundance-5.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrYoM5BHNBw914FQOxsICjYZdcVNZ6K_ia4iqKqhBzRiv5WNzLmTSM9qsTTnBC9DA7slkATGdGCf3cvRE7-4qrlNoCw6cClBROGkL7jk2Dni4AAuGvyi8plQws63Ahk1peX8SNTkIhLAdFkmqaXNhBSWXTzn2SK134F9-m1MbG5Z--fu9bghLV-NUj/w640-h360/the-babadook-sundance-5.webp" width="640" /></a></div><p><b><span style="font-family: georgia;">10. Jennifer Kent </span></b></p><p><span style="font-family: georgia;">Another director I've been aware of for a while, but foolishly missed off my last list! <a href="https://www.imdb.com/name/nm0448768/" target="_blank">Jennifer Kent</a> had one of the most memorable feature debuts in years, with the instant cult-favourite psychological horror film <i>The Babadook. </i>She followed that with the atmospheric period film <i>The Nightingale</i> in 2018, and mostly recently directed the (surprisingly emotional) closing episode of <i>Guillermo del Toro's Cabinet of Curiosities, </i>entitled <i>The Murmuring</i>.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">11. Charlotte Wells </span></b></p><p><span style="font-family: georgia;">One of my recent discoveries - but one which instantly impressed me beyond words. <a href="https://www.imdb.com/name/nm3834799/" target="_blank">Charlotte Wells</a> debut film <i>Aftersun </i>was released last year, and it was a film which spoke to so many people on so many levels, filled to brim with humanity, nostalgia, heartbreak and stunning performances. It also featured some of the cleverest framing choices I've ever seen. I don't understand why she wasn't nominated for Best Director at the BAFTAs or OSCARs, but she did win Outstanding Debut at the BAFTAs, and I can't wait to see what she does next. A mega talent.</span></p><p><br /></p><p><span style="background-color: #fef5eb; font-family: georgia;"><b>12. Sian Heder</b></span></p><p><span style="background-color: #fef5eb; font-family: georgia;">How does a film win Best Picture at the OSCARs when it isn't even nominated for Best Director? That's a question a few of us asked when <i>CODA</i> took home the biggest award in 2022. Its director (and also screenwriter) was the wonderful <a href="https://www.imdb.com/name/nm1571761/" target="_blank">Sian Heder</a>, who hopefully won't be overlooked in the future, off the back of <i>CODA</i>'s success. Sian Heder's previous work included episodes of the fantastic television series <i>Orange Is The New Black </i>and <i>GLOW.</i></span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHVtp1GT9qXii9HK7Jk0SyKhjJRsg4jpss-lk9M_ZOvrs0i3TNdJFjmR2zggbRXtQuF4iTDVCoSspLLXp1YA4HdWNkiIzlDlTBU46nS7X8EoAial-bRxowFXAWpPIZjVvpkFtUwJKHw0Nu9OVFlVZhJObvFOlgiSdQ0rI44w0ioLWv66mvEIdilyBK/s1000/girl-walks-home-alone-at-night-a-2014-004-girl-walking-at-night_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="411" data-original-width="1000" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHVtp1GT9qXii9HK7Jk0SyKhjJRsg4jpss-lk9M_ZOvrs0i3TNdJFjmR2zggbRXtQuF4iTDVCoSspLLXp1YA4HdWNkiIzlDlTBU46nS7X8EoAial-bRxowFXAWpPIZjVvpkFtUwJKHw0Nu9OVFlVZhJObvFOlgiSdQ0rI44w0ioLWv66mvEIdilyBK/w640-h264/girl-walks-home-alone-at-night-a-2014-004-girl-walking-at-night_1.jpg" width="640" /></a></div><p><span style="font-family: georgia;"><b>13. </b><span style="background-color: #fef5eb; font-size: 16px;"><b>Ana Lily Amirpour</b> </span></span></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb; font-size: 16px;">Another name I meant to include on my 2020 list! </span><span style="background-color: #fef5eb; font-size: 16px;"><a href="https://www.imdb.com/name/nm3235877/" target="_blank">Ana Lily Amirpour</a> became a definite 'one to watch' when she released her debut feature <i>A Girl Walks Home Alone At Night</i>, another instant cult horror classic, and she also directed one of the most memorable episodes in series one of </span><i>Guillermo del Toro's Cabinet of Curiosities </i>(<i>The Outside</i>).</span></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><b>14. Josephine Decker</b></span></p><p><span style="font-family: georgia, times new roman, serif;"><span style="background-color: #fef5eb;"><a href="https://www.imdb.com/name/nm2528451/" target="_blank">Josephine Decker</a> is a director whose work I still need to discover properly, but <i>Madeline's Madeline</i> is firmly on my 'to watch' list, as it looks like a beautiful, nostalgic film, and she has a further 19 film and television credits to explore.</span></span></p><p><span style="font-family: georgia, times new roman, serif;"><span style="background-color: #fef5eb;"><br /></span></span></p><p><b><span><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif;">15. Deniz Gamze </span><span style="background-color: #fef5eb; font-family: georgia;">Erg</span></span><span style="background-color: #fef5eb;"><span style="font-family: georgia;">üven</span></span></b></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb;">One of two directors from <i>The Handmaid's Tale</i> on this list, </span></span><span><a href="https://www.imdb.com/name/nm2197025/" target="_blank"><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif;">Deniz Gamze </span><span style="background-color: #fef5eb; font-family: georgia;">Erg</span></a></span><span style="background-color: #fef5eb;"><span style="font-family: georgia;"><a href="https://www.imdb.com/name/nm2197025/" target="_blank">üven</a> first came to my attention when I saw her beautiful but cutting 2015 debut, <i>Mustang</i> - a film about five young girls who are gradually being paired up for marriage by their guardians. It's less <i>Pride and Prejudice</i> than it sounds, as the film is closer to <i>The Virgin Suicides </i>in tone, but it holds no punches.</span></span></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><br /></span></p><p><b style="background-color: #fef5eb;"><span style="font-family: georgia, "times new roman", serif; font-size: 16px;">16. Mia Ha</span><span style="font-family: georgia;"><span>nsen-L</span><span>ø</span><span>ve</span></span></b></p><p><span style="background-color: #fef5eb;"><span style="font-family: georgia;"><span>Another director who I've been slow to learn about; I recently saw </span></span><span style="font-family: georgia, "times new roman", serif; font-size: 16px;"><a href="https://www.imdb.com/name/nm0361135/" target="_blank">Mia Ha</a></span><span style="font-family: georgia;"><a href="https://www.imdb.com/name/nm0361135/" target="_blank"><span>nsen-L</span><span style="color: #e69138;">ø</span></a><span><a href="https://www.imdb.com/name/nm0361135/" target="_blank">ve</a>'s <i>Bergman Island</i>, a steady piece which is part naturalist relationship study, part cinephile pilgrimage, and her latest film, <i>One Fine Morning</i> (starring Léa Seydoux) has drawn great reviews from festivals such as Telluride, Toronto, New York and Cannes.</span></span></span></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb;"><br /></span></span></p><p><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC_y8EnbRz3MjUSAr5VK5UKwpOCp8CkiWfiN6oR7KTMlHPLBlYDoHTCVWd-WLry4EcnBWnIBy7VluO5AT6OpNn9nGyihebG4iJ-GiuM3pGI0VCNmrEoLaxvlWEK5FNgvuv6_NZ_bMvLhyxcEHkOvYTjoGG4-PxVx6tfeqXuE8Mj6TkwE9qRaNZYc4k/s2560/Brody-SaintMaud.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1072" data-original-width="2560" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC_y8EnbRz3MjUSAr5VK5UKwpOCp8CkiWfiN6oR7KTMlHPLBlYDoHTCVWd-WLry4EcnBWnIBy7VluO5AT6OpNn9nGyihebG4iJ-GiuM3pGI0VCNmrEoLaxvlWEK5FNgvuv6_NZ_bMvLhyxcEHkOvYTjoGG4-PxVx6tfeqXuE8Mj6TkwE9qRaNZYc4k/w640-h268/Brody-SaintMaud.jpg" width="640" /></a></span></div><p></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb;"><b>17. Rose Glass </b></span></span></p><p><span style="font-family: georgia;">One of many filmmakers on this list who had an incredible debut, <a href="https://www.imdb.com/name/nm3819217/" target="_blank">Rose Glass</a>' <i>Saint Maud</i> was one of the few films that was lucky enough to make it to the big screen in 2020, and thank goodness for that, as her bold, sometimes shocking, directorial choices deserved that platform. She has another film in post-production now - <i>Love Lies Bleeding </i>- and I expect that'll be another one to watch!</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">18. Chinoye Chukwu</span></b></p><p><span style="font-family: georgia;"><i>Till </i>was another of the big snubs at this year's OSCARs, and it only had one nomination (Lead Actress, Danielle Deadwyler) at this year's BAFTAs - with nothing for its director, <a href="https://www.imdb.com/name/nm2703824/" target="_blank">Chinoye Chukwu</a>. As well as <i>Till</i>, her previous credits include <i>AlaskaLand, Clemency</i>, and an episode of <i>Sorry For Your Loss</i>,<i> </i>starring Elizabeth Olsen.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">19. Alice Diop</span></b></p><p><span style="font-family: georgia;">With <i>Saint Omer</i> currently receiving rave reviews, as well as festival selections from places such as Venice and Toronto, you might want to consider rushing out to your local cinema to catch the film while it's still available to watch! Before this, <i><a href="https://www.imdb.com/name/nm4629833/" target="_blank">Alice Diop</a></i>'s previous film and television credits include <i>We</i> and <i>La permanence.</i></span></p><p><i><br /></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWbABnYQAOycwEnDKVa_PowZyEsQpJUIodcsFyv_9XO2-lULwepy7qCU8ynyOttBzo-uFMKOmkuPK76QABqLhgOvcZlXLxa0FsPe9YtjlQ8fSFEcQ5WconHI0AKidiE_kX6VNucd1v2GjLgJywQlXmTtc2oDiJSpqKSA46IEgj4OXpgvIvw4o-XD6q/s1280/image-w1280.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWbABnYQAOycwEnDKVa_PowZyEsQpJUIodcsFyv_9XO2-lULwepy7qCU8ynyOttBzo-uFMKOmkuPK76QABqLhgOvcZlXLxa0FsPe9YtjlQ8fSFEcQ5WconHI0AKidiE_kX6VNucd1v2GjLgJywQlXmTtc2oDiJSpqKSA46IEgj4OXpgvIvw4o-XD6q/w640-h360/image-w1280.jpg" width="640" /></a></div><p><span style="font-family: georgia;"><b>20. Marie Kreutzer</b> </span></p><p><span style="font-family: georgia;">Another recent discovery for me, as I only saw <a href="https://www.imdb.com/name/nm1001232/" target="_blank">Marie Kreutzer</a>'s work for the first time two months ago, when I watched <i>Corsage </i>in a near-empty cinema; the latter fact is inconceivable, as it was an extraordinary film, and more people need to see it. <i>Corsage </i>takes so many creative risks, blending historical epic with a punky spirit and dashes of modern soundtrack choices, and even displaying expressionist production design at times (with the set appearing to shrink around its main subject to suggest her state of mind). It takes a director of incredible skill to juggle all those aspects and still deliver something consistent and considered for the viewer. Marie Kreutzer has that skill, and if it were up to me, she wouldn't have just been nominated for Best Director at the BAFTAs and OSCARs - she'd be winning the darn trophies!</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">21. Maria Shrader</span></b></p><p><span style="font-family: georgia;">As with a few of the filmmakers on this list, <a href="https://www.imdb.com/name/nm0775056/?ref_=nv_sr_srsg_6" target="_blank">Maria Shrader</a> is an actor-turned-director - which may explain some of the subtle creative decisions she made on last year's <i>She Said</i>, an incredibly hard-hitting film which boasted a brilliant ensemble cast. Those performances were given the space to shine (even small parts were given a platform; Samantha Morton only had one scene, but temporarily stole the whole film!), and I have to give Maria Shrader kudos for enabling her actors in this way, whilst also creating a film which was incredibly thrilling and heartbreaking for audiences to watch. Her other directorial credits include <i>I'm Your Man </i>and the television series <i>Unorthodox.</i></span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">22. Joanna Hogg</span></b></p><p><span style="font-family: georgia;">A director of poetically personal work, with a strong use of improvisation, and a champion of the 'Golden Aspect Ratio' within her films, <a href="https://www.imdb.com/name/nm0389712/" target="_blank">Joanna Hogg</a> is perhaps best known for her two-part <i>The Souvenir </i>saga, but she most recently directed <i>The Eternal Daughter </i>(also starring her long-term friend Tilda Swinton), and she has numerous British TV credits to her name, such as <i>London's Burning </i>and an <i>Eastenders </i>TV movie.</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho4Yb8qKvx2mvSaFla9MZiWcJT-7p9PZ2uZ7Q7UheLbS4GtkHAL-RkYuoGL4A7JwZAW5GrOv4vzFfjnmwT3dk8AwmuYTWSrrX3vF1aOGrSQKg6CdooDjisMT3W-aP9xuOnxcieV17P0kzuFKSDUIVs8bszPugQSr2iNqO6owPzRtvkwkAiwrbH5G_y/s1920/MV5BZTNhZDI5MTktZDI1OS00OWNiLWFkZjgtYjcyYzg0ZTllODMzXkEyXkFqcGdeQXVyNzI1NzMxNzM@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho4Yb8qKvx2mvSaFla9MZiWcJT-7p9PZ2uZ7Q7UheLbS4GtkHAL-RkYuoGL4A7JwZAW5GrOv4vzFfjnmwT3dk8AwmuYTWSrrX3vF1aOGrSQKg6CdooDjisMT3W-aP9xuOnxcieV17P0kzuFKSDUIVs8bszPugQSr2iNqO6owPzRtvkwkAiwrbH5G_y/w640-h266/MV5BZTNhZDI5MTktZDI1OS00OWNiLWFkZjgtYjcyYzg0ZTllODMzXkEyXkFqcGdeQXVyNzI1NzMxNzM@._V1_.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;"><b><br /><span style="font-family: georgia;">23. Nia DaCosta</span></b><span style="background-color: #fef5eb; font-family: georgia;"> </span></div><p><span style="font-family: georgia;"><span style="background-color: #fef5eb;">The most recent director to take on the iconic <i>Candyman </i>franchise. I'll admit that I haven't been brave enough to watch the film yet, but I will make myself at some point soon! From what I have seen, there is an incredibly fresh creative flare on display (the film's <a href="https://youtu.be/LykOzECPf8Y" target="_blank">teaser trailer</a> alone was breathtaking), as well as an ability to balance important messages along the way. <a href="https://www.imdb.com/name/nm4804442/" target="_blank">Nia DaCosta</a>'s next film, <i>The Marvels</i>, continues the story of Captain Marvel, a fantastically feminist figure within the saga, and it's firmly on my 'to watch' list for later this year!</span></span></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb;"><br /></span></span></p><p><b><span style="font-family: georgia;">24. Sarah Gavron</span></b></p><p><span style="background-color: #fef5eb;"><span style="font-family: georgia;"><i>Rocks</i> was the 'it' film of the 2021 BAFTA awards, with six nominations - including one for its director - and a further two wins. Everyone involved in the film seemed so excited about the work they were presenting, and it was impossible to not get excited with them. Before then, <a href="https://www.imdb.com/name/nm0310673/" target="_blank">Sarah Gavron</a> had already built up a fantastic credits list over twenty years, with films including <i>Suffragette </i>and <i>Brick Lane</i>.</span></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><b>25. Alice Seabright</b></span></p><p><span style="background-color: #fef5eb;"><span style="font-family: georgia;">A director whose star is on the rise (multiple people have now recommended her work to me), <a href="https://www.imdb.com/name/nm4941469/" target="_blank">Alice Seabright</a> was one of the writers and directors on the deservedly-popular series <i>Sex Education </i>(she also wrote and directed a short film called <i>Sex Ed</i>!), and she recently worked as the showrunner and director on the TV series <i>Chloe. </i>Her short film <i>End-O</i>, starring the excellent Sophia Di Martino, screened at multiple BAFTA and OSCAR-qualifying festivals, and she was named as a 2019 Screen International Star of Tomorrow.</span></span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7dUi_qMqJg4BpPwAZOWrLwGR14AzC-En5PrwDSI6QaroRTMz_dpIrr1HEO1ci5PYkr2bvD6p5rpZ3x7VrSPA_lGZGltvwuTPcn9hdvBfXaJZxWP-p9fh4WZgiEvGzD465E6IPHNfsvFGZdQdtP60hY1AxKUR4gpNbpgMf1Q971xiVUa-pLuBIULEr/s2048/censor-movie-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="868" data-original-width="2048" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7dUi_qMqJg4BpPwAZOWrLwGR14AzC-En5PrwDSI6QaroRTMz_dpIrr1HEO1ci5PYkr2bvD6p5rpZ3x7VrSPA_lGZGltvwuTPcn9hdvBfXaJZxWP-p9fh4WZgiEvGzD465E6IPHNfsvFGZdQdtP60hY1AxKUR4gpNbpgMf1Q971xiVUa-pLuBIULEr/w640-h272/censor-movie-1.jpg" width="640" /></a></div><p><b><span style="font-family: georgia;">26. Prano Bailey-Bond </span></b></p><p><span style="font-family: georgia;">One of the names on everyone's lips in 2021 and 2022, following the success of her bold, sumptuous, and beautifully-brutal debut film <i>Censor</i>, <a href="https://www.imdb.com/name/nm3846547/" target="_blank">Prano Bailey-Bond</a> was listed as a 'Director to Watch' by Variety in 2021, as well as being one of the 2018 <span style="background-color: #fef5eb;">Screen International Stars of Tomorrow. Her next film, <i>Things We Lost In The Fire, </i>is in development now - and the film world awaits it with baited breath!</span></span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><b>27. Runyararo Mapfumo</b></span></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb; font-size: 16px;">Another of the fantastic <i>Sex Education</i> directors on this list, <a href="https://www.imdb.com/name/nm5486712/" target="_blank">Runyararo Mapfumo</a> was also one of twenty filmmakers to have their work funded by the original 'The Uncertain Kingdom' program, following a strong track record of short filmmaking. Runyararo Mapfumo was nominated for a BAFTA for her work on <i>Sex Education, </i>and was then named as one of the 2022 </span><span style="background-color: #fef5eb;">Screen International Stars of Tomorrow.</span></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><b>28. Laura Scrivano</b></span></p><p><span style="font-family: georgia;">A director who has a wonderfully generous spirit as well as heaps of talent (she's kindly taken the time to give me advice on a couple of occasions), <a href="https://www.imdb.com/name/nm4292924/" target="_blank">Laura Scrivano</a>'s television work on <i>The Lazarus Project </i>and <i>Wedding Season </i>has very much brought her into the limelight, following an established career in commercials and short film productions. Her debut feature, <i>Ring Road</i>, was shortlisted for the Sundance Screenwriter's Lab in 2021 and was awarded early development funding by BFI NETWORK.</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsjGVL1iucdt-QpCgvdVScVrrZJL3mpwHX1O40eybA7P1AnFd7-ImxPhFGRPMwLY_RsAZv1ZN4-Zm9T6p_IYuoBscFaI8fD6Ye86wkNsbZ-rj8amInVvHohri6-ww9c45nSy_0fONLjVHdN8AJMAmbzFgN3N45wZNPiw_IF4fjmkfQ3jmyPXfBqFcA/s710/08f76ce2b7a49f94fdd1d2bc314d1a3e09-HMTbedroom2.h473.w710.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="710" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsjGVL1iucdt-QpCgvdVScVrrZJL3mpwHX1O40eybA7P1AnFd7-ImxPhFGRPMwLY_RsAZv1ZN4-Zm9T6p_IYuoBscFaI8fD6Ye86wkNsbZ-rj8amInVvHohri6-ww9c45nSy_0fONLjVHdN8AJMAmbzFgN3N45wZNPiw_IF4fjmkfQ3jmyPXfBqFcA/w640-h426/08f76ce2b7a49f94fdd1d2bc314d1a3e09-HMTbedroom2.h473.w710.webp" width="640" /></a></div><p><span style="font-family: georgia;"><b>29. Reed Morano</b> </span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;">The director of the first three episodes of <i>The Handmaid's Tale</i>, and often credited with creating the show's signature 'look' alongside her cinematographer, <a href="https://www.imdb.com/name/nm1543747/" target="_blank">Reed Morano</a> can bring art into dystopia, and beauty into tension. She applied these skills to her feature film <i>I Think We're Alone Now</i>, an apocalyptic road-movie starring Peter Dinklage and Elle Fanning. Before becoming a director, Reed Morano was an established cinematographer - one of the reasons she can master visuals so well in her directorial work - and she previously lensed music videos for Beyonce<i>, </i>including the music-video-turned-short-film <i>Lemonade</i>.</span></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><br /></span></p><p><b><span style="font-family: georgia;"><span><span style="background-color: #fef5eb;">30</span></span>. Georgia Oakley</span></b></p><p><span style="font-family: georgia;">Alongside Charlotte Wells, <a href="https://www.imdb.com/name/nm2852004/" target="_blank">Georgia Oakley </a>was another filmmaker honoured with a nomination for Outstanding Debut at this year's BAFTAs, as well as receiving a range of nominations and one award win at the BIFAs, off the back of her first feature film <i>Blue Jean</i>. Before then, Georgia Oakley had been steadily creating a name for herself with multiple award-winning short films, such as <i>Little Bird </i>(starring Imelda Staunton), and she was selected for Berlinale Talents as well a Creative England's iFeatures scheme. I was lucky enough to take part in a round table discussion with Georgia Oakley at BAFTA Guru Live a few years back, and it's wonderful to see her receiving so much praise now.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">31. Sarah Polley</span></b></p><p><span style="font-family: georgia;">In a similar situation to <i>CODA</i>, this year's OSCAR nominations included a Best Picture nod for <i>Women Talking</i>, as well as one for Best Adapted Screenplay, but no Best Director nomination for <a href="https://www.imdb.com/name/nm0001631/" target="_blank">Sarah Polley</a>. As with Maria Shrader, Sarah Polley's career started in front of the camera - and she in turn has nurtured some incredible performances out of her cast in <i>Women Talking</i>. Her previous directorial credits include <i>Take This Waltz </i>and <i>Stories We Tell.</i> </span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc657deGvko_bADzWQCebrrHVYS4jq8Mj4AWCbAPzLeY8Rt-5O_r3qNKzabu_NUaxOrDm999crndYfroS09ZmneTNCscPMeXNNG-T-tlqvdSUn7iMby1E2aPfh9t6tRLgoilCuxSRZF7yFGODjGyqF1NYvrwu-MwKc_aQ_hHuBSiFu21nTonv0XiMX/s2048/unnamed-2048x1008.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1008" data-original-width="2048" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc657deGvko_bADzWQCebrrHVYS4jq8Mj4AWCbAPzLeY8Rt-5O_r3qNKzabu_NUaxOrDm999crndYfroS09ZmneTNCscPMeXNNG-T-tlqvdSUn7iMby1E2aPfh9t6tRLgoilCuxSRZF7yFGODjGyqF1NYvrwu-MwKc_aQ_hHuBSiFu21nTonv0XiMX/w640-h316/unnamed-2048x1008.png" width="640" /></a></div><p><b><span style="font-family: georgia;">32. Claire McCarthy</span></b></p><p><span style="font-family: georgia;">As well as being a filmmaker, <a href="https://www.imdb.com/name/nm2113122/" target="_blank">Claire McCarthy</a> is also a fantastic artist (I recommend you check out her paintings on <a href="https://www.instagram.com/clairemccarthyartist/" target="_blank">Instagram</a>), and her keen eye for colour pours through into her cinematic work. This is particularly visible in her debut feature film <i>Ophelia</i>, starring Daisy Ridley and Clive Owen, which is as much a tribute to the John Everett Millais painting as it is to William Shakespeare. Claire McCarthy's other noteable credits include <i>The Luminaries </i>and <i>The Colour Room</i>, and she's currently working towards her second feature, <i>The Personal History of Rachel Dupree</i>, starring Viola Davies.</span></p><p><br /></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><b>33. Frances O'Connor </b></span></p><p><span style="font-family: georgia, times new roman, serif;"><span style="background-color: #fef5eb;">Time for a quick trio of directors who are best known for their acting work - first up, <a href="https://www.imdb.com/name/nm0640323/" target="_blank">Frances O'Connor</a>, a favourite in my household when I was growing up, due to her work in period dramas. Because of her past credits, it wasn't surprising when she decided to tackle Bronte for her debut film, with the 'biographical' <i>Emily</i>, which came out last year. Even if I took issue with the accuracy of the script and the characters, the film showed some interesting directorial choices and assured use of atmosphere.</span></span></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><br /></span></p><p><span style="background-color: #fef5eb; font-family: georgia, "times new roman", serif; font-size: 16px;"><b>34. Maggie Gyllenhaal</b></span></p><p><span style="font-family: georgia, times new roman, serif;"><span style="background-color: #fef5eb;">For <a href="https://www.imdb.com/name/nm0350454/" target="_blank">Maggie Gyllenhaal</a>'s directorial debut, she also harnessed her experience in independent dramas by delivering the raw and honest film <i>The Lost Daughter</i>, featuring some brilliant performances from Olivia Colman, Jessie Buckley and Dakota Johnson. Gyllenaal has always pursued interesting projects (such as <i>Frank </i>and <i>Secretary</i>), and although she doesn't have another feature announced at this stage, I'll be interested in seeing what she does next.</span></span></p><p><span style="font-family: georgia, times new roman, serif;"><span style="background-color: #fef5eb;"><br /></span></span></p><p><span style="background-color: #fef5eb; font-family: georgia; font-size: 16px;"><b>35. Elizabeth Banks</b></span></p><p><span style="font-family: georgia;">Following an acting career that predominantly included comedy titles (as well as a scene-stealing role in the <i>Hunger Games</i> saga), <a href="https://www.imdb.com/name/nm0006969/" target="_blank">Elizabeth Banks</a> brought her talents to the crowd-pleasing <i>Pitch Perfect </i>series, for which she produced every entry into the franchise, and directed one. After a an original approach to <i>Charlies Angels</i> fell a little flat with critics, Elizabeth Banks had a 'and now for something completely different...' moment, and directed the joyously barmy 'Cocaine Bear', which is currently being enjoyed in cinemas (at the time of writing this blog post, it's the number 3 film at the UK box office).</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0H6QKnqHRVmnbEJ-aMZG5uNIEm5p9Cmsxadru0oaaqdt9nkR0h0tgGoLjxWlGq_d9m7XGwDtgpWvdfKkwf5GtFssBjahiIIBmKn1_GaAZtyhJWt-Tt_VjLbimbzGKIl5qmIUq41PG_MonQbtbxgzMinwq0YUL0wwof-0e86pn-MIa2aRkA6RoPvdi/s721/1_tBrV3kEIYN83gev_N4PvSQ.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="721" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0H6QKnqHRVmnbEJ-aMZG5uNIEm5p9Cmsxadru0oaaqdt9nkR0h0tgGoLjxWlGq_d9m7XGwDtgpWvdfKkwf5GtFssBjahiIIBmKn1_GaAZtyhJWt-Tt_VjLbimbzGKIl5qmIUq41PG_MonQbtbxgzMinwq0YUL0wwof-0e86pn-MIa2aRkA6RoPvdi/w640-h464/1_tBrV3kEIYN83gev_N4PvSQ.jpeg" width="640" /></a></div><p><span style="font-family: georgia;"><b style="font-size: 16px;">36. Alice Guy Blaché</b><span style="background-color: #fef5eb; font-size: 16px;"> </span></span></p><p><span style="font-family: georgia;"><span style="background-color: #fef5eb; font-size: 16px;">And finally, a director I should've included on this list years ago, because she was the first-known female director. <a href="https://www.imdb.com/name/nm0349785/" target="_blank">Alice Guy </a></span><span style="background-color: #fef5eb;"><span style="font-size: 16px;"><a href="https://www.imdb.com/name/nm0349785/" target="_blank">Blaché</a></span><span style="font-size: 16px;"> started her career in 1896 as a secretary at Gaumont, before going on to direct a whopping 457(!) productions (at one point she was said to have averaged at turning out two films a week!), as well as founding her own production company, the Solax Film Company, with her husband in 1910. Filmmaking was a new medium at the time, but </span></span><span style="background-color: #fef5eb; font-size: 16px;">Alice Guy </span><span style="background-color: #fef5eb;"><span style="font-size: 16px;">Blaché</span><span style="font-size: 16px;"> clearly wasted no time in embracing this technology, and I don't know why more film students aren't taught more about her pioneering work.</span></span></span></p><p><span style="background-color: #fef5eb;"><span style="font-family: georgia;">At the turn of the twentieth century, she made a statement which many female directors can still relate to today: "My youth, lack of experience, my sex all conspired against me." But that didn't stop her from directing 457 films!</span></span></p><p><span style="font-family: georgia;">_<br /><br /></span></p><p><span style="font-family: georgia;"> So that's my main list over for another year - and if there's a director I've missed on this or either of my previous lists, who you think I should know about, please leave a comment below so we can all learn about their work!</span></p><p><span style="font-family: georgia;"> But before I end this post, as with my 2020 list, I want to give a shout-out to female directors I've met, worked with, or connected with personally in recent years. All of these women are grafting away making incredible work that you may not be aware of yet (you will be, soon!), and I was lucky enough to mentor three of them earlier this year:</span></p><p><span style="font-family: georgia;"> Katie Smith, Jo Lewis, Jo Southwell, Milda Baginskaite, Haley Muraleedharan, Emmalie El Fadli, Abbie Lucas, Jayne Slater, Cassiah Joski-Jethi, Leanne Davis, Ana Pio, Jessica Hynes, Marie Jamora, Mingyu Lin, Aella Jordan-Edge, Mari Eesmaa, Siobhan Cannon-Brownlie, Georgie Levers, and Lara Peake. You're all smashing it; happy International Women's Day to you all!</span></p><p><b style="font-family: georgia; font-size: x-large;">Sophie</b></p><p><span style="font-family: georgia;"><br />P.s. If anyone reading this post would like to discover the work of more female directors, I recommend Mark Cousins' in-depth documentary <i><a href="https://www.amazon.co.uk/Women-Make-Film-Through-Blu-ray/dp/B084DG1BN2/" target="_blank">Women Make Film</a> </i>as a great starting point!</span></p><div><span style="font-family: georgia;"><i><br /></i></span></div>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-71493461468821189202023-02-28T01:08:00.009-08:002023-10-29T08:58:54.294-07:00A Different Approach: The Journey of Room 515<p><span style="font-family: georgia;"></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyKKaJRC1Xw801P2CPtuojHGLQioX9oTYnn-INr8eItQRbFMI2k4GkV9gT3bFo0JN0_BQFzVcI6VfVNOiXpeoBl63znJBiOYcFi9DXPsa_Ok4rF-DYdQswQSJ0XV6046MqgF5FX8AAihk3yOCbjNiU837jxws4JAmwtH24F9yWyFoZiIGfOcRlFv29/s5172/0011%20edited.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3628" data-original-width="5172" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyKKaJRC1Xw801P2CPtuojHGLQioX9oTYnn-INr8eItQRbFMI2k4GkV9gT3bFo0JN0_BQFzVcI6VfVNOiXpeoBl63znJBiOYcFi9DXPsa_Ok4rF-DYdQswQSJ0XV6046MqgF5FX8AAihk3yOCbjNiU837jxws4JAmwtH24F9yWyFoZiIGfOcRlFv29/w640-h448/0011%20edited.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The clapperbord on day two of the <i>A Different Place</i> shoot, still labelled up with its original title! Photo by our unit photographer, Shelley Richmond]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Today marks exactly one year since cameras rolled on </span><i style="font-family: georgia;">A Different Place</i><span style="font-family: georgia;">, the beautiful short film made possible by BFI NETWORK and National Lottery funding - and one of the projects I'm most proud of.</span></p><p><span style="font-family: georgia;"> For anyone who follows my work, it may have seemed like <i>A Different Place</i> came out of nowhere. From 2017 onwards, after my team and I completed <i><a href="https://www.triskellepictures.co.uk/songbird" target="_blank">Songbird</a></i>, I focused my time predominantly on developing a larger-scale short film (which eventually fell through in 2021, as we were unable to secure enough funding to make it happen), and apart from that I only shot a couple of micro-budget shorts: <i><a href="https://www.triskellepictures.co.uk/poison-ivy" target="_blank">Growing Shadows</a> </i>in 2018 and <i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a></i> in 2019. But in truth, <i>A Different Place</i> was a film I'd been lucky enough to have in my back pocket for quite a while, waiting for the right opportunity to bring it into the world...</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><u>THE SCREENPLAY</u></span></p><p><span style="font-family: georgia;"> As most films do, it all started with a script. <a href="https://www.tommydwriter.co.uk/" target="_blank">Tommy Draper</a> and I have collaborated countless times now, he's my creative partner-in-crime, and yet when he sent me the first draft of the script, I was still surprised by how incredible it was. It was such a raw, honest piece, with a real element of Tommy's true voice coming through in his writing. </span></p><p><span style="font-family: georgia;"> That was late 2018. At that point, the script was entitled 'Room 515', and the lead characters were then called Catherine and Bethany; yet the core message at the heart of the film rings as true now as it did the moment I first read that early draft. Whatever the names, it is a film about a middle-aged woman, no longer comfortable in her own body, who has kept her true sexuality a secret for the sake of keeping her family together. It hit me on an emotional level, and I could instantly picture how I'd shoot the scenes, so I begged Tommy for the rights straight away.</span></p><p><span style="font-family: georgia;"> Even though subsequent drafts of the script have stayed faithful to the story we wanted to tell, that's not to say it didn't change along the way. We went through a lengthy script development process over the following years. Tommy was eventually joined by a co-writer, the wonderful <a href="https://www.imdb.com/name/nm9312032/" target="_blank">Z. Igbe</a>, who brought a fresh, modern perspective to the material (we had originally considered setting the film in the early 2000s), and paid particularly attention to the character of Bethany, who we then renamed Cleo. Later on, the script was put through its paces even further when we were lucky enough to be paired up with the legendary Script Editor <a href="http://www.kateleys.co.uk/biog/" target="_blank">Kate Leys</a> (whose credits include <i>Trainspotting</i>, <i>Four Weddings And A Funeral</i>, <i>Girl With A Pearl Earring</i>, and many more). Once we shook off how star-struck we were feeling even talking to Kate, we took some invaluable advice on board.</span></p><p><span style="font-family: georgia;"> (I could talk on length about the script development process for this film, as it was hefty, and I'm slightly fascinated by how we reached the final draft - but that, perhaps, is a blog post in itself).</span></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxjoRV7eUHE06FitVxxJtVso2l2Cy2ekZMyMiSn4w0ofPt0qdu8I4dQlb67nsGNonqgFV2TOM2-Hvm87Y4TnwbOLqnsYCk6daHMXW0WFXEfOuEuZoax4QGi3NJwfYDst3nnAtCxRfo3r3YhhF8md78b_hlqBMsXSypupBbidZKcMZ9PyTZ4wS4Kv1P/s1437/IMG_20190506_201955_895.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1046" data-original-width="1437" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxjoRV7eUHE06FitVxxJtVso2l2Cy2ekZMyMiSn4w0ofPt0qdu8I4dQlb67nsGNonqgFV2TOM2-Hvm87Y4TnwbOLqnsYCk6daHMXW0WFXEfOuEuZoax4QGi3NJwfYDst3nnAtCxRfo3r3YhhF8md78b_hlqBMsXSypupBbidZKcMZ9PyTZ4wS4Kv1P/w640-h466/IMG_20190506_201955_895.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The moment I met Denyce Blackman at a Flatpack Film Festival networking event, shortly after a BFI NETWORK Talent Lab]</td></tr></tbody></table><br /><p><u>EARLY DEVELOPMENT</u> </p><p><span style="font-family: georgia;"> In Summer 2019, when I took part in a great Talent Lab at <a href="https://flatpackfestival.org.uk/" target="_blank">Flatpack Film Festival</a> in Birmingham, I met the producer <a href="https://www.instagram.com/blackdenyce/" target="_blank">Denyce Blackman</a> at a networking session. I took a huge liking to her straight away (she may be one of the coolest people I've met!), and I told her about the then-named 'Room 515'. Denyce agreed to come on board as producer, and we spent the next few months planning the shoot and applying for different funding pots. It was during that time that <a href="https://www.michelledarkinprice.com/" target="_blank">Michelle Darkin-Price</a> was first attached to the project as Catherine (later renamed Evelyn); I'd loved working with her in smaller roles on my previous films, and I was eager to give her a lead role for a change. Plus Tommy had pictured her in the role when he was first writing the script, so it seemed meant to be. </span></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGewf0ZRefdgUyVZqVdFf0zhldwyvV8ZOB1wkgfF2ceqjiuZfzdALgQeLWyCpIdT2Qwr6hvOGmMNKRC6PZ5rPXWThTLAjyoXQBcKDRP80wn_zxdP7YFxHmtyhDCjGwctcTke_qU9z3fP1eWFz9smAvbPRCgIcjZjKPxqY9X09jv-aRmm0KZ7etoPxm/s5184/IMG_7080.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5184" data-original-width="3456" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGewf0ZRefdgUyVZqVdFf0zhldwyvV8ZOB1wkgfF2ceqjiuZfzdALgQeLWyCpIdT2Qwr6hvOGmMNKRC6PZ5rPXWThTLAjyoXQBcKDRP80wn_zxdP7YFxHmtyhDCjGwctcTke_qU9z3fP1eWFz9smAvbPRCgIcjZjKPxqY9X09jv-aRmm0KZ7etoPxm/w266-h400/IMG_7080.JPG" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Early development involved<br />a shoot with a Hi-8 tape camcorder!]</td></tr></tbody></table><span style="font-family: georgia;"> Michelle and I recorded a little demo scene to include in our funding applications. Because, as I said, the film was originally set in the early 2000s, we decided to make a little 'dating tape' type film, with Michelle in character as Catherine, to use as a sort of teaser trailer for the project. <br />I even got my very first camcorder out of retirement to record the piece, to give it an authentic look! That 'dating tape' was shelved when we changed the time period of the film, and when Michelle's character stopped being called Catherine, but I want to find a way to release it at some point, as Michelle gave a fantastic performance. We even watched it together on the first day of filming 'A Different Place', to remind us of how we started, and how far the project had come since then.</span><p></p><p><span style="font-family: georgia;"> We weren't able to secure funding by the end of 2019, but we were confident the project - being relatively small in scale - wouldn't take too much longer to go into production. Unfortunately, we all know what happened next: the Covid-19 pandemic brought the world to a crashing stop. Obviously, Lockdown affected all productions, and almost all forms of work in general, but it caused two significant things to happen in relation to this project. Firstly, Denyce left England and went back to live with her family in Barbados. Secondly, the economic crisis caused by the pandemic meant that crowdfunding wouldn't be an option, and it also prompted me to shelve my 'big project', the main short film I had been developing, until there were more funding sources available.</span></p><p><span style="font-family: georgia;"> With 'Room 515' then the main film on my slate, I was able to dedicate more time to it, and a new option presented itself...</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><u>PRE-PRODUCTION</u></span></p><p><span style="font-family: georgia;"> After meeting with my local talent executive, Alexzandra Jackson (one of the nicest people you could possibly meet), in March 2021, I then put 'Room 515' forward for short film funding from BFI NETWORK and the National Lottery. I had been aware of their great work for years, and working with them was very much on my career bucket list, so I'm sure you can imagine my delight when we got the green light. Everyone at BFI NETWORK and <a href="https://network.bfi.org.uk/film-hub-midlands" target="_blank">Film Hub Midlands</a> was a dream to collaborate with, and so supportive, from helping connect us to great talent </span><span style="font-family: georgia;">(such as Kate Leys)</span><span style="font-family: georgia;">, to giving respectful, insightful notes during the edit stage.</span></p><p><span style="font-family: georgia;"> In order to apply for funding, however, we needed a producer who was based in the UK. This was something Denyce supported; although she still loved the project, and was proactive from afar, she suggested that we needed someone 'on the ground' to visit locations and be on set with us. I knew that no one could replace Denyce, so it was more of a matter of expanding our team, creating a sort of relay effect between some brilliant women; you see, we ended up with not one English producer, but two - <a href="https://www.katiesmithfilm.co.uk/" target="_blank">Katie Smith</a>, who has some stunning short film work under her belt (as well a career as a food photographer; she sure can can multi-task!), and <a href="https://www.imdb.com/name/nm6707561/" target="_blank">Charlie Clarke</a>, one of my beloved regular collaborators. Charlie is usually my 1st AD (she also played the lead role in <i>Lepidopterist</i>), so having her step up to the role of producer on this special short film was quite an emotional moment for both of us.</span></p><p><span style="font-family: georgia;"> The project was also supported by Associate Producer <a href="https://www.instagram.com/bflynnfilms/" target="_blank">Bernadette Flynn</a>, and with <a href="https://www.imdb.com/name/nm10998819/" target="_blank">Rico Johnson-Sinclair</a> acting as a Consultant Producer; I will forever be grateful for everything they both brought to the project, as it wouldn't be the film it is without either of them.<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8uxddmNNwIXpwqYjcGgFSpU7WzohgNcRO5D18lMdrs0or8Hz8U4-dYiKA2wlucGC_KG6k6dRUHDViKyYDKEvJfVXsdWOfRgSGtHS4UY_zn6Ug3rO07y7U-OseWZhFjCV3tW3VfsAQU0AkmLjyI53nwnugQrnF6D5QQZmHV75EOR5opFxoxS13mSjJ/s5184/IMG_8427.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="5184" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8uxddmNNwIXpwqYjcGgFSpU7WzohgNcRO5D18lMdrs0or8Hz8U4-dYiKA2wlucGC_KG6k6dRUHDViKyYDKEvJfVXsdWOfRgSGtHS4UY_zn6Ug3rO07y7U-OseWZhFjCV3tW3VfsAQU0AkmLjyI53nwnugQrnF6D5QQZmHV75EOR5opFxoxS13mSjJ/w640-h426/IMG_8427.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: A sneaky glimpse at my storyboards from the film]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> With our above-the-line team assembled, we then dove deep into pre-production and started hiring the rest of our crew. Some collaborators were people myself or the producers had worked with before - such as composer <a href="https://www.imdb.com/name/nm2108476/?ref_=ttfc_fc_cr8" target="_blank">Joni Fuller</a>, Script Supervisor <a href="https://www.imdb.com/name/nm3136498/?ref_=ttfc_fc_cr25" target="_blank">Erika Zeckser Owen</a>, Sound Recordist <a href="https://www.imdb.com/name/nm8931491/?ref_=ttfc_fc_cr15" target="_blank">Matthew Jones</a>, Stills Photographer <a href="https://www.shelleyrichmondphoto.co.uk/unit-stills-bts" target="_blank">Shelley Richmond</a>, make-up artist <a href="https://www.imdb.com/name/nm7593746/?ref_=ttfc_fc_cr13" target="_blank">Katie Jane Ford</a>, costume designer <a href="https://www.sallyhodgson.co.uk/" target="_blank">Sally Hodgson</a>, and of course we still had Michelle Darkin Price on board (she was delighted the film was finally happening!) - but we also searched further afield for new voices to be brought on set. This was partly because of peoples' availability changing post-Covid, but also because of the film's subject matter, and our commitment to creating more diverse teams on all our productions moving forwards. Just some of these new faces included 1st AD <a href="https://www.imdb.com/name/nm11170961/?ref_=ttfc_fc_cr14" target="_blank">Thomas Longstaff</a>, DOP <a href="https://ljcollins.co.uk/home-page" target="_blank">Luke J. Collins</a>, Production Designer <a href="https://www.imdb.com/name/nm13560548/?ref_=ttfc_fc_cr11" target="_blank">Danni Ebanks-Ingram</a>, Editor <a href="https://www.emmalieelfadli.com/" target="_blank">Emmalie El Fadli</a>, Gaffer <a href="https://mattglaz.uk/" target="_blank">Matt Glaz</a>, Intimacy Coordinator <a href="https://looptalent.co.uk/portfolio/haley-muraleedharan/" target="_blank">Haley Muraleedharan</a>, and Sound Editor <a href="https://www.waverleyhudsonsound.co.uk/about-1" target="_blank">Felix Waverley-Hudson</a>, all of whom were a joy to work with. (For the record, <i>everyone</i> on this project was a joy to work with, whether or not I've named you in this single blog post).</span></p><p><span style="font-family: georgia;"> [Note: I could also do a whole separate blog post about the cinematography planning Luke J. Collins and I did, as it involved some wonderfully creative techniques like using lamps for key lights, and we looked at some unlikely inspiration</span><span style="font-family: georgia;"> sources such as period dramas and the artwork of Jack Vetriano. Let me know if that's of interest to people, as there's too much for me to include here!]</span></p><p><span style="font-family: georgia;"> And of course, Michelle was joined by a perfect co-star: <a href="https://www.redtalentmanagement.com/henry-adaya/" target="_blank">Adaya Henry</a>, who took the role of Cleo. Although we hadn't met Adaya before now, it was like her role had been written for her as well, and I was over the moon with our cast as a whole. It's worth noting that casting this film was the first and only time I've auditioned actors over Zoom, as the affects of the pandemic were still heavily felt at that stage, but the potential chemistry between Michelle and Adaya was still palpable, even when they were separated by tiny, pixelated windows.</span></p><p><span style="font-family: georgia;"> By the start of 2022, we had our team, we had our location, we had our funding, and the script was on its final draft. This film, that we'd loved for so long, was finally about to become a reality. There was just one more thing to address before the cameras rolled - and it's something which I think is really important to share...</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghl_jDcJAhnbqpOGU0ESOVFROsdc0ZgsMABg4dTswT6IQxtKD0DgWvgf3400cISSSax5ciCE2Cgl0rgMlJ0RaSG9OYlrFSl79MZsdjYyu1ISrzZMX0YBAb8ObNNJZJ8mve1DAh4-QHEUCMJRVco6GvnSYP5KQx5ImTOJBPzZb8uNW9JiuigfW1fCpH/s5184/IMG_8421.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="5184" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghl_jDcJAhnbqpOGU0ESOVFROsdc0ZgsMABg4dTswT6IQxtKD0DgWvgf3400cISSSax5ciCE2Cgl0rgMlJ0RaSG9OYlrFSl79MZsdjYyu1ISrzZMX0YBAb8ObNNJZJ8mve1DAh4-QHEUCMJRVco6GvnSYP5KQx5ImTOJBPzZb8uNW9JiuigfW1fCpH/w640-h426/IMG_8421.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Some of the books I studied during pre-production]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"><u>THE DIRECTOR'S PREP</u></span></p><p><span style="font-family: georgia;"> All the way through pre-production, as is the nature of pre-production, things moved very fast; there was loads to get wrapped up ahead of the shoot, and many meetings to be had, so it was an adrenaline-fueled time. I even cleared the month in my calendar leading up to the shoot, as much as I could, so that I could give everything to the project (partly because I loved it, and also because I wanted to reward the BFI NETWORK's faith in us, to the best of my ability), which was a bit of a scary decision, as I knew I'd have to turn down work and tighten my belt a bit as a result.</span></p><p><span style="font-family: georgia;"> Then, about a week or two before the shoot, something in me just felt a bit... off. I was unsettled, whereas before I'd just felt excited, and I couldn't figure out why my mood had suddenly switched. I knew it wasn't a lack of confidence in the project; I loved the story as much as I had done in 2018, and we'd hired a talented team who were at the top of their game, so I knew they were going to deliver. And I didn't necessarily doubt my own abilities; I had a little of the normal pre-shoot anxiety, but this was also going to be my ninth short as a director, and I'd certainly had long enough to know what I wanted to do with this film. I hadn't directed in two years, because of the pandemic, but that just made me desperate to get back on set again, more than it being a cause for concern.</span></p><p><span style="font-family: georgia;"> Eventually, I realised what was making me so uncertain: it was the fact that the majority of the people who'd be on set had never worked with me as a director. Some of them I hadn't even met, beyond Zoom meetings and emails. </span></p><p><span style="font-family: georgia;"> Until now, I had worked with pretty much the same group of people on my shorts, and they had become like a comfort blanket to me. I knew they trusted me and my work, they'd seen me deliver time and time again, and I rarely needed to explain my thought process to them. Now, all of a sudden, I had to prove myself to a new group of people, gain their respect and encourage them to do their best work. And that daunted the cr*p out of me.</span></p><p><span style="font-family: georgia;"> Having figured out the problem, I spoke to Charlie about my concerns. In the past, as she'd been my 1st AD, she was usually my right-hand man on set; but this time round I knew she'd mostly be in the production office, so she wouldn't always be there to prove to my team that I'm not a massive fraud! I said to her, "Charlie, I've got to direct lots of new people, for the first time in years!" And her reply was so profound, so right, that it really stuck with me. She said, "Of course you do. Otherwise how will you ever grow?"</span></p><p><span style="font-family: georgia;"> That shook me into action. I <i>wanted</i> to grow, and it was time for me to embrace this next challenge. So I decided to counteract my self-doubt by prepping harder than I've ever prepped before; I wanted to guarantee that, by the time I got to set, I would be the most prepared person in the room, even moreso than I already was, and that I would definitely have an answer for any question that might come my way. It was like cramming for an exam, and I maybe went beyond the call of duty, but it was enough to give me the confidence kick I needed.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvVfbTc3pWjcFKpO9vcemQW-cp92mBNDJ-J8QVLJfeLdmsM8-4M4sz9r0a8Fkb7zS9ButMt8q4QGiD14QRc9yAAs7CSsEBlC5lKN5ToMKB1UbYDMi6FCE-7pZ4UU0UEJZSb_PbVTAAtJcrPBNK1rbMAUz2t38sNrOYQvmgFk7pTrNvsiwIRpoRV2d/s5184/IMG_8435.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="5184" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFvVfbTc3pWjcFKpO9vcemQW-cp92mBNDJ-J8QVLJfeLdmsM8-4M4sz9r0a8Fkb7zS9ButMt8q4QGiD14QRc9yAAs7CSsEBlC5lKN5ToMKB1UbYDMi6FCE-7pZ4UU0UEJZSb_PbVTAAtJcrPBNK1rbMAUz2t38sNrOYQvmgFk7pTrNvsiwIRpoRV2d/w640-h426/IMG_8435.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: How I formatted my shooting scripts]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Here's all the actions I took in that final stage of pre-production (in addition to the general Zoom meetings/phone calls with crew, location visits, and storyboarding):</span></p><p><span style="font-family: georgia;">- I read a book on directing basics. Yes, even though this was my ninth short! It was a book that was first recommended to me back in Film School, nearly fifteen years ago. I did this partly to reassure myself that I knew what I was doing, but also to remind myself of any techniques I'd forgotten. I started re-reading some other directing books, too, but ran out of time to complete these.</span></p><p><span style="font-family: georgia;">- I drew out the script in multiple formats: </span></p><p><span style="font-family: georgia;">1) The regular version of the script with my general 'director's scrawl notes' in the margins, including my early ideas for blocking and the like.</span></p><p><span style="font-family: georgia;">2) The storyboards.</span></p><p><span style="font-family: georgia;"> 3) A version of the script which just focused on the shots, with shot lines drawn on so that I could be sure I was getting enough coverage for the edit.</span></p><p><span style="font-family: georgia;">4) A shooting script with a 'cheat sheet' type breakdown, summarising what each department needed to focus on in each scene, what the main 'theme' for each scene was, and how that scene would relate to any subsequent scenes and the story as a whole.</span></p><p><span style="font-family: georgia;">And 5), a breakdown of each character's <u>thoughts</u> at every stage of the script, in order, including their main motivation for each scene, and if they had any inciting incidents that could suddenly change their thought process. This fifth version of the script wasn't shown to anyone, as I like my actors to bring themselves into their roles and suggest their own thought processes, but I wrote it out so that I'd have an answer <u>in case</u> they wanted me to say what their character was thinking at any moment.</span></p><p><span style="font-family: georgia;">- Finally, when sitting with the script again just before the shoot (usually over breakfast, as I'd arrive on location early every day), I'd think about any parts of the script I'd 'misremembered'; because we'd been working on the film for so long, and because there had been so many iterations, there were times when I'd come to imagine moments differently to how they were on the page. I'd ask myself why I'd misremembered these parts, whilst also reminding myself of exactly what was written down, and keep the alternative options in the back of my mind in case we needed to try anything different during rehearsals.<br /><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGrkklLFOAEVLHVHhBY-aL07mNDuG2NPN9y1bS8ZS1gQn8RIz1nVwW__n84DaV9hjfsXqMyX_09QovW5-GNSnNCr75paJGxpHKQ2PilCUcemTR25Ims7iVHlEq8S3D6XUEILmwei6hwUdv1-mR0VWzrwsnZKT9OKbqJ6DZCb8XmrN43n2d7nviMG1/s6720/0115.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4480" data-original-width="6720" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGrkklLFOAEVLHVHhBY-aL07mNDuG2NPN9y1bS8ZS1gQn8RIz1nVwW__n84DaV9hjfsXqMyX_09QovW5-GNSnNCr75paJGxpHKQ2PilCUcemTR25Ims7iVHlEq8S3D6XUEILmwei6hwUdv1-mR0VWzrwsnZKT9OKbqJ6DZCb8XmrN43n2d7nviMG1/w640-h426/0115.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: With my crew - and displaying a rather intense but genuinely excited expression - on the set of <i>A Different Place</i>. Photo by Shelley Richmond]<br /><br /></td></tr></tbody></table><p><span style="font-family: georgia;"> I put all of my research notes into a folder, and kept this with me at all times during the shoot. I didn't intend on looking at it on set - I wanted to 'go with the flow' and feel the moment, to a degree - but I wanted the reassurance of having it written down, and proving to myself that I had considered everything carefully. And, apart from one moment I can recall on set where I had to take a brief walk and figure out exactly what I was trying to say, I was able to feel very assured about all the directions I gave, both to my cast and my crew.</span></p><p><span style="font-family: georgia;"> And actually, on reflection, I don't feel like I'd done 'too much' prep after all; I'd almost forgotten how intense and fast-paced life on set can be, so there often wasn't time to 'go with the flow' and try things, and it really helped me to have detailed notes and a clear plan of action to relay to my team when needed, particularly with complicated scenes like the film's opening montage.</span></p><p><span style="font-family: georgia;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Uxlz8lnFpK5olbRFvAvZA6sw5nLSLuFf2tMWIjV-uGVd7k6-r5pDIzV661yQubC0CvlX3DafAaSlDm34wYdXrinJDNYpgCGhZryvb8E3lHFbgA25sytVNqNspS-YpXPT_-_2yfE73xGrAK8ltPy9F61xDknpxdU4sprADsUlBL45LTxfVEmNs5c5/s6720/0040.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4480" data-original-width="6720" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Uxlz8lnFpK5olbRFvAvZA6sw5nLSLuFf2tMWIjV-uGVd7k6-r5pDIzV661yQubC0CvlX3DafAaSlDm34wYdXrinJDNYpgCGhZryvb8E3lHFbgA25sytVNqNspS-YpXPT_-_2yfE73xGrAK8ltPy9F61xDknpxdU4sprADsUlBL45LTxfVEmNs5c5/w640-h426/0040.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Looking over the storyboards with DOP Luke J.Collins and actor Michelle Darkin Price. That folder also contained pages of written 'director prep'. Photo by Shelley Richmond.]</td></tr></tbody></table><br /><p><u><span style="font-family: georgia;">THE SHOOT</span></u></p><p><span style="font-family: georgia;"> So, after years of development, finally we were all together, on set, making the film we all felt so passionate about. It was a wonderful feeling, but it was also emotional - in no small part down to the beautiful rehearsal process we carried out at the start of Day One, aided by Haley, who helped us create an honest space where we could all safely share whatever we needed to. I've never worked with an Intimacy Coordinator before, and I suppose you could call that another challenge, as a director - but actually, Haley made the process so rewarding, I just wished I could go back in time and have her with me on my previous shorts!</span></p><p><span style="font-family: georgia;"> The shoot felt bittersweet, too; not only had we come through a pandemic, so we were lucky to be there, and finally back working/making art again, but the war in Ukraine (a place very dear to my family) had just broken out a couple of days before the shoot, and our hearts were with all those affected. A nuclear threat had just been made, on a global scale, and so we didn't know what was going to happen next, but we all had to just throw ourselves into our work, living for the moment as much as we could. </span></p><p><span style="font-family: georgia;"> Those three days went too quickly, as all good shoots do; and when we made our final speeches, taking everyone's hard work, all the years of waiting, and current world events into account, I could only express how grateful I was. Grateful to be standing there, alive, healthy, and doing what I loved most, surrounded by the best cast and crew I could've ever hoped for.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv72Ou-DSEpSU3wG3LiS_856fI71DBtizTGyEEirZcY7r8E14rjjaGzKjwJC9PFfiqoasc2hvAmDfupsmjikEJ6A5V-PSCw8z02T21ISogF8k_n41l2utAM9Z670rbog2ZUw2yF2BRW-zRUdlN3YuMUIsX9PfWJjyuT7zvYgUHhQ7QwVB8l43qtRfg/s6720/0274.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4480" data-original-width="6720" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv72Ou-DSEpSU3wG3LiS_856fI71DBtizTGyEEirZcY7r8E14rjjaGzKjwJC9PFfiqoasc2hvAmDfupsmjikEJ6A5V-PSCw8z02T21ISogF8k_n41l2utAM9Z670rbog2ZUw2yF2BRW-zRUdlN3YuMUIsX9PfWJjyuT7zvYgUHhQ7QwVB8l43qtRfg/w640-h426/0274.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: With my amazing crew at the end of the <i>A Different Place</i> shoot, taken shortly after some emotional speeches. Photo by Shelley Richmond.]</td></tr></tbody></table><br /><p></p><p><u><span style="font-family: georgia;">THE RESULT</span></u></p><p><span style="font-family: georgia;"> Because the project had been scheduled well, the film was turned around much more quickly than I'm used to. Some of my shorts have lingered in post-production for two years or more! That's not to say that it wasn't made to the best standard possible; editor Emmalie El Fadli, as I said before, was a new addition to the team, but her first rough cut is the best rough cut I've ever seen in my life (even Tommy's cat, Travis, got emotional when watching it!), and every subsequent cut just got better. Joni's score, too, more than met my expectations, as she took my inspirations - most of which was 1970s bluesy soft rock, blended with the sensual melodies of <i>Cigarettes After Sex - </i>but went beyond them to create something emotive, unique and brilliant.</span></p><p><span style="font-family: georgia;"> I don't want to say too much about the finished film, as I want everyone to go out and watch it at their nearest convenience (in the meantime, <a href="https://youtu.be/vp-BccjjltE" target="_blank">you can see the trailer here</a>), but I do want to highlight how incredible the actors performances are in it. Adaya is a revelation, definitely a star on the rise, and Michelle, after years of plugging away in this industry, may have just given the performance of her career - particularly in one of the final moments of the film, which still breaks me every time I see it.<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuaJ9ZSUr0b0MCFX-yfuogOye4cIvnntbgkMNwmb1alJWhgVpuJQryAC3gA0H4FNX2xJpmmO_GiclgebCiHGapD41ZSmjidlmrokbEnHMIUyfud_3AW_Gt9I6oB_AWZ4r05eXfSwUuERoHCi78Hll4XIg4AZotLcIi4auCvwxMZbmAWa05IEoeH4gU/s1180/Norwich%20Q%20and%20A.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="937" data-original-width="1180" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuaJ9ZSUr0b0MCFX-yfuogOye4cIvnntbgkMNwmb1alJWhgVpuJQryAC3gA0H4FNX2xJpmmO_GiclgebCiHGapD41ZSmjidlmrokbEnHMIUyfud_3AW_Gt9I6oB_AWZ4r05eXfSwUuERoHCi78Hll4XIg4AZotLcIi4auCvwxMZbmAWa05IEoeH4gU/w640-h508/Norwich%20Q%20and%20A.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Answering questions at Norwich Film Festival. We had such emotional responses from the audience that day, which really did mean everything to us. This film has an important message, and we want to ensure that it's reaching people in the right way.]</td></tr></tbody></table><br /><p></p><p><span style="font-family: georgia;"> The film, by this point officially renamed 'A Different Place', was completed in August 2022; and from that moment onwards, we started getting acceptances from festivals, in a way I've never seen with my films before. I honestly could not be more proud, not just for myself, but on behalf of the whole team. It means so much that the film is reaching people, and that we're able to share it in person with audiences again, let alone the fact that we get to do so at massive festivals like <a href="https://viff.org/festival/" target="_blank">Vancouver International Film Festival</a> and <a href="https://www.norwichfilmfestival.co.uk/" target="_blank">Norwich Film Festival</a>!</span></p><p><span style="font-family: georgia;"> And one of the most special moments of the festival run (so far) came early on, when BFI NETWORK invited us to show a work-in-progress version of the film at Flatpack Film Festival - the first place I met Denyce, nearly four years previously, and where the project first came to life as a result. It felt like everything had come full circle, in a really beautiful way.</span></p><p><span style="font-family: georgia;"> You can next see <i>A Different Place </i>(on a HUGE screen) at the prestigious BFI Flare: London LGBTQIA+ Film Festival, at 13:45 on Saturday 25th March, which will be our London Premiere. The screening takes place at BFI Southbank, one of my favourite places in the world, so it makes it even more special to have a film shown there. Tickets are now on sale to the public <a href="https://whatson.bfi.org.uk/Flare/Online/default.asp?BOparam::WScontent::loadArticle::permalink=ineediwantiwill" target="_blank">via this link</a>. I really hope you'll consider joining us there, and celebrate everything that has gone into making this special, beloved little film with an important message of accepting and embracing your truth.<br /><br /></span></p><p><span style="font-family: georgia; font-size: large;"><b> Sophie</b></span></p><p><span style="font-family: georgia; font-size: large;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsCIwmOzeWB9ch44drjq_efi0_GlnBVSqmJ-b_NDRlO-8N7rKe1pf0VfJi3UUv5ty5EXZadNf2kdyGlPzG3CJeG-nyOhkT_DAXsG5z1_QhAAmsYrmhQK0J4APBztfzwOmbM7BHtbxtUARso8qNMKApvudosltnBQ9m4lxS89yea7wM-S3U1S6jH1ng/s1920/A%20Different%20Place%20-%20BFI%20Flare%20announcement%20banner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1228" data-original-width="1920" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsCIwmOzeWB9ch44drjq_efi0_GlnBVSqmJ-b_NDRlO-8N7rKe1pf0VfJi3UUv5ty5EXZadNf2kdyGlPzG3CJeG-nyOhkT_DAXsG5z1_QhAAmsYrmhQK0J4APBztfzwOmbM7BHtbxtUARso8qNMKApvudosltnBQ9m4lxS89yea7wM-S3U1S6jH1ng/w640-h410/A%20Different%20Place%20-%20BFI%20Flare%20announcement%20banner.jpg" width="640" /></a></div><br /><span style="font-family: georgia; font-size: large;"><br /></span><p></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-19218755966814318782023-01-02T13:15:00.005-08:002023-10-29T08:58:40.618-07:00Reflections & Resolutions 2022/2023<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlB9_KF_TWT6-38oyXeir05RlqiENGB_YphUrIXIOLiMs8QQ2wGgysI_EC-0D3pUwaEzm5E69VaeVgO0heOJXKIPlGoWjpmx2Aaa8vDfcepWGsajPNJtRboV3FuAVGLd6va70p9UD-D28UNTNHzN9kwM_4gtHziW9j79OuhhAjpqPnKhdAtXn8OKmA/s6720/0040.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4480" data-original-width="6720" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlB9_KF_TWT6-38oyXeir05RlqiENGB_YphUrIXIOLiMs8QQ2wGgysI_EC-0D3pUwaEzm5E69VaeVgO0heOJXKIPlGoWjpmx2Aaa8vDfcepWGsajPNJtRboV3FuAVGLd6va70p9UD-D28UNTNHzN9kwM_4gtHziW9j79OuhhAjpqPnKhdAtXn8OKmA/w640-h426/0040.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: on the set of the BFI NETWORK- funded <i>A Different Place</i>, with actor Michelle Darkin Price and DOP Luke J Collins, who are both wonderful. Photo by the also-wonderful Shelley Richmond!]</td></tr></tbody></table><br /><p></p><p><span style="font-family: georgia;"> As I write this post, I'm sat at my desk, thinking back on the past twelve months and taking stock before the <a href="https://www.triskellepictures.co.uk/" target="_blank">Triskelle Pictures</a> office officially re-opens tomorrow (Tuesday 3rd January), and the madness starts all over again. The sun has actually shined today, for the first time in over a week (wasn't it a grotty Christmas??), and as I look out at the first pleasant evening sky of the year, things feel slightly hopeful.</span></p><p><span style="font-family: georgia;"> There are, of course, many terrible things that 2022 will be remembered for, even though the effects of the Covid Pandemic finally started to wane. This world has never been good to women, but it felt even worse last year, with inconceivable actions taken in both Iran and Western America. And at the very start of the year, we had Russia's invasion of Ukraine, resulting in a war which is still, unbelievably, going on today. I have Ukrainian family members, who I love, so we've had a personal connection to the horrific events, but I know that the war had an impact on a global scale; the day we went into production on my latest directorial short, <i><a href="https://www.triskellepictures.co.uk/a-different-place" target="_blank">A Different Place</a></i> (more on that later), Putin had just threatened nuclear action against numerous countries, so we all started work with an immense sense of dread, trying to live for the moment in a creative way, but also scared and unsure if we'd even have homes to go to.</span></p><p><span style="font-family: georgia;"> 2022 was also the year the UK's Queen, Elizabeth II, passed away. I know people have varied opinions of the Royal Family these days, but I've always liked Elizabeth; she was the ultimate matriarch in a patriarchal world, with incredible dedication to her work, and she was a steadfast presence in my life since it began. The UK's current government, however, is the polar opposite of steadfast, with a revolving door of prime ministers in the last few months alone. I have never intentionally voted for the Tory party (the very first year I could vote, aged 18, I accidentally put a tick in their box because I saw the tree and thought I was voting for the Green Party!), and it has been incredibly difficult to watch their tirade of corrupt policies, tax avoidance and Covid rule-breaking; the country has fallen into poverty, with many people - myself included - afraid to even put their heating on, and it feels as though we are powerless to make a difference until a general election somehow, finally, happens again.</span></p><p><span style="font-family: georgia;"> In the world of music, Kate Bush - one of my musical heroes - found herself at number one, 30 years later, thanks to <i>Stranger Things</i>' heavy use of 'Running Up That Hill' in their latest season. You couldn't go anywhere without hearing it in the Summer of 2022, and that was an unusual feeling, particularly seeing younger people going wild for it. But then, towards the end of the year, Christine McVie, one of the pivotal members of my favourite band, Fleetwood Mac, sadly passed away. Our fantasy film <i><a href="https://www.triskellepictures.co.uk/songbird" target="_blank">Songbird</a> </i>was - and will always be - named in honour of her work.</span></p><p><span style="font-family: georgia;">_</span></p><p><span style="font-family: georgia;"> But for me, personally, within my home life, it has been a relatively uneventful year - particularly compared to 2021, when myself and my partner <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward Harvey</a> bought our first home. The cottage was a fixer-upper when we bought it, and it's continued to need a lot of work (particularly with the heavy winds that came at the start of the year, one of many effects of global warming, which brought down part of our roof!), and sometimes it feels like my money is going on home improvements faster than I can earn it - but we are making progress slowly, month by month. </span></p><p><span style="font-family: georgia;"> We also had a new addition to our household - which I didn't expect, particularly after we lost a beloved pet over the Christmas of 2021; I felt that loss very deeply, as it was a result of sickness and euthanasia rather than old age, and in all honesty it took me until late Spring to feel happy again. But then Edward and I opened our hearts and homes, in Summer 2022, to a re-homed cat, which we named Falkor (as he's long and white like the luck dragon in<i> <a href="https://www.imdb.com/title/tt0088323/" target="_blank">The Neverending Story</a></i>). I have never been a cat person, and he's taking a lot of getting used to, particularly when he jumps on the furniture, knocks over my action figures, and leaves his fur everywhere! But he's very settled in our home now, him and Edward are incredibly close, and it feels nice to have given a new, happier life to a pre-loved pet. And he does like tummy rubs, which is sweet. Plus we still have one little lovely guinea pig, called Alan, who's starting to get some very distinguished patches of grey fur now. We also raised & released a batch of butterflies in the Summer!</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2sjCHgbFu9sQ18JrZsG95PtM8rCvidb8y_e-tO3b9ozB6Qy7aruNzcCUp8S8G-uMc8lBq2jsyWd2CH-7TNdpB6DzG-2-38NG31Z6RaCjAnkzQ2ES24cRLQyHSZCOrcTKQ0B2v9M8uhGRKQwe2YzymkelklH9CDxM82Ch6tQPtq2RzTIMEUQ1sfvkW/s1858/Falkor%20for%20blog.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1858" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2sjCHgbFu9sQ18JrZsG95PtM8rCvidb8y_e-tO3b9ozB6Qy7aruNzcCUp8S8G-uMc8lBq2jsyWd2CH-7TNdpB6DzG-2-38NG31Z6RaCjAnkzQ2ES24cRLQyHSZCOrcTKQ0B2v9M8uhGRKQwe2YzymkelklH9CDxM82Ch6tQPtq2RzTIMEUQ1sfvkW/w640-h344/Falkor%20for%20blog.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: our cottage has been taken over by a very active and noisy but happy cat called Falkor]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> I didn't lose anyone in 2022 - no family, no friends, no pets - and I know that makes me one of the lucky ones. I certainly don't take it for granted; I'm thankful for all the people I have in my life, whether or not we have time to see each other these days! Both of my remaining Grandparents are in their nineties now (Grandma turned 90 in the Autumn), in spite of them both having had health scares in recent years, and I'm so grateful to be able to spend time with them and to still have them in my life even though I'm in my thirties (I turned 33 in April of 2022). And my oldest nephew is now 10 years old, which I can't believe; he's just discovered D&D and is reading </span><i style="font-family: georgia;">Lord of the Rings</i><span style="font-family: georgia;">, and I couldn't be more proud of him or my other nibblings!</span></p><p><span style="font-family: georgia;">_</span></p><p><span style="font-family: georgia;"> But in terms of my creative life and career - as I know that's why most of you read my blog - 2022 definitely <i>was </i>eventful. It was, perhaps, the biggest year to date! I know I say that every year, but 2022 really was one to remember. Every time I thought, "that's it, I've had all my luck for this year, nothing else is going to come along now," I'd get another email or invitation which blew my mind.</span></p><p><span style="font-family: georgia;"> Let's start with the aforementioned <i>A Different Place</i>, as having the opportunity to direct a BFI NETWORK-funded short wasn't just a highlight of 2022, but a highlight of my entire career, and something I've wanted to happen for years now. We finally went into production at the end of February 2022, after a nearly-2-year pandemic-induced creative drought where I hadn't directed anything. The crew was comprised of people I mostly hadn't worked with before, for one reason or another, but all of them smashed it out of the park - all the way through to post production (the film's editor, <a href="https://www.emmalieelfadli.com/" target="_blank">Emmalie el Fadli</a>, was another new addition to my team, but we got on particularly well). Above all, I am besotted with the performances of my brilliant cast, <a href="https://www.michelledarkinprice.com/" target="_blank">Michelle Darkin Price</a> and <a href="https://www.redtalentmanagement.com/henry-adaya/" target="_blank">Adaya Henry</a>; both got me choked up on set, and their raw, honest portrayals of Evelyn and Cleo read perfectly on screen. No film will ever be exactly as you picture it in your head, but after months of hard prep and such a talented team behind the project (shout out to my producers, <a href="https://www.katiesmithfilm.co.uk/film" target="_blank">Katie Smith</a>, <a href="https://www.facebook.com/CatontheWallProductions" target="_blank">Charlie Clarke</a> & assistant producer Denyce Blackman!), I can honestly say that <i>A Different Place</i> is almost exactly what I wanted from the start, and I adore it.</span></p><p><span style="font-family: georgia;"> (And yes, I'm aware that I've been promising a blog post that breaks down the shoot & my director prep from </span><i style="font-family: georgia;">A Different Place</i><span style="font-family: georgia;"> for months! With the one year anniversary of the shoot coming up at the end of February this year, I'm hoping to finally make time to share a few thoughts then.)<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchs1iIW60F7ljAyi88zXJn8SHTVXtLfBLS0XURm9IOUr066BnKfa3ugKyipeqAKlfxsCY_4drLvX5unl7TsFbtam6Z2_Gg8Ikq-M58qsSvCgjIcASZ-_2TEUOhW7FkgcaOcvQTKoV8Kw0IUMYitM74UZsnerGthx5Bbe9sHTcv8_oR0ySiVmuObup/s1890/Norwich%20for%20blog.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="937" data-original-width="1890" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchs1iIW60F7ljAyi88zXJn8SHTVXtLfBLS0XURm9IOUr066BnKfa3ugKyipeqAKlfxsCY_4drLvX5unl7TsFbtam6Z2_Gg8Ikq-M58qsSvCgjIcASZ-_2TEUOhW7FkgcaOcvQTKoV8Kw0IUMYitM74UZsnerGthx5Bbe9sHTcv8_oR0ySiVmuObup/w640-h318/Norwich%20for%20blog.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: at the Norwich Film Festival screening of <i>A Different Place</i> with my team, and answering questions afterwards. We had some lovely, emotive feedback from the audience!]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Everyone's hard work paid off, because </span><i style="font-family: georgia;">A Different Place's</i><span style="font-family: georgia;"> festival run started strong. Very strong. Our BFI NETWORK representatives at Film Hub Midlands arranged for the film to have a preview screening at </span><a href="https://flatpackfestival.org.uk/" style="font-family: georgia;" target="_blank">Flatpack Film Festival</a><span style="font-family: georgia;"> in May 2022, before the film was even finished; we then had our world premiere at the massive </span><a href="https://viff.org/short-a-different-place/" style="font-family: georgia;" target="_blank">Vancouver International Film Festival</a><span style="font-family: georgia;"> in October, an acceptance which we were overjoyed about, although I was battling Covid (in a heat wave - I also randomly caught shingles later in the year!) when the news dropped, so gathering the assets we needed at the time was a bit of a challenge!; and then we had our official UK premiere at </span><a href="https://www.norwichfilmfestival.co.uk/films/official-selection-2022/a-different-place/" style="font-family: georgia;" target="_blank">Norwich Film Festival</a><span style="font-family: georgia;"> in November. None of my films have ever gotten into Norwich before (or Vancouver and Flatpack, for that matter!), plus it was the first time since 2016 that I had a BAFTA-qualifying credit under my belt as a director, and it felt like the sky had lit up again.</span></p><p><span style="font-family: georgia;"> Another film that's currently on its festival run is <i>Good Grief</i>, which myself and Charlie Clarke produced for director Rob Sharp of <a href="https://www.facebook.com/sirloinfilms" target="_blank">Sirloin Films</a>. As with <i><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a></i> (another film I produced), it took the film a long time to get its first festival acceptance, but when it finally landed, it was huge: <i>Good Grief</i> was a semi-finalist, and therefore <i>nearly</i> selected, for <a href="https://filmfreeway.com/RIFilmFest" target="_blank">Flickers Rhode Island International Film Festival</a>, and then it was selected for the OSCAR QUALIFYING <a href="https://slamdance.com/festival/#lineup" target="_blank">Slamdance Film Festival</a>, where it will have its world premiere later this month (January 2023). Slamdance might be the biggest festival any of my films has gotten into, and the team is over the moon about it; the whole thing feels like a bit of a Cinderella moment, and I look forward to sharing more information with you all over the coming weeks.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7kfFFMUCd1SQGciikIl9vte51sV-77izk_BX916phVzqqza4q4U_l0w02xTUgU_e4fZpA-teZNoARP0CzKdc7sR0M4tJAIQSkY8wOjRAxEvMwVVeZo-1XHzS9S0O7c7lqvoe53mArXIptSTJW32T8vrljYtHi_CvZUU-0O_i8GNIg7YNXwM6OraKJ/s2048/Slamdance%20reveal%20banner%20-%20dates%20needed.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7kfFFMUCd1SQGciikIl9vte51sV-77izk_BX916phVzqqza4q4U_l0w02xTUgU_e4fZpA-teZNoARP0CzKdc7sR0M4tJAIQSkY8wOjRAxEvMwVVeZo-1XHzS9S0O7c7lqvoe53mArXIptSTJW32T8vrljYtHi_CvZUU-0O_i8GNIg7YNXwM6OraKJ/w640-h360/Slamdance%20reveal%20banner%20-%20dates%20needed.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Good Grief </i>'s swanky new laurel from none other than Slamdance Film Festival!]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> My short film </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a></i><span style="font-family: georgia;">, originally made for the SCI-FI-LONDON 48hr challenge in 2019, finished its festival run with a few local short film nights at the start of the year (including Short Stack in Nottingham Broadway, where it looked beautiful on the big screen). It was then released online in July 2022, so if you haven't seen it yet, please click on </span><a href="https://youtu.be/ii5ZBed2irU" style="font-family: georgia;" target="_blank">this link</a><span style="font-family: georgia;"> to watch the film in all its glory. I also wrote a blog post about </span><i style="font-family: georgia;">Lepidopterist</i><span style="font-family: georgia;">'s festival run, and the festival runs of some of my other genre shorts, which you can read </span><a href="https://triskelle-pictures.blogspot.com/2022/10/analysing-festival-run-genre-films.html" style="font-family: georgia;" target="_blank">here</a><span style="font-family: georgia;">.</span></p><p><span style="font-family: georgia;"> I was also one of the directors selected to take part in this year's <a href="https://centerframe.com/" target="_blank">Centreframe</a> 'Get It Made' competition, where I got to collaborate with a lovely (and very enthusiastic) little team, pitching a quirky romantic comedy called <i>Call Me J</i>. Although we didn't win the funding, and the project is currently on hold as a result, I really enjoyed meeting and working with that team, and our pitch video was also the most-viewed by the public, so we were really proud of that achievement.</span></p><p><span style="font-family: georgia;"> The last bit of short film news from 2022 is that two of my earliest short films, <i><a href="https://triskelle-pictures.blogspot.com/2022/08/happy-birthday-ashes.html" target="_blank">Ashes</a></i> and the aforementioned <i>Stop/Eject, </i>both celebrated their 10th anniversaries - which made me feel very old, but also very proud, as I still see those two shorts as being the films that made me the filmmaker I am today, after years of experimenting with camcorders, mates, and university films! Some of the people behind <i>Stop/Eject</i> managed to meet up for a reunion dinner, in the middle of a particularly hectic week in May (more details about that in my <a href="https://triskelle-pictures.blogspot.com/2022/07/the-summer-update-2022.html" target="_blank">Summer update blog post</a>), and it was so lovely to see everyone and catch up on what we've all been up to over the last decade. </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNOkn23suytrcLKAjz660p_r36-UrGHevToHF5dz2j02hcM-ywAmuQEWPZUmAIuIYvv9lGtYJ_Qn8VRPJoMgPrjWztE1qzsPFZemXRE0d00mVArMk62Hnhu83lbDDd-2lOcs7Tg3ddI9R3HpwrDAW_y_BZ4Z6JsqUHHUyAeBHZIE3MV_qE2yH4Rq2/s1440/10th%20anniversary%20reunion.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1013" data-original-width="1440" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNOkn23suytrcLKAjz660p_r36-UrGHevToHF5dz2j02hcM-ywAmuQEWPZUmAIuIYvv9lGtYJ_Qn8VRPJoMgPrjWztE1qzsPFZemXRE0d00mVArMk62Hnhu83lbDDd-2lOcs7Tg3ddI9R3HpwrDAW_y_BZ4Z6JsqUHHUyAeBHZIE3MV_qE2yH4Rq2/w640-h450/10th%20anniversary%20reunion.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: some of the <i>Stop/Eject </i>team at our 10-year mini reunion]</td></tr></tbody></table><span style="font-family: georgia;"><br />_</span><p></p><p><span style="font-family: georgia;"> One of the biggest things that I'll remember 2022 for is how many of my heroes I got to see in person - starting with Alison Goldfrapp, when Edward and I finally saw <a href="https://www.goldfrapp.com/" target="_blank">Goldfrapp</a> in a twice-delayed concert in Birmingham, back in April. Also in April (and actually on my birthday), I was given the opportunity to have a virtual meeting with my favourite UK director, <a href="https://www.imdb.com/name/nm3112470/" target="_blank">Will Sharpe</a>, thanks to <a href="https://directors.uk.com/" target="_blank">Directors UK</a> and the fact that I'm lucky enough to be on their Inspire programme; we spent an hour talking about my career, I got some excellent work/life advice from him and even felt encouraged to pitch some of my feature ideas to him, which was genuinely a dream come true.</span></p><p><span style="font-family: georgia;"> Then in September, I somehow managed to book one of the last (super limited) tickets to go and see <a href="https://www.imdb.com/name/nm0525303/" target="_blank">Baz Luhrmann</a> in conversation at BAFTA, as part of their 'life in pictures' series. Although Peter Jackson's <i>Lord of the Rings</i> trilogy made me want to make films in the first place, it was Baz Luhrmann's <i>Moulin Rouge</i>! which taught me to have fun with style and editing, to explore the language of cinema further, and so he really is one of my all-time heroes, and I had to hold back happy tears on the train home after I saw him.</span></p><p><span style="font-family: georgia;"> (That trip to London also gave me the opportunity to finally catch up with my <i><a href="https://www.triskellepictures.co.uk/poison-ivy" target="_blank">Growing Shadows</a> </i>producers and stars, Aislinn De'Ath and Robert Dukes, after the pandemic kept us apart for two years, so that made a great day even better!)</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Pn4uXcRJDmbRYCHjKNJ3169Cp596_ZmVbXc1uzLCy7T_f-brgl1f4LC3d8P6A8WtaibSivYTnG7GjR-2gCRB2-dHRzJ99TtlyYpTH8ZC-lNWI3bKdNJookwG5ak796JylhW4Szs5fUJgkBoOV9UaMYwDYXdCfTFPYZgqB2ckqqvmQkwSkz8RoXf3/s1890/hero%20london%20trips.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="757" data-original-width="1890" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Pn4uXcRJDmbRYCHjKNJ3169Cp596_ZmVbXc1uzLCy7T_f-brgl1f4LC3d8P6A8WtaibSivYTnG7GjR-2gCRB2-dHRzJ99TtlyYpTH8ZC-lNWI3bKdNJookwG5ak796JylhW4Szs5fUJgkBoOV9UaMYwDYXdCfTFPYZgqB2ckqqvmQkwSkz8RoXf3/w640-h256/hero%20london%20trips.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: some very special trips to London - to BAFTA and Dolby's UK HQ - to see some of <br />my all-time heroes in person]</td></tr></tbody></table><span style="font-family: georgia;"><br /> And </span><i style="font-family: georgia;">then</i><span style="font-family: georgia;">, less than two weeks after I saw Baz Luhrmann, I got an invitation to go back to London and see another one of my heroes in conversation... </span><a href="https://www.imdb.com/name/nm0868219/" style="font-family: georgia;" target="_blank">Guillermo Del Toro</a><span style="font-family: georgia;">! Again, thanks to Directors UK, myself and some of my fellow directors (and collaborators) got to go to none other than Dolby's European HQ to see a preview screening of </span><i style="font-family: georgia;"><a href="https://www.imdb.com/title/tt1488589/" target="_blank">Pinocchio</a></i><span style="font-family: georgia;">, followed by a Q&A with Guillermo Del Toro and his co-director </span><a href="https://www.imdb.com/name/nm0348993/" style="font-family: georgia;" target="_blank">Mark Gustafson</a><span style="font-family: georgia;"> (of </span><i style="font-family: georgia;">Fantastic Mr Fox</i><span style="font-family: georgia;">), AND they were interviewed by none other than </span><a href="https://www.imdb.com/name/nm0942367/" style="font-family: georgia;" target="_blank">Edgar Wright</a><span style="font-family: georgia;">, another of my favourite directors!! Guillermo was as insightful as ever, and I was in awe; the only sad note was that, as I found out later, his mother had died a couple of days before that screening, and so now I hope that I'll get the opportunity to see him in person again, but in happier times.</span><p></p><p><span style="font-family: georgia;">_</span></p><p><span style="font-family: georgia;"> Another notable event from 2022 was my return to the Cannes Film Festival, for the first time since 2013, this time accompanied by my <i>A Different Place </i>star, Michelle Darkin Price (best networking wingman ever!). I had an amazing time there, and you can read more about that trip in <a href="https://triskelle-pictures.blogspot.com/2022/05/updated-cannes-advice.html" target="_blank">this blog post</a>. I met a few interesting people there, but there was one particular contact I really treasured; a freelance development producer from a big studio (I won't name them here, as I don't want to jinx anything, but you will have heard of them). We had another meeting a couple of months after Cannes, where I was encouraged to pitch my feature film ideas - as I did at the meeting with Will Sharpe - and I loved that experience.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhETO_I5X9auph2J0lnYZL1K0dNEICc63xcJAzsvmrt6xJa87_qEjIAxkssdG9yyH888eg_yVKhKZ2i0S2GhnzfAgzEh8nNe3h-BUBfRY6aFgwSbmw6tl92T6y6pg2zPwz49dPgHQeMiHNA2foEcO8RpYcAlHkkDmY_vEW-nNouZO-2AgbZ5GUwgU23/s1890/cannes%20for%20blog.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="566" data-original-width="1890" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhETO_I5X9auph2J0lnYZL1K0dNEICc63xcJAzsvmrt6xJa87_qEjIAxkssdG9yyH888eg_yVKhKZ2i0S2GhnzfAgzEh8nNe3h-BUBfRY6aFgwSbmw6tl92T6y6pg2zPwz49dPgHQeMiHNA2foEcO8RpYcAlHkkDmY_vEW-nNouZO-2AgbZ5GUwgU23/w640-h192/cannes%20for%20blog.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: snapshots from our trip to Cannes - which included a pilgrimage to one of the first cinemas that screened a young Peter Jackson's work!]</td></tr></tbody></table><span style="font-family: georgia;"><br /> Off the back of those two meetings, I started thinking about my feature dreams again, and about one feature in particular... </span><i style="font-family: georgia;">Night Owls & Early Birds</i><span style="font-family: georgia;">, the feature-length version of </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i><span style="font-family: georgia;">, aka my dream project, the one I've wanted to get off the ground since I first started writing it 18 years ago. </span><p></p><p><span style="font-family: georgia;"> I had another couple of meetings about <i>Night Owls & Early Birds</i> in 2022, and I got to pitch it again, this time to my dream distribution company (thanks to Aesthetica Film Festival for making it happen!) - again, I won't say who it was, and I don't know what will come of that meeting, but just having the chance to pitch the project to them meant the absolute world to me.</span></p><p><span style="font-family: georgia;"> All of the above made it feel like it really was the right time to focus on <i>Night Owls & Early Birds </i>specifically. I still love it as much as I did when, age 15, I scrawled the first draft of the script in a notebook that was supposed to be used for GCSE English Literature! I have had funding bodies interested in the feature in the past, but when that fell through I lost my confidence and shelved the project for years. But, as a couple of people I really admire have said to me, the first step to getting a project made is <i>believing</i> it will happen... so this is me officially taking <i>Night Owls & Early Birds </i>off the shelf again.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwolXlBiQJOAalWEMQc5K4aeuEyCbPxYuXWAWFA_yXiLLHW4Q4l4F4QrVXtTjfGn3fAydYQnIdFIIAbYHsyBhYG1MeGhcaBd7GKzp4CWFO8VBErby01beRhwKOexXVy_j6sKTKyixsWXEVkBA10maWJsV_tdbwGO8oYcXJBGs_ABNWhtzsBeyLZUkI/s3685/NOEB%20-%202022%20temp%20title.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="3685" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwolXlBiQJOAalWEMQc5K4aeuEyCbPxYuXWAWFA_yXiLLHW4Q4l4F4QrVXtTjfGn3fAydYQnIdFIIAbYHsyBhYG1MeGhcaBd7GKzp4CWFO8VBErby01beRhwKOexXVy_j6sKTKyixsWXEVkBA10maWJsV_tdbwGO8oYcXJBGs_ABNWhtzsBeyLZUkI/w640-h138/NOEB%20-%202022%20temp%20title.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: my 'dream project' <i>Night Owls & Early Birds </i>had some interest, for the first time in years]</td></tr></tbody></table><span style="font-family: georgia;"><br /> It is so, so difficult - unless you have an advance payment, or you're a wealthy filmmaker, or both - to make time to write a feature script, as you can't always justify taking the time off when you have bills to pay. I've had another draft of </span><i style="font-family: georgia;">Night Owls & Early Birds</i><span style="font-family: georgia;"> sitting in my brain for years, but I had to prioritise paid work (particularly now that I work for myself), and until 2022 I'd only managed to jot down the odd sentence in notebooks or in my phone, sometimes late at night. But, based on the recent interest in the film and encouragement from the meetings I'd attended in 2022, I was determined to find time to complete the next draft; the opportunity finally came in November, when a week-long job suddenly fell through, and it was too short notice for me to book anything else, so I seized the moment, shut myself in my office and let the words pour out of me, aided by Damien Rice on Spotify and a bottle of whiskey on my desk! Losing a week's worth of pay was very scary, but the script is done, I am proud of it and it's with a few people now, so hopefully it will all be worth it. And hopefully sooner rather than later.</span><p></p><p><span style="font-family: georgia;"> Speaking of meetings, I was also one of a handful of people lucky enough to attend a round table with representatives of Film4 in Leeds in the Autumn! It was a real privilege to put faces to names and to hear about the work that Film4 intend on doing over the coming years, particularly with a focus on connecting with talent outside of London. That was so great to hear.</span></p><p><span style="font-family: georgia;">_</span></p><p><span style="font-family: georgia;"> All of the above makes for a very successful year (and a very long blog post!), beyond anything else I've experienced before, and I'm didn't think I could fit anything else in... but in October, I suddenly found myself on a plane, flying for the first time on my own (although <a href="https://www.derbytelegraph.co.uk/news/local-news/east-midlands-airport-terminal-evacuated-7743048" target="_blank">an incident</a> meant my flight almost didn't get off the ground!), and off to Dublin for my first ever experience on a professional studio-level television set. Once again, this was all thanks to Directors UK and their Inspire programme, as they helped to pair me up with my fantastic new mentor, the <i>very</i> experienced director <a href="https://www.imdb.com/name/nm1098790/" target="_blank">Justin Molotnikov</a>, and I got to shadow him on the set of his latest television production. It was an incredible week, and it really opened my eyes to exactly what a production could be like, in all the best ways. I won't say yet which production I was on, but it comes out later this year, and I'll be writing a blog post about my experiences after that release, so keep an eye out for that!</span></p><p><span style="font-family: georgia;"> I was also mentored by The Princes Trust before that, who supplied me with an incredible business mentor called Simon; those sessions officially came to a close in April 2022, after two invaluable years, but his 'voice of wisdom' will live in my head forever more, and I'm eternally grateful for that!</span></p><p><span style="font-family: georgia;">_</span></p><p><span style="font-family: georgia;"> In my 'day job', creating videos for predominantly creative businesses, work also continued well throughout 2022. I was honoured to have a few returning clients, such as <a href="https://www.youtube.com/@CathyHay" target="_blank">Cathy Hay</a> (and her business Foundations Revealed), <a href="https://www.youtube.com/@whitepeakdistillery7189/videos" target="_blank">White Peak Distillery</a>, and artist <a href="https://www.instagram.com/reel/CkMZtWZpWmt/" target="_blank">Sabrina Ward Harrison</a>, and I collaborated with a few new clients too, such as <a href="https://youtu.be/f5ymFn0WPXc" target="_blank">Beautiful Things Antiques</a>. But it made my heart particularly full in August when I was back on site producing new work for <a href="https://www.youtube.com/@towerseyfestival/videos" target="_blank">Towersey Festival</a>, the first 'big' client I ever won (when I first launched my business), who were able to run their event live and in-person for the first time since before the pandemic. My camera team, Theo and Jonathan, captured some glorious footage, and the finished promo film felt like a celebration of Towersey's triumphant return (watching it made a few people quite emotional, myself included):</span></p><p style="text-align: center;"><span style="font-family: georgia;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PDTFy7OmoQQ" title="YouTube video player" width="560"></iframe><br /></span></p><p><span style="font-family: georgia;"> (You can see more examples of the work myself and Triskelle Pictures created in 2022 in <a href="https://youtu.be/TgeCU-IQUbg" target="_blank">this end-of-year roundup film</a>.)</span></p><p><span style="font-family: georgia;"> Finally, I branched out slightly and started doing a bit of guest-lecturing and mentoring, starting with a presentation on Production Design I did for BFI Film Academy in January of 2022. It was the first time I'd ever managed a full, solo, stood-up presentation, for over an hour, without stopping or getting too nervous - and having battled my inner antisocial, anxious teen for decades, that felt like a massive achievement to me. This new branch of work has been really rewarding, particularly the mentoring I've been doing, as I've got to share my stories and advice with three incredible up-and-coming new directors (all of who are female, which makes me even more proud!). </span></p><p><span style="font-family: georgia;"> This year hasn't been a complete success story for me; I've continued to receive multiple rejections, for funding, festivals, and other things, as I always do. Mostly I've learned to shrug these off, but a couple of rejections did really sting and knock my confidence this year, notably when I was rejected for the Netflix Breakout scheme and BAFTA Connect membership, when literally all my contacts on social media seemed to have at least progressed to the next stages (I'm still kicking myself about it now, agonizing over what I could've done better with the application forms). And although I always get rejected for the Edinburgh Talent Lab scheme, this year's rejection felt particularly disappointing, as the great, legendary <a href="https://deadline.com/2022/10/edinburgh-film-festival-owner-files-for-administration-1235136410/" target="_blank">Edinburgh Film Festival</a> has since been forced to close their doors for good, so I won't get the opportunity to apply again in the future.</span></p><p><span style="font-family: georgia;"> But none of that puts me off from having a stab at a certain new funding pot which has recently opened for higher budget shorts... I know I'm moving my focus to features now, but I haven't forgotten about <i>The Barn</i> (aka <i>Tokos</i>), an ambitious short project I absolutely love and have wanted to get off the ground for a few years now... I may be about to face my first rejection of 2023, but not trying is the only way to guarantee failure, so... wish me luck!</span></p><p><span style="font-family: georgia;">_</span></p><p><span style="font-family: georgia;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIYs_BHMySNow910ehG67JwxR8syuwx5n1XwiLf01C6aJGdiCo-GQ10g5su8-bN2fRxOgyXI1YosB7R5SWUKOfPliqxQiM21IVvSd2Pnds8_bJIoXaDT87baa9R5MK7dvvOQyLZ-5R_BzyZrSym1hjT7giHMCHzqHuXychaQSsktrz1XgaWYHiEWUK/s2048/Sophie%20PressPackWeb-16.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1638" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIYs_BHMySNow910ehG67JwxR8syuwx5n1XwiLf01C6aJGdiCo-GQ10g5su8-bN2fRxOgyXI1YosB7R5SWUKOfPliqxQiM21IVvSd2Pnds8_bJIoXaDT87baa9R5MK7dvvOQyLZ-5R_BzyZrSym1hjT7giHMCHzqHuXychaQSsktrz1XgaWYHiEWUK/s320/Sophie%20PressPackWeb-16.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: my 2022 'director photo',<br />by I C Things Photography]</td></tr></tbody></table><span style="font-family: georgia;"> So, that was 2022; a jam-packed year that I'll certainly never forget. A year of meeting (and being in the same room as) my heroes, directing a BFI NETWORK-funded short, having my first experience on a larger-budget studio shoot, getting films into BAFTA and OSCAR quaifying festivals again, and pitching my dream project to my dream distributors. It makes me so exhausted but giddy just to think about it all!</span><p></p><p><span style="font-family: georgia;"> Because of that, I don't have high hopes for 2023; I don't mean that in a bad way, I mean that I don't <i>need</i> it to be massive year. I've just <i>had </i>a massive year, I'm so happy and thankful for it, and I don't want to be greedy. I don't know if anything will come from me sending the <i>Night Owls & Early Birds</i> script to people (I have, as Gandalf says, 'only a fool's hope'), but I'd like to continue to see <i>A Different Place</i> and <i>Good Grief </i>doing well at festivals, and there's a cool eco-horror animated short called <i>Contamination </i>(which I'm producing with <a href="https://hipster-films.com/" target="_blank">Hipster Films</a>) that I hope will finally go into production this year. I'm also attached to direct on another fantasy project, which I'm very much looking forward to but cannot, at present, tell you anything about!</span></p><p><span style="font-family: georgia;"> As some of my upcoming passion projects are unpaid, above all I hope that my business will continue to do well, or at least to be steady. If I wish for nothing else in 2023, I want to keep a roof over my head (and to be honest, our roof could do with replacing!). The UK recession has barely begun, so we're in for some scary months yet. One day, I hope we won't have to worry so much about our finances, but until that day, I'll keep working hard and try to bring as much money into our household as I can. </span></p><p><span style="font-family: georgia;"> I'd like to be more social, and to get out of the house in general, as I've been so busy lately (running my empire!) that I haven't actually been to the gym since before the pandemic; I'd really like to get my health back, which is hard when you spend every waking hour editing or answering emails from a desk - or sitting in a beloved cinema!</span></p><p><span style="font-family: georgia;"> I also want to soak up every inch of Spring, when it finally comes back; I want to finish work on my garden, which is so close now; I'd like to read more, time permitting; I want to see the purple fields of heather in bloom again in the Autumn, rather than missing it for yet another year, due to work commitments, only to regret it when everything starts to turn brown.</span></p><p><span style="font-family: georgia;"> So I wish for steadiness, for financial safety, and for sun - with maybe a little creative success along the way! And I wish for the same for all of you that are still reading this blog post now. Thank you for all the support that you give me.</span></p><p><span style="font-size: x-large;"><span style="font-family: georgia;"><b>Sophie</b></span></span></p><p><span style="font-size: x-large;"><span style="font-family: georgia;"><br /></span></span></p><p><span style="font-family: georgia;"><br /></span></p><p style="text-align: center;"><b style="background-color: #fef5eb; font-size: 16px;"><span style="font-family: georgia;">2022: THE YEAR IN STATS</span></b></p><div style="background-color: #fef5eb; text-align: center;"><span style="font-family: georgia;"><b style="font-size: 16px;">Countries visited: </b>Three, if you include England! On top of the return to Cannes in France, I actually went to Dublin in Ireland twice in 2022; not just for work, when I did my director shadowing, but also on a memorable holiday with some friends where we drank a <i style="font-size: 16px;">lot</i> of Guinness and visited the breathtaking Book of Kells exhibition.</span></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><b><span style="font-family: georgia;"><br /></span></b></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><span style="font-family: georgia;"><b>House moves: </b>None - but Edward and I marked one year in our first home, as well as fixing <i>some</i> of the dodgy bits and building a little extension. And we got a cat!</span></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><b><span style="font-family: georgia;"><br /></span></b></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><span style="font-family: georgia;"><b>Weddings attended: </b>1. My best friend from high school got married, and not only was I on the groom's council, but I got to help arrange and attend the stag do! It meant a lot, and I feel very proud. Feminist achievement unlocked!</span></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><b><span style="font-family: georgia;"><br /></span></b></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><span style="font-family: georgia;"><b>Film Festivals attended: </b>Not enough - I must do better in 2023! But I caught the screenings of <i>A Different Place</i> at Flatpack Film Festival and Norwich Film Festival, and I enjoyed some local film nights such as Short Stack and The Short Cinema: Show n Tell. I <i>was </i>going to attend Aesthetica, finally, and I even bought a festival pass, but the ongoing train strikes put a stop to that.</span></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><b><span style="font-family: georgia;"><br /></span></b></div><div style="background-color: #fef5eb; font-size: 16px; text-align: center;"><span style="font-family: georgia;"><b>Gigs attended: </b>Two pandemic-delayed gigs finally happened this year - Goldfrapp and Haim (on the hottest day on record in the UK!) - and I saw/heard some brilliant acts at the triumphant return of Towersey Festival, including Honey and the Bear, Kate Rusby, This Is The Kit, Ferris and Sylvester, and many more - even the hilarious Bill Bailey, who I've wanted to see live for years! I'd also booked a ticket for a Florence & the Machine gig in December, but unfortunately, due to an injury, that will now take place at the end of this month. Luckily we're all used to delayed gigs these days!</span></div>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-6614696814675768032022-12-30T09:51:00.007-08:002023-10-29T08:58:11.538-07:002022 - The Year In Cinemas<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1wKqQ3VPOBchET-gp9YiXGkJCXaxWIGSKG9fj4gQF5raUlh2d_IzFM7p0lXbCJXTzuq65ChpnqHDIKAAzFicGZp3lelp4sCpnPjo_-6Uk2gNsjQilVoJO4Aiw-dtE-3QCsPg092o15WtmPlmfS0_UMDitIwnWQIkpCOZsmvA1kuuux98zYwSULP_N/s800/everything-everywhere-all-at-once.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1wKqQ3VPOBchET-gp9YiXGkJCXaxWIGSKG9fj4gQF5raUlh2d_IzFM7p0lXbCJXTzuq65ChpnqHDIKAAzFicGZp3lelp4sCpnPjo_-6Uk2gNsjQilVoJO4Aiw-dtE-3QCsPg092o15WtmPlmfS0_UMDitIwnWQIkpCOZsmvA1kuuux98zYwSULP_N/w640-h320/everything-everywhere-all-at-once.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Everything Everywhere All At Once </i>- film of the year for many people, and an instant cult classic]</td></tr></tbody></table><br /><p> <span style="font-family: georgia;">There were no lockdowns in 2022, so the cinemas stayed open all year round for the first time since 2019. But in many ways, the impact of the pandemic was still felt; we saw more indie films in multiplex cinemas (Odeon marketed the <i>Aftersun </i>trailer heavily on the run up to its release), and some of the larger films only had limited releases before moving swiftly on to streaming platforms. Guillermo Del Toro's <i>Pinocchio, Crimes of the Future</i>, and <i>Glass Onion</i> are notable examples of that.</span></p><p><span style="font-family: georgia;"> Blockbusters were back, but they were somewhat disappointing for studios and audience members alike - partly because some people prefer to wait to see such films on digital release (and, as I said, they don't have long to wait these days), and partly because of a notable dip in quality. <i>Top Gun: Maverick</i> and <i>Avatar 2</i> seem to have bucked the trend, but the Marvel cinematic universe, which has dominated the silver screen for over a decade, suffered from bad reviews and decrease audience attendance.</span></p><p><span style="font-family: georgia;"> For me personally, I very much enjoyed this year's cinema trips. Back in 2018, I set myself the goal of going to the cinema at least once a month - and I managed that (and then some!) this year, partly thanks to my Odeon Limitless membership, as it persuaded me to get out the house and use it. I did cancel that membership in Summer, during the blockbuster season, as I found the films so disappointing around that time - but I renewed it towards the end of the year, to save me money as a slew of Oscar-contenders were released thick and fast.</span></p><p><span style="font-family: georgia;"> Here are the films I saw in cinemas in 2022 - plus a few that got away from me - and what I thought of them all (warning: mild spoilers throughout):</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxGX6u2c7FviMnogG_YSUMDb-mn_6Fiv6brbh3McrXM89yVxJCmQTIiEq7vc1i_yBPrsPUHvCudhelBwKs6Z2aOgdWvgAq5rLtzRsD71aurvaNo5WN2xciR4qxh9f90HsCEJxbSbfzHJLIRKqpBUuGv8xYZDRingleu5_6nB1egBD3_5g3dNlboy7z/s1080/4e5df7858d13bba5c90338f817445087.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="788" data-original-width="1080" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxGX6u2c7FviMnogG_YSUMDb-mn_6Fiv6brbh3McrXM89yVxJCmQTIiEq7vc1i_yBPrsPUHvCudhelBwKs6Z2aOgdWvgAq5rLtzRsD71aurvaNo5WN2xciR4qxh9f90HsCEJxbSbfzHJLIRKqpBUuGv8xYZDRingleu5_6nB1egBD3_5g3dNlboy7z/w640-h466/4e5df7858d13bba5c90338f817445087.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>The Tragedy of Macbeth</i> was a masterclass in cinematography]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />JANUARY 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Films: The Matrix Resurrections, The Tragedy of Macbeth, Licorice Pizza, Titane, Nightmare Alley</span></i></p><p><span style="font-family: georgia;"><i> </i>Since I saw a whopping five films this month, I'll try and keep my reviews short for all of them!</span></p><p><span style="font-family: georgia;"> The 4th <i><a href="https://www.imdb.com/title/tt10838180/" target="_blank">Matrix</a></i> film very much jumped on the bandwagon of nostalgic franchises being relaunched twenty years too late. As such, I went in with low expectations - and a little curiosity - which were unfortunately met. I did actually like the unpopular meta angle the film started out with; the feeling of creative block mixed with middle age melancholy. I almost hoped the film would go somewhere unusual, where it turned out Keanu Reeves' character <i>wasn't</i> Neo after all, separating it from the original trilogy. But the film chucked those ideas out about half way through, and descended into noisy, passionless action. The scene with the projectors looked beautiful, though - I'll give it that!</span></p><p><span style="font-family: georgia;"> <i><a href="https://www.imdb.com/title/tt10095582/" target="_blank">The Tragedy of Macbeth</a></i> was without a doubt one of the most beautiful looking films of the year. It's a masterclass in framing, and I was really hoping its cinematography would take home trophies during awards season. There are many <i>Macbeth</i> adaptations out there, and this one didn't offer much new - but the way it presented the three(ish) witches was <i>inspired</i>, and Denzel Washington was outstanding in the lead role. Frances McDormand maybe wasn't quite as believable in the role of Lady Macbeth (not every actor suits Shakespearean language), but I can forgive her anything as she's such an outstanding actor in every other part she plays.</span></p><p><span style="font-family: georgia;"> As with <i>Macbeth</i>, I saw <i><a href="https://www.imdb.com/title/tt11271038/" target="_blank">Licorice Pizza</a> </i>at Derby QUAD. It was a film that my creative PIC Tommy Draper wanted to see, as he's a huge Paul Thomas Anderson fan, and I went along because I knew the film's nostalgic tone and unusual age-gap relationship would be good research for my feature script, <i>Night Owls & Early Birds. </i>I did enjoy <i>Licorice Pizza </i>a lot; the setting was cosy to watch, and the dialogue & performances were incredible (particularly that one scene in the office between Cooper Hoffman and Alana Haim). My only gripe was that I found the film slightly long, as it's a series of vignettes rather than one fluid story, and without a single plot thread it's hard to tell where it's going at times. However, I think I will enjoy it more on a second viewing.</span></p><p><span style="font-family: georgia;"> I went to Derby QUAD a third time in January, to see Julia Ducournau's <i><a href="https://www.imdb.com/title/tt10944760/" target="_blank">Titane</a> </i>- and boy is that a film I'll never forget!! Believe the hype. It is a unique piece of cinema that achieves everything it sets out to. It isn't always an enjoyable watch - the characters are brutal and hard to root for, and some scenes are so gory that, at times, I had to watch it through my fingers. My knees also ached by the end of it, from tensing up so much, which proves that the film is, if nothing else, an <i>experience</i>. But I'll also say that the one-shot cinematography in the opening scene is particularly stunning, and Vincent Lindon's heartbreaking performance was one of the best I saw all year. I was so frustrated to see him snubbed by both the OSCARs and the BAFTAs.</span></p><p><span style="font-family: georgia;"> The final film this month (which I saw at Derby Odeon, same as <i>Matrix</i>) was <i><a href="https://www.imdb.com/title/tt7740496/" target="_blank">Nightmare Alley</a> </i>- one of two Guillermo Del Toro releases in 2022. He's in my top three favourite directors, so I was particularly excited to see <i>Nightmare Alley</i> - and I was slightly disappointed as a result. Don't get me wrong, it's a beautifully-made film and all the scenes set within the circus were particularly gorgeous to look at. However, the way the story jumped to a new setting and time frame about half way through made it feel almost like I was watching two different films (from the same series), and I always find that quite frustrating as a viewer. The film also had a lot in common with <i>Macbeth</i>, as it was a clear tragedy from the start, with crooked characters and a clear downward spiral that you can almost predict from the start: you just need to sit back and watch as their lives get worse and worse. You get the satisfaction of knowing you were right about the plot at the end, but that doesn't mean you feel happy about it.</span></p><p><i><span style="font-family: georgia;"><br /></span></i></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPx0zLmJ_ky0yza--wT6evraMPGH_83KIzB0PjyBopcM_tVENVSu3_jSf6AUyN0HL_62EsXkoepmfxAIuga2yi_oKBLTC-lWJWWekiu1BKIgg0aAKGZBCjJsNvjwONN2hcLaeooqcR4XHqFYviX3RpqOR74FEus4qqLYUcFFhs_TribejD28nzifat/s2048/FEFsUIzWUAAZbX4.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="858" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPx0zLmJ_ky0yza--wT6evraMPGH_83KIzB0PjyBopcM_tVENVSu3_jSf6AUyN0HL_62EsXkoepmfxAIuga2yi_oKBLTC-lWJWWekiu1BKIgg0aAKGZBCjJsNvjwONN2hcLaeooqcR4XHqFYviX3RpqOR74FEus4qqLYUcFFhs_TribejD28nzifat/w640-h268/FEFsUIzWUAAZbX4.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Belle</i> had a unique take on <i>Beauty & the Beast</i>]</td></tr></tbody></table><p></p><p><b><u><span style="font-family: georgia;"><br />FEBRUARY 2022</span></u></b></p><p><i><span style="font-family: georgia;">Film: Belle</span></i></p><p><span style="font-family: georgia;"> I only made it to the cinema once in February, as I was heavily in pre-production for my directorial short <i><a href="https://www.triskellepictures.co.uk/a-different-place" target="_blank">A Different Place</a></i>, which was shot at the end of the month. But for my one cinema trip, I went to Derby QUAD and watched Mamoru Hosoda's <i><a href="https://www.imdb.com/title/tt13651628/" target="_blank">Belle</a></i>. I'm a huge <i>Beauty & The Beast </i>fan - Disney's 1992 adaptation is one of my favourite films, and I find the gothic setting of the story really intoxicating - so I'm always interested to see new takes on the material. <i>Belle </i>was certainly inventive, comparable to <i>Ready Player One</i>, with dazzling animation and incredible scope. The plot also went to dark, borderline controversial places towards the end, and it was genuinely moving as a result. The songs, although a little slow, created an emotive sense of stillness at times. It wasn't my favourite film of the year, but it wasn't my least favourite either - it sits comfortably in the middle.</span></p><p><i><span style="font-family: georgia;"><br /></span></i></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoZJCMc-NhpFPbWjf81nDIa_fLn28iar_opSh4xJ-AuggDJt65FuhuqcRk-UZqnns07vLfgRLBKZRgYbm7JTAycUnJkGckOmjxpaw5-gvfcQAi5pA3V7NrNTeIcSP4x_H59ABtnt0JUyYIhEIPYDvaNZLW5dy5UL1NChn2xU5zLW3YXm-MmyhxPVA1/s1600/l-intro-1646520024.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoZJCMc-NhpFPbWjf81nDIa_fLn28iar_opSh4xJ-AuggDJt65FuhuqcRk-UZqnns07vLfgRLBKZRgYbm7JTAycUnJkGckOmjxpaw5-gvfcQAi5pA3V7NrNTeIcSP4x_H59ABtnt0JUyYIhEIPYDvaNZLW5dy5UL1NChn2xU5zLW3YXm-MmyhxPVA1/w640-h360/l-intro-1646520024.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: a particularly gorgeous shot from Matt Reeves' <i>The Batman</i>]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />MARCH 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Film: The Batman</span></i></p><p><span style="font-family: georgia;"><i> </i>As anyone who's seen my Poison Ivy fan film <i><a href="https://www.triskellepictures.co.uk/poison-ivy" target="_blank">Growing Shadows</a></i> will know, I am a huge Batman fan. I'm also a little weary of how many cinematic adaptations there's been, now - so I approached Matt Reeve's interpretation, <i><a href="https://www.imdb.com/title/tt1877830/" target="_blank">The Batman</a></i>, with mixed feelings. I was however pleased to discover that it's the best Batman film since the Nolan trilogy, and it'sin my top films of 2022. This version was actually more faithful to the comic books, as it applied <i>Se7en</i>-style neo-noir crime elements. The world building was also particularly accomplished, and I was relieved to see that this film avoided the usual origin story, which has been done to death in previous Batman films. I wasn't keen on the depiction of Alfred (much as I love Andy Serkis), as Bruce's relationship with Alfred is so important, it should be the heart of all Batman films, and it wasn't given enough attention in this version; I also found the constant Nirvana-drops on the score somewhat heavy-handed (I know I'm in the minority there!). But overall <i>The Batman</i> gave us the perfect mix of real-world grit and flawed humanity with comic-book action and excitement, so I'm keen to see Matt Reeves' next venture into Gotham.</span></p><p><span style="font-family: georgia;"><i> </i> I also booked to see Clio Barnard's <i><a href="https://www.imdb.com/title/tt11559472/" target="_blank">Ali & Ava</a>, </i>but unfortunately had to cancel my ticket due to other commitments, making it the first 'one that got away' film for me this year.</span></p><p><i><span style="font-family: georgia;"><br /></span></i></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQv0LdpRw0NmtJ-b2TLVwpH-DD_RzuLAvXtfib9cuQZ3eCdJ24QyzewVKUsKHr0sxCNN3NeSxQKibIrNDklSHYbmgevlTHZXKJPmlPlSdTMkLorNrIiW2MmEfhuvJU10khOf-AUBx9Z7u1Bo40nn9JQV79WRRQXpVvoqiM28CPPT9847X2eohjxTaE/s4000/1226675.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2297" data-original-width="4000" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQv0LdpRw0NmtJ-b2TLVwpH-DD_RzuLAvXtfib9cuQZ3eCdJ24QyzewVKUsKHr0sxCNN3NeSxQKibIrNDklSHYbmgevlTHZXKJPmlPlSdTMkLorNrIiW2MmEfhuvJU10khOf-AUBx9Z7u1Bo40nn9JQV79WRRQXpVvoqiM28CPPT9847X2eohjxTaE/w640-h368/1226675.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Anya Taylor-Joy in <i>The Northman</i>]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />APRIL 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Film: The Northman</span></i></p><p><span style="font-family: georgia;"><i> </i>Another single cinema outing this month, and back to Derby Odeon. <i><a href="https://www.imdb.com/title/tt11138512/" target="_blank">The Northman</a> </i>was probably my most-anticipated film of 2022, as Robert Eggers' <i>The VVitch </i>was one of the greatest debuts in recent years (<i>The Lighthouse</i> was brilliantly visceral too), and the Viking period is one I particularly enjoy watching on screen. The film mostly lived up to my expectations, and it would've been my film of the year if it weren't for a certain universe-and-genre-hopping film that came out the following month... </span></p><p><span style="font-family: georgia;"> Highlights of <i>The Northman</i> included its brutal but entertaining action sequence, particularly the supernatural battle in the moonlight when Amleth went to retrieve a sword. For me, though, I found the central romance to be a little shoe-horned into the plot, much as I love Anya Taylor-Joy and Alexander Skarsgard; there's no way a woman, in her right mind, would fall for a man <i>that</i> quickly after she watched him plunder and burn her village!</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWZCa3YTbZjXSQVNww8TbWLP8PoxTMO_Q461OmUnHKcic1CQvBhm-6YFL3WxCN9dSHe_17kCPecAGuF7Shpyu7oIvqJVKa3FQUfvqr0FWEIUKBmVXP9ux9ghpKDv2-HCEBWQNGuU1GWrupbScy4Uh58XtcevFOPPXY5oDh1iQlNcTtBdZfOQm2svyZ/s1200/Screen-Shot-2022-02-13-at-5.35.41-PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="520" data-original-width="1200" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWZCa3YTbZjXSQVNww8TbWLP8PoxTMO_Q461OmUnHKcic1CQvBhm-6YFL3WxCN9dSHe_17kCPecAGuF7Shpyu7oIvqJVKa3FQUfvqr0FWEIUKBmVXP9ux9ghpKDv2-HCEBWQNGuU1GWrupbScy4Uh58XtcevFOPPXY5oDh1iQlNcTtBdZfOQm2svyZ/w640-h278/Screen-Shot-2022-02-13-at-5.35.41-PM.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Sami Raimi to the max in <i>Doctor Strange in the Multiverse of Madness</i>]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />MAY 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Films: Doctor Strange in the Multiverse of Madness, God's Creatures, Everything Everywhere All At Once</span></i></p><p><span style="font-family: georgia;"><i> </i>May was the month of multiverse films, the first of which was <i><a href="https://www.imdb.com/title/tt9419884/" target="_blank">Doctor Strange 2</a></i>. Scarlet Witch is one of my favourite Marvel characters, and I was excited to see her take centre stage after the exceptional <i>Wandavision</i> which streamed last year. Also, director Sam Raimi's work is frequently entertaining, and you can tell he had a lot of fun with this one (case in point: Zombie Doctor Strange with evil spirit wings!), so I enjoyed the ride he took us on. However, there were a few times when the film's central players behaved out-of-character, compared to their previous Marvel outings, and there were too many plot holes as a result, which marred our viewing experience somewhat.</span></p><p><span style="font-family: georgia;"> I also went to Cannes Film Festival in month, for the first time in nearly 10 years, and this time I actually watched a film there: Saela Davis & Anna Rose Holmer's <i><a href="https://www.imdb.com/title/tt10375396/" target="_blank">God's Creatures</a></i>, released by A24. The film had a great small-town setting and built up a sense of dread well (I had multiple ideas in my head of where the film was going to go), but the conclusion was unrealistic and a little disappointing after all that growing tension, and the over-long ending shot felt like an uncertain choice by the filmmakers.</span></p><p><span style="font-family: georgia;"> Back in England, and back in Derby Odeon, I saw the second (and far superior) multiverse film, <i><a href="https://www.imdb.com/title/tt6710474/" target="_blank">Everything Everywhere All At Once</a> </i>- which gives you exactly what the title says: every genre, every emotion, from the childishly silly (<i>Ratatouille </i>homage, anyone?) to the near-pornographic humour of butt-plug battles! It's a film that's so hard to define, you simply have to see it, but it goes massive with the excitement of martial arts and sci-fi action, whilst still delivering relatable and highly-emotive family drama. The <i>In The Mood for Love </i>homage scenes were a particular highlight, and if Ke Huy Quan doesn't win Best Supporting Actor at next year's OSCARs, I will throw <i>all</i> of my toys out of the pram!</span></p><p><span style="font-family: georgia;"> I went into the cinema knowing pretty much nothing about <i>Everything Everywhere All At Once</i>, and not only saw my film of the year, but an instant iconic classic that we'll be talking about for as long as films are loved.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQD4HsoiHmePV_a_PJEax5WpNmsXm5OC5lM6oULUlWDqWcDm7hqm3XsoWG1SdxJL4phM5TZP9vde2iii9jUm5t5c-BZgfBq8scqQa_L6PyJWr5nmIkQmPVsHr_O3QXAOb9UVITUEpMR9b4CF--1TdVqIzzpknjP1KyNvmNy_4lKSOxBXpzAAKiBY1T/s1000/men-2022-horror-alex-garland.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="523" data-original-width="1000" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQD4HsoiHmePV_a_PJEax5WpNmsXm5OC5lM6oULUlWDqWcDm7hqm3XsoWG1SdxJL4phM5TZP9vde2iii9jUm5t5c-BZgfBq8scqQa_L6PyJWr5nmIkQmPVsHr_O3QXAOb9UVITUEpMR9b4CF--1TdVqIzzpknjP1KyNvmNy_4lKSOxBXpzAAKiBY1T/w640-h334/men-2022-horror-alex-garland.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: one of the lush-looking shots from the first half of <i>Men</i>, at a point where it showed so much promise...]</td></tr></tbody></table><p></p><p><b><u><span style="font-family: georgia;"><br />JUNE 2022</span></u></b></p><p><i><span style="font-family: georgia;">Films: Men, Limbo</span></i></p><p><span style="font-family: georgia;"><i> </i>Ok, so where do I start with <i><a href="https://www.imdb.com/title/tt13841850/" target="_blank">Men</a></i>? I've seen mixed reviews of the film, with some people loving it and some hating it... and I definitely fall into the latter camp. </span><i style="font-family: georgia;">Men</i><span style="font-family: georgia;"> advocates say that you have to 'get it' to love it; but I get it completely, it's not as clever as it thinks it is. I get it, and it made me very, very angry in the process.</span></p><p><span style="font-family: georgia;"> Don't get me wrong, I think Alex Garland is a genius, and after <i>Ex Machina</i> and <i>Annihilation</i> I couldn't wait to see his next film. I also love anything set in a country village (as I grew up in a similar place), and the film's opening scenes looked beautiful as well as creating a wonderful sense of creeping terror. But from there.... urgh. </span></p><p><span style="font-family: georgia;"> Look, Rory Kinnear is a brilliant actor and he played all (bar one) of the male characters really well - but does that mean that he should've been cast <i>as </i>all of them? The CGI child-Rory Kinnear looked ridiculous, and some of his characters felt like they were plucked from <i>The League Of Gentlemen</i> - particularly his OTT and old-fashioned (and borderline offensive) vicar character.</span></p><p><span style="font-family: georgia;"> The film was designed to be a folk horror with clear influence from the genre... and yet the filmmakers seemed to know nothing at all about who <i>The Green Man</i> actually was in folklore. It's like they just saw the statues and decided to make a character out of him with little to no research.</span></p><p><span style="font-family: georgia;"> But the film's biggest crime is the way it absolutely wasted the brilliant Jessie Buckley - particularly towards the end (one of the most ridiculous and grotesque endings I've ever seen), when she became nothing but a screaming final girl while the film made a comment about the cyclical nature of male stereotypes. I literally groaned when the final title card 'MEN' was slapped on the screen in large font, leaving the story unanswered. I am fully supportive of films that explore toxic masculinity and the dangers this brings; but I don't like it when such films pretend to tell a woman's story in the process (and then forgets about her in the final act). And no, all the shots of maternal statues and vaginal imagery were not enough to make it a feminist piece!</span></p><p><span style="font-family: georgia;"> ANYWAY.... rant over...</span></p><p><span style="font-family: georgia;"> Thank god for the second film I saw in June: <i><a href="https://www.imdb.com/title/tt9138170/" target="_blank">Limbo</a></i>, which I saw at a special charity screening at Derby QUAD. Limbo was one of my 'ones that got away' last year, so I jumped at the chance to see it when it was brought back for this one-off event. It's one of the few films this year that I'd give a full five stars to; a film that's surprisingly funny (combining the dry small-town humour of <i>Napoleon Dynamite</i> with the whimsical 4:3 framing of Wes Anderson), but doesn't hold back the emotional punches, particularly in the second half. I thoroughly recommend it.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8L7QH2XI1g22l6pkBaYFGWg00Y-wSHD_i7xaDQvVNirz_PrxoumCbelKxR1fy6bjMCWUCxJu-63LwVysWsCFvh8Av1YSKCkYqt4gttfS30aQzF02lCTvu4CAj70zAzFz8I4PfiY0tDHLvPb-FufbAVof_UEA3hj5YiCSNxhjIGPBzD1llXaIKnSM5/s1280/tumblr_e4470b78b7fd586646421e84abc02af9_c6aaeef4_1280.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="535" data-original-width="1280" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8L7QH2XI1g22l6pkBaYFGWg00Y-wSHD_i7xaDQvVNirz_PrxoumCbelKxR1fy6bjMCWUCxJu-63LwVysWsCFvh8Av1YSKCkYqt4gttfS30aQzF02lCTvu4CAj70zAzFz8I4PfiY0tDHLvPb-FufbAVof_UEA3hj5YiCSNxhjIGPBzD1llXaIKnSM5/w640-h268/tumblr_e4470b78b7fd586646421e84abc02af9_c6aaeef4_1280.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Thor: Love and Thunder</i>, featuring the somewhat-wasted Christian Bale]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />JULY 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Film: Thor: Love and Thunder</span></i></p><p><span style="font-family: georgia;"><i> </i>In July I went back to Derby Odeon for my second (and last) Marvel film of the year: <i><a href="https://www.imdb.com/title/tt10648342/" target="_blank">Thor: Love and Thunder</a></i>. I am one of the few people who prefered the serious tone of the first two Thors films to <i>Ragnarok</i>, but I was keen to see the conclusion of Natalie Portman's character, Jane Foster. I also usually enjoy Taika Waititi's work (<i>Hunt for the Wilderpeople</i> is perfection). But <i>Thor 4 </i>ended up being one of my least favourite films of the year; it made me laugh a few times (Russell Crowe's Zeus was a wonderfully odd role for the usually-too-serious actor), and Natalie Portman's bleaker scenes hit <i>just </i>hard enough, but the improvisation in the film landed badly, like no-one really knew where the story or the characters were going, leading to some nonsensical and painfully clunky dialogue as a result. Yes, the screaming meme goats were funny; it doesn't mean they belonged in the MCU!</span></p><p><span style="font-family: georgia;"><br /></span></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55saWATS7jiHggYRRNv2wHoVi2Y0o5VJdGnI-ZPCdHJhJQY730vDsUUXF-uhlonG-lNEoi0JFFfwKKhZt_TG9LR-2bPFHQBLlJFtTc7XrrdFnKNwo-SEGb4z-8deio30YqfVmCcA5J8c2dbv1HFLnjIHntqAaAoQk3TKHEYOvHLlDiAnGcnNuILRK/s1200/ELVIS-TRL-87749.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="499" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55saWATS7jiHggYRRNv2wHoVi2Y0o5VJdGnI-ZPCdHJhJQY730vDsUUXF-uhlonG-lNEoi0JFFfwKKhZt_TG9LR-2bPFHQBLlJFtTc7XrrdFnKNwo-SEGb4z-8deio30YqfVmCcA5J8c2dbv1HFLnjIHntqAaAoQk3TKHEYOvHLlDiAnGcnNuILRK/w640-h266/ELVIS-TRL-87749.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Austin Butler and what I thought was the performance of the year, in Baz Luhrmann's lavish <i>Elvis</i> biopic]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />AUGUST 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Film: Elvis</span></i></p><div><span style="font-family: georgia;"><i> </i>In August, to celebrate Tommy Draper's birthday, we went back to the gorgeous little Northern Light cinema in Wirksworth, where I also watched <i>Another Round</i> last year. This time we saw <i><a href="https://www.imdb.com/title/tt3704428/" target="_blank">Elvis</a></i> - the latest film by one of my all-time cinematic heroes, Baz Luhrmann. I've seen Baz's style described as 'baroque', which I think is accurate, and that style really suited <i>Elvis </i>- even if he did turn it down to focus on the drama in the second half. It's not a perfect film, but it's Baz's best since <i>Moulin Rouge!</i>, and it's definitely a feast for the senses on the big screen. It taught me things about Elvis that I didn't know before (the bad as well as the good), and I thought that Austin Butler was exceptional, embodying Elvis fully even if he wasn't a physical match. I really want him to win Best Actor in next year's awards season, but I know he faces stiff competition from Brendan Fraser (for his performance in <i>The Whale</i>), and that guy deserves the world.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><i><span style="font-family: georgia;"><br /></span></i></div><div><i><span style="font-family: georgia;"><br /></span></i></div><div><i><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwQl_Rcyfn4JZkQI6tGwZJe8CeLzyLlpQ6YDZR2oNADMjbi6Q9gu5hy783hRKP8bgmhaJ8cpgqwPmbp-x9rgzqFVRHgehetBFBBxIap8UXrqhkGe3a5HgTJvImIbcHF7M-zOdNjvldHe0CFsq1ZNbfbPjt8yNpwWT3-WYVKD6yAaexWRuDCuYhSFeZ/s4500/Three-Thousand-Years-Of-Longing-1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2994" data-original-width="4500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwQl_Rcyfn4JZkQI6tGwZJe8CeLzyLlpQ6YDZR2oNADMjbi6Q9gu5hy783hRKP8bgmhaJ8cpgqwPmbp-x9rgzqFVRHgehetBFBBxIap8UXrqhkGe3a5HgTJvImIbcHF7M-zOdNjvldHe0CFsq1ZNbfbPjt8yNpwWT3-WYVKD6yAaexWRuDCuYhSFeZ/w640-h426/Three-Thousand-Years-Of-Longing-1.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Tilda Swinton in <i>Three Thousand Years of Longing</i>]</td></tr></tbody></table></i></div><div><p><b><u><span style="font-family: georgia;">SEPTEMBER 2022</span></u></b></p><p><i><span style="font-family: georgia;">Films: Three Thousand Years of Longing, Crimes of the Future</span></i></p></div><div><span style="font-family: georgia;"><i> <a href="https://www.imdb.com/title/tt9198364/" target="_blank">Three Thousand Years of Longing</a></i> (which I watched at Derby Odeon) was a likeable film in many ways. It took the viewer to distant, epic lands and told some unique fairytales, the best of which was the final vignette about the captive young (but highly intelligent) wife who collected glass bottles. It's the kind of film you'd watch on a sleepy Sunday afternoon - but for all its CGI vistas, it would've perhaps worked better as a book or a play. Also, in spite of its dependable central cast, I was disappointed by the film's final act, when Tilda Swinton's previously-cautious Alithea suddenly decided to start a relationship with Idris Elba's Djinn; the storytelling aspect between these two characters was more interesting then their own story, and the final scenes outstayed their welcome a little as a result.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> For my second cinema trip this month, I ventured to Broadway in Nottingham, one of the few local cinemas which screened David Cronenberg's <i><a href="https://www.imdb.com/title/tt14549466/" target="_blank">Crimes of the Future</a></i> (the most popular film at Cannes this year, so it was impossible to get tickets when I was there). The brilliant cast was very watchable, as expected, and the film flitted between sensual and near-controversial without ever losing tempo or audience engagement, as it got most of its exposition out of the way in the first scenes. All of Cronenberg's biggest hits were referenced, sometimes in near-ridiculous fashion (although I applaud the filmmakers' respect for practical effects). S</span><span style="font-family: georgia;">ome plot lines were abandoned towards the end,</span><span style="font-family: georgia;"> </span><span style="font-family: georgia;">and the two female mechanic characters changed motivation and loyalties so often that it was like they'd walked out of a totally different film, but overall <i>Crimes of the Future </i>is a solid watch.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><i><span style="font-family: georgia;"><br /></span></i></div><div><p><b></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWpSmd2RBp-IIu330fD0sNCOTetGyyMioLf1RYsa2PHgekdBb5ORcU9UXBwGBkH2w7oCp2JK9dXfkqz85xopnWYXHaIL434ipINBoLZBXRx25jPb7W4Hj4ul7otDmJnm9GArOWlyKayz3S6-StsPhsGWxFpv3r68l0aZ-TJIut0gWl77JNw42N65Od/s480/djPSoQFRGE6huHfYe9pZXm-480-80.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="206" data-original-width="480" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWpSmd2RBp-IIu330fD0sNCOTetGyyMioLf1RYsa2PHgekdBb5ORcU9UXBwGBkH2w7oCp2JK9dXfkqz85xopnWYXHaIL434ipINBoLZBXRx25jPb7W4Hj4ul7otDmJnm9GArOWlyKayz3S6-StsPhsGWxFpv3r68l0aZ-TJIut0gWl77JNw42N65Od/w640-h274/djPSoQFRGE6huHfYe9pZXm-480-80.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Olivia Wilde's ambitious second feature, <i>Don't Worry Darling</i>]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />OCTOBER 2022</span></u></b><p></p><p><i><span style="font-family: georgia;">Films: Don't Worry Darling, Guillermo Del Toro's </span></i><span style="font-family: georgia;"><i>Pinocchio, Emily</i></span></p></div><div><span style="font-family: georgia;"><i> </i>As I'd loved Olivia Wide's 2019 debut, <i>Booksmart</i>, I decided to ignore the bad (and <a href="https://terriwhite.substack.com/p/olivia-wilde-and-her-movie-have-been?utm_source=twitter&sd=pf" target="_blank">somewhat sexist</a>) press surrounding <i><a href="https://www.imdb.com/title/tt10731256/" target="_blank">Don't Worry Darling</a></i> and go and see it for myself, in another trip to Derby Odeon. <i>Don't Worry Darling</i> is only her second film as a director, as well as it being her first time working with a higher budget, and that inexperience does show; the script needed work to define the world and plan the ending more in advance, but it was an entertaining film to watch and the creative ideas shine through - even if they are thrown at the audience a little too regularly (such as the random scene where Florence Pugh is squashed by the glass wall of her house, and the too-frequently used black and white kaleidoscope shots of the female cast as 1930s dancers). I still think that Olivia Wilde is a director to watch, and she's going to do great things in the future.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> For the second film in October, I took a trip down to London. As with the pre-release screening of <i>Dune</i> last year, this was was organised by <a href="https://directors.uk.com/" target="_blank">Directors UK</a> (membership worth every penny!), where I got to see <i><a href="https://www.imdb.com/title/tt1488589/" target="_blank">Pinocchio</a></i> at none other than Dolby's UK headquarters, with Guillermo del Toro himself, <i>and</i> presented by Edgar Wright!! I'll be sure to talk about that in my general end of year review, as it was certainly a highlight.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> The film was beautiful. Stop motion is always gorgeous to look at, it really is an art form, and this is one of the best examples of the medium I've seen. I wasn't keen on the film's original songs (I don't consume a lot of modern animated films, which often tend to be aimed at families with young children, so it's not my favourite genre), and I felt that it was strange how they only really appeared in the first half of the film. I also found Pinocchio himself to be a little annoying - as he should be! But those are only minor criticisms in an overall breathtaking film with important themes about life and death (and how one is only special when paired with the other). The designs of the wood sprite and her sister were particularly stunning - I hope NECA bring out action figures like they did for Guillermo's previous films!</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> I saw one more film in October, back at Derby Odeon (as I'd just renewed my Limitless), and that was <i><a href="https://www.imdb.com/title/tt12374656/" target="_blank">Emily</a></i>, the directorial debut of actor Frances O'Connor. I find the Brontes fascinating, so I was keen to check this one out, and the blustery Yorkshire landscape certainly didn't disappoint. I also thought the score was exceptional, with some unusual choices - a mix of shrieking, feral female voices among the classical instruments perfectly homaged the wild heart of <i>Wuthering Heights</i>. However, the script took so many liberties with the truth and the timelines of the real Brontes that it ruined my enjoyment of the film; particular disservice was done to Charlotte Bronte, my favourite of the three sisters, as the film had the nerve to suggest that Emily (and her success as an author) inspired Charlotte to write <i>Jane Eyre</i>, when actually that novel was released first out of all the Brontes' works.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPYppWRlCxySjxBcXeJbv9Vv10xBBzgmKiZ_amncWdNbwcqYKk1nmVF4_EPuUStrU6c2sH2oA7G54FXc64baZhK8HHq3ImTF1k7I4XOB0hNNYtrZXqtB1Cp3l4TaLE_b8l7B-F0lbsxVN3WnQjr5j5Q-Efy6BGzwy6IK6-N1AHVGJTol0MkZYiGiJr/s1200/0d754865f85b5b8cd921c57f94f0982b.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPYppWRlCxySjxBcXeJbv9Vv10xBBzgmKiZ_amncWdNbwcqYKk1nmVF4_EPuUStrU6c2sH2oA7G54FXc64baZhK8HHq3ImTF1k7I4XOB0hNNYtrZXqtB1Cp3l4TaLE_b8l7B-F0lbsxVN3WnQjr5j5Q-Efy6BGzwy6IK6-N1AHVGJTol0MkZYiGiJr/w640-h360/0d754865f85b5b8cd921c57f94f0982b.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Park Chan-Wook's <i>Decision to Leave </i>featured<i> </i>probably the best shot of the year!]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span></div><div><p><b><u><span style="font-family: georgia;">NOVEMBER 2022</span></u></b></p><p><i><span style="font-family: georgia;">Films: Decision to Leave, The Banshees of Inisherin, Bones and All, She Said</span></i></p><p><span style="font-family: georgia;"> I watched four films in November, all at Derby Odeon again; the first, <i><a href="https://www.imdb.com/title/tt12477480/" target="_blank">Decision to Leave</a></i>, felt like a wonderfully traditional film noir, a tale of a memorable femme fatale and a cop that's broken by his obsession with her, but paired with stunning modern cinematography (the scenes which took place on the mountain were some of this year's most beautiful). As with <i>Nightmare Alley</i>, this is another film which jumped to another place and time about half way through, and it felt a little too long as a result, but on this occasion the final pay-off made the whole journey feel worthwhile.</span></p><p><span style="font-family: georgia;"> <i><a href="https://www.imdb.com/title/tt11813216/" target="_blank">The Banshees of Inisherin</a> </i>was a film that appeared to come out of nowhere, but immediately soaked up a lot of (worthy) hype, so I had to check it out. The script and performances were razor sharp, with some of the funniest exchanges I've ever seen in a film, and yet it also took the viewer to darker places than first expected. It's comparable to <i>Limbo</i> in that way. My only minor criticisms were that I felt it ended a bit too suddenly, and also I was slightly disappointed that it was a period piece, as I'd love to see more small, human dramas set in villages in the 21st century. The story was so human that it could've happened in any era (particularly in the country villages near where I live, as they've barely changed in decades!).</span></p><div style="text-align: left;"><span style="font-family: georgia;"> Another film which got a lot of hype was<b> </b><i><a href="https://www.imdb.com/title/tt10168670/" target="_blank">Bones and All</a></i>, and I enjoyed the road trip the film took its characters (and its audience) on. The film left you wondering about the wider world of cannibals, in a good way, and the eighties setting created a great sense of nostalgia (with a brilliant soundtrack and fashion choices!). But once the road trip ended, and the mission to find the lead character's mother was fulfilled, my enjoyment of the film lessened as a result; we had a sudden POV shift to Timothy Chalamet's character, which didn't feel necessary, followed by an over-use of Mark Rylance's Sully <span style="background-color: #fcf5ec;">(he wasn't a bad character, but I liked the sense of mystery surrounding him, and conversely I would've liked to have seen more of Michael Stuhlbarg's terrifying Jake), and a descent into full, melodramatic schlock at the end. But these are perhaps the faults of the source material and not the filmmakers.</span></span></div><div style="text-align: left;"><span style="font-family: georgia;"><span style="background-color: white;"><br /></span></span><span style="font-family: georgia;"> And finally this month, I saw Maria Shrader's <i><a href="https://www.imdb.com/title/tt14807308/" target="_blank">She Said</a>, </i>partly because I wanted to know more about the Harvey Weinstein scandal and, in particular, how our industry covered it up. It was an incredibly gripping film, shot very simply and cleanly so that the performances and the true story could do all the talking - and rightly so! Because of this, some of the none-linear moments (like the flashbacks with different actors playing younger versions of characters) felt jarring, and there were also so many characters and story threads that not every plot point had a resolution. But overall, it's a brilliant film which grips you from start to finish, and the truest moments - like the shots of the empty hotel corridor, overlaid with a voice clip of one of Weinstein's real victims - were the most powerful. Kudos to Samantha Morton, whose seething but restrained performance stole the film in a single scene!</span></div><p><i><span style="font-family: georgia;"><br /></span></i></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihdqkqprCRI9pt1YdqUJI3BgWIU-946Iooqt2zkEDY9kTBmeHpj9mIAHq9NtgXxtDJ2BOdr5fcLgFwF7Mw_oOxseUrHHA-rWmSvYSei43ImCu2hgXDA7DGcQBsebJGsJM6L9q4WeTCIjXwhH4IxTj_yjDg0DdOOi0NYIqlmy75qwj1nzCylplkLsPL/s1280/image-w1280.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihdqkqprCRI9pt1YdqUJI3BgWIU-946Iooqt2zkEDY9kTBmeHpj9mIAHq9NtgXxtDJ2BOdr5fcLgFwF7Mw_oOxseUrHHA-rWmSvYSei43ImCu2hgXDA7DGcQBsebJGsJM6L9q4WeTCIjXwhH4IxTj_yjDg0DdOOi0NYIqlmy75qwj1nzCylplkLsPL/w640-h360/image-w1280.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Charlotte Wells' heartbreaking <i>Aftersun</i>]</td></tr></tbody></table><b><u><span style="font-family: georgia;"><br />DECEMBER 2022</span></u></b><p></p></div><div><p><i><span style="font-family: georgia;">Films: Casablanca, Aftersun, Avatar: The Way of Water</span></i></p></div><div><span style="font-family: georgia;"> At the start of December, Derby Odeon hosted a one-off screening of <i><a href="https://www.imdb.com/title/tt0034583/" target="_blank">Casablanca</a></i>, for its 80th anniversary - and since I've never seen it(!), I decided to check it out. The film still very much holds its own, and from the moment Humphrey Bogart enters the frame (beautifully, with a great use of shadows in the second scene), he dominates the movie. His performance is electric and surprisingly emotional for a male character of the era. Pure class.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> Next up, and back in Derby Odeon, was a very different film - Charlotte Wells' debut <i><a href="https://www.imdb.com/title/tt19770238/" target="_blank">Aftersun</a></i>. Boy was that a gut punch; a film that hits you in your childhood nostalgia and your middle-age existentialism all at once! The inventive use of framing in the opening shot, in particular, felt so unique, like something I haven't seen in cinema before - which doesn't happen very often! - and continued to be great throughout the film. I wasn't as keen on the sudden flash-forwards and surreal sequences, as these felt almost like expositional studio notes in a film which was otherwise so raw and naturalist. But those minor notes aside, <i>Aftersun </i>is a stand-out film, and Charlotte Wells is another one to watch.</span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> And the very last film I saw in cinemas this year (I actually saw it yesterday, back in the Derby Showcase cinema where I used to work, because I wanted to find the biggest screen possible) was <i><a href="https://www.imdb.com/title/tt1630029/" target="_blank">Avatar: The Way of Water</a></i>. As the film was more than 10 years in the making, and because the first film has gone down in popularity in recent years, I wasn't sure that it could possibly live up to the hype. But James Cameron knows what he's doing, and the film is definitely worthy of a big screen; all the underwater diving scenes are food for the senses, even if there are too many of them, like the filmmakers were (somewhat understandably) keen to show off their new underwater motion capture capabilities. It also didn't feel as long as I'd worried it would, even though the film is over three hours long - nearly four hours with trailers. </span></div><div><span style="font-family: georgia;"><br /></span></div><div><span style="font-family: georgia;"> Some of the plot elements were nonsensical - like the way the space-whales could communicate full sentences with a couple of eye blinks, despite there being no scenes where our heroes learnt how to speak space-whale, and how Jermaine Clement's scientist character basically said "you can tell this whale was religious and also very musical, just by looking at this part of the brain"! All of that silliness felt unnecessary after an effective and all-too-real scene where the whales were hunted by the humans; the audience already cared enough about the whales by that point! But you don't see a James Cameron film for the plot; you see it for the scope and the battles, and this film definitely delivered the excitement beats, particularly with its <i>Titanic</i>-homage climax. I just hope we get more Zoe Saldana in the next <i>Avatar</i>, whenever it comes out!</span></div><p><i><span style="font-family: georgia;"><br /></span></i></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSDCvyfnfQ9AdKsgplyhe9V3gPI4if1aLflNOF6fIvSSnooU8EjF62_ykplioHQpYE0dm_IHDgey5VBxrhADOeVITKI2DNSz29Wsf1KzkHcWay6ATXoFnPaZCyQzt2LJbJSqoMqck8y9tH-r5UIJF9sA9IXdCJ2GI9ERekSXPV_OEpvZ7wYukem5Eu/s1100/nevergonnasnowagain-photo6_orig%20(1).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="461" data-original-width="1100" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSDCvyfnfQ9AdKsgplyhe9V3gPI4if1aLflNOF6fIvSSnooU8EjF62_ykplioHQpYE0dm_IHDgey5VBxrhADOeVITKI2DNSz29Wsf1KzkHcWay6ATXoFnPaZCyQzt2LJbJSqoMqck8y9tH-r5UIJF9sA9IXdCJ2GI9ERekSXPV_OEpvZ7wYukem5Eu/w640-h268/nevergonnasnowagain-photo6_orig%20(1).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Never Gonna Snow Again</i>, a magical-looking film which was advertised heavily but never reached a cinema screen near me]</td></tr></tbody></table><i><span style="font-family: georgia;"><br /></span></i><p></p><p><span style="font-family: georgia;"><b><u>The Ones That Got Away</u></b></span></p><p><span style="font-family: georgia;"> After <i>so many </i>cinema trips this year, it's hard to believe that there's any films I missed, but there are a few I wanted to catch which passed me by. As previously mentioned, my schedule meant I wasn't able to see <i>Ali & Ava</i>, and I also missed out on a rare 35mm screening of <i><a href="https://www.imdb.com/title/tt0299977/" target="_blank">Hero</a></i> in August for the same reason, whereas I missed <i><a href="https://www.imdb.com/title/tt9883832/" target="_blank">Moonage Daydream</a></i> as I was too broke to go to the cinema at the time (I'd foolishly cancelled my Limitless membership).</span></p><p><span style="font-family: georgia;"> I missed <i><a href="https://www.imdb.com/title/tt6910282/" target="_blank">Bergman Island</a></i>, which had an interesting premise, as I heard about it a little too late. And due to the fact that there were no local screenings, I wasn't able to catch <i><a href="https://www.imdb.com/title/tt9288822/" target="_blank">The Wonder</a></i> (although I saw it via Netflix at a movie night last week), <i><a href="https://www.imdb.com/title/tt9526784/" target="_blank">Never Gonna Snow Again</a></i>, <i><a href="https://www.imdb.com/title/tt6160448/" target="_blank">White Noise</a> </i>or <i><a href="https://www.imdb.com/title/tt13874422/" target="_blank">The Eternal Daughter</a></i>, but as the latter two are recent releases, I'm going to keep an eye out for more screenings in the New Year.</span></p><p><br /><br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6L_dhEIeTNL9f_aGA5uZsAeY_HQVrvbinYRMkNW28S8IzCarQcDdAgJmYR9Xton6cFdiN5DC2CKeAZGMytYfaPF0cjr4sT3ck61FHLxcWD6uT98TrGtlf1dMoN73ns5Zc_TIjw4qovaxS7l3PuT0_pGzyvmtkwhggJl4fBXEYTvZgy-YUSJvZrla-/s1920/Guillermo_Del_Toros_Cabinet_of_Curiosities_S1_MURMURING_01_00_10_21R.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1157" data-original-width="1920" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6L_dhEIeTNL9f_aGA5uZsAeY_HQVrvbinYRMkNW28S8IzCarQcDdAgJmYR9Xton6cFdiN5DC2CKeAZGMytYfaPF0cjr4sT3ck61FHLxcWD6uT98TrGtlf1dMoN73ns5Zc_TIjw4qovaxS7l3PuT0_pGzyvmtkwhggJl4fBXEYTvZgy-YUSJvZrla-/w640-h386/Guillermo_Del_Toros_Cabinet_of_Curiosities_S1_MURMURING_01_00_10_21R.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>The Murmuring</i>, Jennifer Kent's episode of Guillermo Del Toro's <i>Cabinet of Curiosities</i>]</td></tr></tbody></table><b style="font-family: georgia;"><u><br /></u></b><p></p><p><b style="font-family: georgia;"><u>Best Of The Rest</u></b></p><p><span style="font-family: georgia;"> As with <i>The Wonder</i>, I was able to catch some great films on their home release, and I have to give particular shout-outs to <i><a href="https://www.imdb.com/title/tt8508734/" target="_blank">His House</a>, <a href="https://www.imdb.com/title/tt9812474/" target="_blank">Lamb</a></i>, <i><a href="https://www.imdb.com/title/tt13204490/" target="_blank">Petite Maman</a></i>,<i> </i>and <i><a href="https://www.imdb.com/title/tt10370710/" target="_blank">The Worst Person In The World</a>, </i>all of which were among my top films of the year. And, if I'm honest, <i><a href="https://www.imdb.com/title/tt3513500/" target="_blank">Chip 'n Dale: Rescue Rangers</a></i> is up there too, as the humour was perfectly aimed at the age group of myself and my partner, Edward Harvey.</span></p><p><span style="font-family: georgia;"> It was also a very strong year for television, particularly for genre fans. Although I haven't watched <i>Rings of Power</i> (I don't currently have Amazon Prime) or all of <i>House of the Dragon</i> yet, I have been devouring the <i><a href="https://www.imdb.com/title/tt10278918/" target="_blank">Willow</a> </i>series on Disney Plus, which captures all of the humour of the original film whilst still considering modern audiences. Also on Disney Plus, the <i><a href="https://www.imdb.com/title/tt8466564/" target="_blank">Obi-Wan Kenobi</a> </i>series was an entertaining watch, answering a few of the plot questions left by the<i> Star Wars</i> prequel series, but the best ILM programme this year was the documentary <i><a href="https://www.imdb.com/title/tt19896784/" target="_blank">Light & Magic</a></i>, filled to the brim with geeky insights and a lot of love for its subjects.</span></p><p><span style="font-family: georgia;"> As with its large-screen outings, I found Marvel's television series a little disappointing this year; it took a while for <i><a href="https://www.imdb.com/title/tt10234724/" target="_blank">Moon Knight</a></i> to really grab my attention, and I thought the opening episode of <i><a href="https://www.imdb.com/title/tt10857164/" target="_blank">Ms. Marvel</a></i> was exceptional and so cleverly shot, but the rest of the series (although still very enjoyable) didn't quite match its early promise. Another visually stunning series was Netflix <i><a href="https://www.imdb.com/title/tt7520794/" target="_blank">Russian Doll</a></i> series 2, which contained some powerful messages about accepting your past and also the inevitability of death - and a certain episode where Nadia takes a trip, in more ways than one, was the best-looking television episode of the year, in my opinion! - but it didn't quite grip me in the same way that series 1 did.</span></p><p><span style="font-family: georgia;"> <i><a href="https://www.imdb.com/title/tt5834204/" target="_blank">The Handmaid's Tale</a></i>, <i><a href="https://www.imdb.com/title/tt1312171/" target="_blank">Umbrella Academy</a></i>, and <i><a href="https://www.imdb.com/title/tt4574334/" target="_blank">Stranger Things</a></i> all returned with their best series in years (again, in my opinion), and <i>Stranger Things</i> also helped to propel Kate Bush, one of my musical heroes, back to the top of the charts! But I enjoyed two of Netflix's brand new series - <i><a href="https://www.imdb.com/title/tt1751634/" target="_blank">Sandman</a> </i>and Tim Burton's <i><a href="https://www.imdb.com/title/tt13443470/" target="_blank">Wednesday</a></i> - even more, as both were addictive pieces of goth-tinged fun!</span></p><p><span style="font-family: georgia;"> And finally, Guillermo del Toro was back, this time presenting his <i><a href="https://www.imdb.com/title/tt8415836/" target="_blank">Cabinet of Curiosities</a></i>, helmed by a plethora of brilliant and under-used horror directors. Although none of the episodes were bad, some excelled more than others - in different ways. The episode <i>The Autopsy </i>(directed by David Prior)<i> </i>was so gripping that you couldn't take your eyes away, whereas <i>The Murmuring </i>(directed by Jennifer Kent) was much gentler but equally as powerful, using the scares to tell a truly human story of grief. Speaking of macabre series, at the start of 2022 I finally watched <i><a href="https://www.imdb.com/title/tt2243973/" target="_blank">Hannibal</a></i>, and I adored it so much - even though it scared me - that I binged it all almost in one go, and I've been missing it ever since! It contains some of the best cinematography I've ever seen on television.</span></p><p><span style="font-family: georgia;"><br /></span></p><p style="text-align: center;"><span style="font-family: georgia;">*</span></p><p style="text-align: center;"><span style="font-family: georgia;"><br /></span></p><p style="text-align: left;"><span style="font-family: georgia;"> So it's been a bumper year for films (and television), and this has been a bumper blog post as a result! My top films from the cinema trips are definitely <i>Everything Everywhere All At Once, Northman, Limbo, The Batman </i>and <i>Aftersun, </i>with <i>The Tragedy of Macbeth, Titane</i> and <i>Licorice Pizza</i> not far behind, but streaming services and movie nights brought some of my other films of the year - notably <i>His House</i> and <i>The Worst Person In The World.</i></span></p><p style="text-align: left;"><span style="font-family: georgia;"><i> </i>I'm not sure what to expect for the changing landscape of cinemas in 2023. I feel as though Marvel's reign of power is coming to a close, due to its recent disappointing films and television series, and I decided not to spend my money on <i>Black Panther</i> 2 for that reason, much as I liked the first one - although I do plan on seeing <i><a href="https://www.imdb.com/title/tt10676048/" target="_blank">The Marvels</a></i> next year, depending on my schedule. I'm very excited about awards season coming up, as it means that the next few months will be filled with quality contenders - starting with the 'battle of the cinema movies', Steven Spielberg's <i><a href="https://www.imdb.com/title/tt14208870/" target="_blank">The Fabelmans</a></i> versus Sam Mendes'<i> <a href="https://www.imdb.com/title/tt14402146/" target="_blank">Empire of Light</a></i>, both of which I expect good things from. I'm also looking forward to seeing <i><a href="https://www.imdb.com/title/tt10640346/" target="_blank">Babylon</a> </i>by Damien Chazelle, as I loved <i>Whiplash </i>and <i>La La Land</i>, as well as finally checking out Brendan Fraser's performance in <i><a href="https://www.imdb.com/title/tt13833688/" target="_blank">The Whale</a></i>. But I hope, most of all, that big-chain cinemas will continue to screen independent films in 2023, presenting these gorgeous, heart-filled films in the way that they deserve, and I'm eager to see what next year's equivalent to <i>Aftersun </i>will be.</span></p><p style="text-align: left;"><span style="font-family: georgia;"><br /></span></p><p style="text-align: left;"><span style="font-family: georgia; font-size: large;">Sophie</span></p><p><br /></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-22678407346673405602022-11-25T10:20:00.010-08:002023-10-29T08:57:58.345-07:00Stories from the Set: White Peak Distillery <p style="text-align: center;"><span style="font-family: georgia;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQndKO4Ob8dBGU-bk1tVpnF7YBT4HbPaCQI0ZX0OoqOH_EHM7_QL7yFWRLiP2FjkyBnPPQl-4Osaoow1YZ_uZrbyQifmhMYPwLSuIFnHW_5Sr_KwZ_RpzvV0ovsKn8eivygmgCav0-ErJaBec5P47VAcTzH2qbfu1yqA7PD9Iioll-GdJiKwZ6QO1/s2048/121565120_3577930632230461_6735420287952122503_o.jpg" style="background-color: #fcf5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQndKO4Ob8dBGU-bk1tVpnF7YBT4HbPaCQI0ZX0OoqOH_EHM7_QL7yFWRLiP2FjkyBnPPQl-4Osaoow1YZ_uZrbyQifmhMYPwLSuIFnHW_5Sr_KwZ_RpzvV0ovsKn8eivygmgCav0-ErJaBec5P47VAcTzH2qbfu1yqA7PD9Iioll-GdJiKwZ6QO1/w640-h426/121565120_3577930632230461_6735420287952122503_o.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Above: BTS photo from the original Shining Cliff Gin sample film, Summer 2020. Credit: Ian Cudmore at I C Things Photography]</span></td></tr></tbody></table><span style="font-family: georgia;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; text-align: left; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-variant-ligatures: none; white-space: pre-wrap;">
</span></span></span></span></span></span><p></p><div style="text-align: left;"><span style="font-family: georgia;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; text-align: left; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-variant-ligatures: none; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span> This time last year</span></span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">, my team and I were working on a social media suite for <a href="https://www.whitepeakdistillery.co.uk/" target="_blank">White Peak Distillery</a></span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">. While I often like to share behind-the-scenes stories from Triskelle </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">Pictures’ client shoots, what was particularly </span><span>unusual</span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> about this collaboration was everything that </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">happened <i>before </i>the filming day. White Peak Distillery was very much a </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">dream client for me, as I'd been fan-girling </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">over them for a while</span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> – but our collaboration came about partly because of the pandemic, and partly because of my short fantasy film, </span></span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-style: italic; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><a href="https://www.triskellepictures.co.uk/songbird" target="_blank">Songbird</a></span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB">.</span><span class="EOP SCXW125614417 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></span></span></span></span></span></div><p></p><div class="OutlineElement Ltr SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{183}" paraid="818074579" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec;"><span style="font-family: georgia;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"></span></span><span class="EOP SCXW125614417 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"> In the winter of 2017, having just completed work on </span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB">Songbird</span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB">, I was in a local country pub (at an early </span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><a href="https://www.triskellepictures.co.uk/poison-ivy" target="_blank">Growing Shadows</a> </span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">costume meeting) when I spotted something called </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">‘Shining Cliff Gin' for sale. As Shining Cliff Woods was perhaps the most important location </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">in </span></span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB">Songbird</span><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB">, it inspired me to order a glass. (Gin fans, if you’re curious: yes, it was very good!)</span><span class="EOP SCXW125614417 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{183}" paraid="818074579" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="EOP SCXW125614417 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: #fcf5ec; font-family: georgia; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{183}" paraid="818074579" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtFAAroG8dfedgF-Ao1mAzrWwLsxEdAfhPJ1E7th6jDlyzRllMbGHstYs6-WXQoNqqJ8I-IK3CtWKd2X8cV4B5zG7OHZ_ssysEUQNCu2THQb2yYBU8BktGQzvGb2QjRX8vdwK66ov5TC4R-m-xvM2BBzH2wjCz44V4ru9OiDjGGfBFSD0C9hAeScwt/s1890/Songbird%20promo%20images%20for%20blog.jpg" style="background-color: #fcf5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1333" data-original-width="1890" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtFAAroG8dfedgF-Ao1mAzrWwLsxEdAfhPJ1E7th6jDlyzRllMbGHstYs6-WXQoNqqJ8I-IK3CtWKd2X8cV4B5zG7OHZ_ssysEUQNCu2THQb2yYBU8BktGQzvGb2QjRX8vdwK66ov5TC4R-m-xvM2BBzH2wjCz44V4ru9OiDjGGfBFSD0C9hAeScwt/w640-h452/Songbird%20promo%20images%20for%20blog.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Above: most of <i>Songbird</i>'s marketing featured Shining Cliff Woods and The Betty Kenny tree, as it used to look. Photos by Ellie Victoria Gale, poster designed by Elly Lucas]</span></td></tr></tbody></table><p></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{183}" paraid="818074579" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec;"><br /></span></p></div><div class="OutlineElement Ltr SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span style="background-color: #fcf5ec; font-family: georgia;"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; margin: 0px; padding: 0px; user-select: text; white-space: pre-wrap;"> After a quick Google search, I discovered that Shining Cliff Gin was made by White Peak Distillery, </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; margin: 0px; padding: 0px; user-select: text; white-space: pre-wrap;">based in Derbyshire, just as Triskelle Pictures is</span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; margin: 0px; padding: 0px; user-select: text; white-space: pre-wrap;">. </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; margin: 0px; padding: 0px; user-select: text; white-space: pre-wrap;">The Shining Cliff name was used because their distillery </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; margin: 0px; padding: 0px; user-select: text; white-space: pre-wrap;">is based on the outskirts of Shining Cliff Woods – at one of the best locations I've ever filmed in (you can book a tour <a href="https://www.whitepeakdistillery.co.uk/product/tours-tasting/" target="_blank">here</a>) – but also because </span><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="font-variant-ligatures: none; white-space: pre-wrap;">they have a huge amount of love for their local area. Their cool branding features a strong use of The Betty Kenny tree, a legendary local landmark (sadly no longer with us) which is said to have inspired the nursery rhyme </span><i style="font-variant-ligatures: none; white-space: pre-wrap;">Rock-a-Bye Baby</i><span style="font-variant-ligatures: none; white-space: pre-wrap;"> - and also one of the locations that featured prominently in </span><i style="font-variant-ligatures: none; white-space: pre-wrap;">Songbird</i><span style="font-variant-ligatures: none; white-space: pre-wrap;">'s <a href="https://youtu.be/PDbvGyGOlnY?t=57" target="_blank">trailer</a> and poster</span><span style="font-variant-ligatures: none; white-space: pre-wrap;">. All of this, coupled with my desire to work with more local businesses, instantly put White Peak Distillery to the top of my client </span><span style="font-variant-ligatures: none; white-space: pre-wrap;">wish-list</span><span style="font-variant-ligatures: none; white-space: pre-wrap;">.</span></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="font-family: georgia;"> Flash forward to late summer 2020, when the Covid pandemic was in full swing. As was the case for many businesses, my workload dried up, and I was searching for new ways to bring in work that I hadn't thought of before - partly because of financial worries, but also because I wanted to find ways to keep the creative muscles flexed and, just as importantly, get up and out of the house. The brilliant photographer <a href="https://www.shelleyrichmondphoto.co.uk/unit-stills-bts" target="_blank">Shelley Richmond</a>, who I've worked with a few times, gave me some great advice. She recommended that I make some sample work to send to client I wanted to work with. While I don't usually support the idea of making videos for free, this specific 'sample video plan' was something I hadn't tried before, the sample videos would only be short and simple, and it'd be done </span></span></span><span style="font-family: georgia; font-variant-ligatures: none;">in a time when I had more availability than usual </span><span style="font-family: georgia; font-variant-ligatures: none;">- so I gave it a go. At that point, I had nothing to lose. I planned to shoot five little demo films for five potential clients (I ended up shooting four before my regular work came back), one of which was White Peak Distillery.</span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec; font-family: georgia; font-variant-ligatures: none;"><br /></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqP6N7Sw5fyItP41tZsdYgpbb8y4xQRt6PtsQrialQTNStMRqikHW1-QmB17txIY5nNd_hIGeWXNf08MSvZbjHndN-9zU4PhXeUOsbF6AHoRScMC5lAmA-Cq_Y5_uR1mHhoslvihILZiZQlqyjDxtJJ3pZVvjg_hWnIZR-3rB09UutnWpYpj_kSvq0/s2048/121666574_3577930765563781_5526985383479711999_n.jpg" style="background-color: #fcf5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqP6N7Sw5fyItP41tZsdYgpbb8y4xQRt6PtsQrialQTNStMRqikHW1-QmB17txIY5nNd_hIGeWXNf08MSvZbjHndN-9zU4PhXeUOsbF6AHoRScMC5lAmA-Cq_Y5_uR1mHhoslvihILZiZQlqyjDxtJJ3pZVvjg_hWnIZR-3rB09UutnWpYpj_kSvq0/w640-h426/121666574_3577930765563781_5526985383479711999_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Above: shooting the sample film for White Peak Distillery - and getting my creative mojo back in the process - in late summer 2020. Photo by Ian Cudmore of I C Things Photography]</span></td></tr></tbody></table><span style="background-color: #fcf5ec;"><br /></span><p></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> For White Peak Distillery's sample film, I bought a bottle of their Shining Cliff Spiced Gin and shot a little social media video, which was kind of a 'how to make a cocktail with this gin' type film. I found a quiet area of woodland which looked so much like Shining Cliff, that I almost wished we'd filmed parts of <i>Songbird </i>there. I was also joined by <a href="https://icthings.co.uk/" target="_blank">Ian Cudmore</a>, another fantastic photographer I frequently collaborate with, who got some BTS shots of me working as well as a few demo promo shots of the product - so that he could also keep his creative cogs turning during a quiet period. Ian and I both had an excuse to get our cameras out for the first time in months, and my God, it really did give me a boost in a period when my inspiration and energy levels were seriously low. (My Mum also paid me a visit during the shoot, before Ian arrived, and ended up doing some pouring action shots for me as a result!).</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> This is the video that was made that day:</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: #fcf5ec; margin: 0px; padding: 0px; user-select: text;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/HTAWXir8Gig" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec; font-family: georgia; font-variant-ligatures: none;"> I then shared this video with White Peak Distillery, and while it wasn't quite right for them to use (my knowledge of how to mix drinks is seriously limited compared to theirs - they are cocktail mixing masters!), it did give us the opportunity to start up a conversation. We sent messages back and forth over a few months, whenever our schedules allowed, sharing a few different ideas around. Eventually, in the summer of 2021, we had a meeting and decided to work together - using my original sample film as an inspiration!</span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="font-family: georgia;"> Because White Peak Distillery have a <a href="https://www.whitepeakdistillery.co.uk/shop/" target="_blank">range of products</a> available, we decided to make a suite of social films, making one film for every product they offered (depending on how many we had time to shoot), </span></span></span><span style="font-family: georgia; font-variant-ligatures: none;">all done in a similar style to the little film I made in the summer of 2020.</span><span style="font-family: georgia; font-variant-ligatures: none;"> As a result, when we made the <a href="https://youtu.be/y--nLf4i-bE" target="_blank">new video</a> to promote their Spiced Gin, it was pretty much a case of recreating my sample film, but shooting it at the White Peak Distillery premises - with the actual Shining Cliff Woods in the background - and using their branded glassware and correct mixers. So that was a unique but fantastic experience!</span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> We made six social films in total, but all the footage was shot in one single day, using different parts of White Peak Distillery's stunning location. That's the type of filming schedule I often recommend to clients, because it means you can be cost-effective, capturing enough footage for multiple videos - even if these are edited and released months later - without having to pay for additional filming days.</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: #fcf5ec; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgexVT0itlg5zJg3bc18k430VFk1OLVpTQP3JVTw9_KC_kV7ptsPJjTYKoDUdM_h08cYxLucRseaqdKu_dLA9sRJD5-KDVgJtZBnu-t5lr7_3RT9m2pbd5VZElT_Rhzb2szMdRDAPJFTwBc-_N5j9_CAekkXnhVjFDRoSPUMKQTW-C1OGHnrSNGTdPx/s1564/White%20Peak%20stories%20combo.jpg" style="background-color: #fcf5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1564" data-original-width="1564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgexVT0itlg5zJg3bc18k430VFk1OLVpTQP3JVTw9_KC_kV7ptsPJjTYKoDUdM_h08cYxLucRseaqdKu_dLA9sRJD5-KDVgJtZBnu-t5lr7_3RT9m2pbd5VZElT_Rhzb2szMdRDAPJFTwBc-_N5j9_CAekkXnhVjFDRoSPUMKQTW-C1OGHnrSNGTdPx/w640-h640/White%20Peak%20stories%20combo.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Above: a few phone snaps from our ace filming day at White Peak Distillery HQ, mostly taken by their marketing manager, Rosie Ferrer]</span></td></tr></tbody></table><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: #fcf5ec; margin: 0px; padding: 0px; user-select: text;"><br /></span></span><p></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> The shoot day itself happened in late Autumn 2021, and we had the fun task of using set dressing to make every video look different, even if we were shooting multiple videos in a single room at times. I'd featured a strong use of set dressing in the 2020 sample film as well, so it felt as though my old production design skills were coming into play again (even if that's an area of the industry I've moved away from lately). It made for a particularly creative shoot!</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> Also, because the effects of the pandemic were starting to ease off slightly, I was able to have a larger team around me this time, and not shoot the footage myself; I was joined by White Peak Distillery's lovely marketing manager, Rosie, who supplied some of the set dressing and also mixed and poured the drinks, aided by one of White Peak's legendary founders, Max Vaughan (co-founder Claire Vaughan also had a cameo in one of the videos!); behind the camera was <a href="https://www.willjcarman.co.uk/" target="_blank">Will J. Carman</a>, who DOPs a few of Triskelle Pictures' cinematic commercials, and boy did he bring a fantastic range of kit with him too, helping to add extra visual interest and atmosphere to all of the videos we shot that day.</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> And just to bring things full circle, while we were filming footage for three of the videos in the exterior of White Peak Distillery - which, as I've mentioned, sits on the outskirts of Shining Cliff Woods - I couldn't resist getting a shot which homaged<i> Songbird</i> (see below). After all, if it weren't for my beloved little fantasy film, I may have never ordered that drink and discovered White Peak Distillery in the first place!</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: #fcf5ec; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUeRs5IiHxv_uTIpngtWk9hMK4jYTOFsqeLpRC0FfuH_m8_t-wSeLsHe_FtdwIFeev0ZHI3nDO6A2b-RkdMd7g3-wpCuel934tSiOJ46_Lxy76FOtSJ9aHFPxtTWfssnPGBbCXoYuuIyMwhfSiZV3t5nKrLMmzNO6BEPVCZPXLIvdQwVguMWR78l4Q/s1613/Songbird%20and%20White%20Peak%20comparison%20for%20blog.jpg" style="background-color: #fcf5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1417" data-original-width="1613" height="562" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUeRs5IiHxv_uTIpngtWk9hMK4jYTOFsqeLpRC0FfuH_m8_t-wSeLsHe_FtdwIFeev0ZHI3nDO6A2b-RkdMd7g3-wpCuel934tSiOJ46_Lxy76FOtSJ9aHFPxtTWfssnPGBbCXoYuuIyMwhfSiZV3t5nKrLMmzNO6BEPVCZPXLIvdQwVguMWR78l4Q/w640-h562/Songbird%20and%20White%20Peak%20comparison%20for%20blog.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fcf5ec;">[Screengrabs from <i>Songbird</i> - above top, DOP Christopher Newman - and the White Peak Distillery Shining Cliff Spiced Gin promo film - above bottom, DOP Will J. Carman - captured in pretty much the same location, five years apart]</span></td></tr></tbody></table><p></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: center; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec;"><br /></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="font-family: georgia;"> The first White Peak Distillery social video was released in November 2021 - advertising the <a href="https://youtu.be/7bWdYnUIT88" target="_blank">Christmas gift options</a> they have available (we had to do some wonderfully festive set-dressing for that film!) - and then the next five video releases were spread out over the following months, with <a href="https://youtu.be/w_H9M1Y7VbY" target="_blank">the final social film</a> being released in the spring of this year. So </span></span></span><span style="font-family: georgia; font-variant-ligatures: none;">I had finally worked with one of my dream clients, after over a year of </span><span style="font-family: georgia; font-variant-ligatures: none;">perseverance</span><span style="font-family: georgia; font-variant-ligatures: none;"> and 'thinking outside of the box' development, with not one but six gorgeous little videos to show for it - all of which can be seen on White Peak Distillery's <a href="https://www.youtube.com/@whitepeakdistillery7189" target="_blank">YouTube channel</a> and <a href="https://www.instagram.com/whitepeakdistillery/" target="_blank">social media</a> pages.</span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"> It remains one of my favourite jobs to date, in no small part down to the story behind the collaboration. I hope to have another chance to create films for White Peak Distillery in the future, and as I look forward to 2023, I certainly want to make it my mission to work with more similarly fantastic Derbyshire businesses next year.</span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: #fcf5ec; font-family: georgia; font-size: x-large; font-variant-ligatures: none;">Sophie</span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW125614417 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW125614417 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><span class="TextRun SCXW70865467 BCX0" data-contrast="auto" lang="EN-GB" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-variant-ligatures: none; font-weight: bold; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-GB"><span class="NormalTextRun SCXW70865467 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><span style="background-color: #fcf5ec; font-family: georgia;"><br /></span></span></span></p><p class="Paragraph SCXW125614417 BCX0" paraeid="{c06235e6-3263-49be-8020-5e1000f1827b}{213}" paraid="1159089018" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline; white-space: pre-wrap;"><br /></p></div>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-64375247708351888272022-10-30T13:29:00.008-07:002023-10-29T08:57:31.412-07:00Analysing the Festival Run (Genre films)<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAGm5gti7fYAWjcypPF8iQvO0L8pX1TgKocKvO4zd-x-2AhUSG5pAYlHTNmHtyuXxlP5MwIx5-1NvxluItoiiZ_LgWFGXxxU2gkMPXPhAg0z0Cyny8qMyun4Wsj8el_zoF__UoOBuwY_88fpvQYB8mn1VxCe9v_aRgKM6ELCNnbxVUfonALRfHKN1/s1593/Short%20Cinema%20Screening%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1062" data-original-width="1593" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAGm5gti7fYAWjcypPF8iQvO0L8pX1TgKocKvO4zd-x-2AhUSG5pAYlHTNmHtyuXxlP5MwIx5-1NvxluItoiiZ_LgWFGXxxU2gkMPXPhAg0z0Cyny8qMyun4Wsj8el_zoF__UoOBuwY_88fpvQYB8mn1VxCe9v_aRgKM6ELCNnbxVUfonALRfHKN1/w640-h426/Short%20Cinema%20Screening%20(2).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: some of the <i>Songbird </i>team in the audience at The Short Cinema film festival - one of our favourites! Image credit: Pamela Raith]</td></tr></tbody></table><br /><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> If there’s one thing I get asked about more than anything
else, it’s film festivals. That's increased tenfold since </span><a href="https://twitter.com/SophieBlackFilm/status/1553285395181338625" style="font-family: georgia;" target="_blank">a recent post I did on Twitter</a><span style="font-family: georgia;"> blew up more than anything I’ve ever shared on the platform,
showing that filmmakers still have so many questions (as well as a little rage
and confusion) about the festival process. By no means do I claim to be a
festival guru, but after nearly 18 years of playing the film industry ‘game’, I
hopefully have a few helpful words of advice.</span></p><p></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><o:p> </o:p>A while ago, I did a <a href="https://triskelle-pictures.blogspot.com/2019/06/night-owls-analysing-festival-run-year.html" target="_blank">2-part blog post</a> which analysed the
festival run of my short film, <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i>. A lot of people got in touch to
say how useful this was – and what I said in those posts still very much
stands. For example, you cannot expect a film festival to accept you just
because they’ve accepted your previous work. Some do, and that’s awesome, but
most of the time it’s like you have to prove yourself all over again. For
example, some of the festivals which accepted <i><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a></i> rejected <i>Night Owls</i>,
and then some of the festivals which accepted <i>Night Owls</i> rejected my later films.</span></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><o:p> </o:p>However, I have been meaning to do an updated festival
advice blog post for a while, because <i>Night Owls </i>was a drama film, and the
three films I’ve released since have all been fantasy/sci-fi pieces. Although
some of the basic festival principles remain the same, in other ways it’s been a
completely different kettle of fish.</span></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><o:p> </o:p>So, without further ado, here’s a little reflection on the
festival runs from my last three shorts – <i><a href="https://www.triskellepictures.co.uk/songbird" target="_blank">Songbird</a></i>, <i><a href="https://www.triskellepictures.co.uk/poison-ivy" target="_blank">Growing Shadows</a></i>, and
<i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a></i> – and my key learning points from each of them:</span></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: georgia;"> <br /></span></o:p><span style="font-family: georgia;"> </span></p>
<p class="MsoNormal"><b><span style="font-family: georgia;">SONGBIRD (Festival run 2018-2019,
selection rate: 25 out of 124)<span style="color: red;"><o:p></o:p></span></span></b></p><p class="MsoNormal"><span style="font-family: georgia;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhklQ805BGbPPaEodobUMsmG22wLpTEw9tv68gDZKNbODJI2lmNYZLEpj9RKrvU8UgONlJ-kV4LiSimpOQFmgB2dDzrdBTdVx_nrLUvMN_xPc_NMHrckCxCpd7W0Hn44AUqe6hLVvxSHHbRsJRIFkuK1bgUeBkDLfCWebI4gm3MMGB1nrXbqf8YTw/s1200/Songbird%20meta-chart.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhklQ805BGbPPaEodobUMsmG22wLpTEw9tv68gDZKNbODJI2lmNYZLEpj9RKrvU8UgONlJ-kV4LiSimpOQFmgB2dDzrdBTdVx_nrLUvMN_xPc_NMHrckCxCpd7W0Hn44AUqe6hLVvxSHHbRsJRIFkuK1bgUeBkDLfCWebI4gm3MMGB1nrXbqf8YTw/w640-h426/Songbird%20meta-chart.jpeg" width="640" /></span></a></b></div><span style="font-family: georgia;"><o:p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-weight: bold;"><o:p><br /><span style="font-weight: normal;"> <i> </i></span></o:p></span><i>Songbird</i>’s
festival run is unique in the fact that I didn’t handle the first year of submissions myself; I outsourced this task to Katie McCullough and her lovely
team at <a href="https://www.festivalformula.com/" target="_blank">Festival Formula</a>, and as such, I cannot do a full analysis of the first
twelve months. I’d wanted to try working with a festival doctor, particularly
Festival Formula, since 2015 - when <i>Night Owls </i>had just been completed - but <i>Songbird</i> was the first film
that had a large enough budget to enable us to do that.</span> </p></o:p></span><p></p>
<p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><span style="font-family: georgia;"> If anyone is
considering using a festival doctor, my biggest piece of advice is this: it’s
not the same as having an agent submit a solicited novel to a publisher on your
behalf. Essentially, do not assume that having another company submit your film
for you will increase its chances of getting selected – it does not. The film
festival will still judge your film for what it is, and whether or not it fits
within the schedule they have planned. But what a festival doctor <i>can </i>do is
recommend which festivals to submit to, and Katie introduced me to a few
wonderful festivals I’d never even heard of before (and of course I’ve
submitted my other films to them since then). Festival doctors also have good
relationships with festivals, and so they can sometimes get you nice things like
discounts or waiver codes. Also, if you don’t have capacity to handle the
festival submissions yourself, the simple fact of the matter is that
outsourcing the job can take a huge weight off your hands and free up a lot of
your time to focus on other tasks.<o:p></o:p></span></span></p><p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><span style="font-family: georgia;"><br /></span></span></p><p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdJ76OPK-jWJ6A9HTxFithqfNip3lvTMnt_68pSixnxVl_zpdZT0TI7dG_0cV1o4Xo1WnMCVGj5EwyczkX5ey154vtzInaWhOmnZIj7lTdYAxWgn90Gav8pDE9KLvQB4p4drLG1KjF9FmAG0kzc-vfS5jw67QWRG53pmWnX-TwsdB_QF_6Cv27eQ7/s2048/Midlands%20Movies%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdJ76OPK-jWJ6A9HTxFithqfNip3lvTMnt_68pSixnxVl_zpdZT0TI7dG_0cV1o4Xo1WnMCVGj5EwyczkX5ey154vtzInaWhOmnZIj7lTdYAxWgn90Gav8pDE9KLvQB4p4drLG1KjF9FmAG0kzc-vfS5jw67QWRG53pmWnX-TwsdB_QF_6Cv27eQ7/w640-h426/Midlands%20Movies%202.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: more of the Songbird team at The Midlands Movies Awards, collecting one of Janet Devlin's numerous and well-deserved awards for her songwriting. Image credit: Philip Eldridge-Smith]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: georgia;"> I did handle
the second year of </span><i style="font-family: georgia;">Songbird</i><span style="font-family: georgia;">’s festival run myself, which is very much the
simpler year of the two, because your film’s premiere status has been and gone,
and you can submit to any small (and ergo easier to get into) festival you fancy – so we did see an increase
in festival acceptances during that time as a result. </span><i style="font-family: georgia;">Songbird</i><span style="font-family: georgia;"> ultimately went
on to win 26 awards (most of which were awarded to </span><a href="https://www.janetdevlin.com/" style="font-family: georgia;" target="_blank">Janet Devlin</a><span style="font-family: georgia;"> and
the film’s fantastic composers), with a total of 25 festival
selections. It was also the first of our films to ever screen in Canada,
due to our acceptance at The Fantasy/Sci-Fi Film & Screenplay Festival in Toronto. </span></p><p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><span style="font-family: georgia;"> (There's a couple of videos of <i>Songbird</i> winning awards online - firstly at <a href="https://youtu.be/L-soH75Sa5Q" target="_blank">The Midlands Movies Awards</a>, and also there's a little video under the photos in <a href="https://www.facebook.com/triskellepictures/posts/pfbid0d1FHdGnkSiYWCrMNhfpeJU4mnHEem6DvDdDTSCxAtqtDMDU5YUaoP2NTfWjkouAul" target="_blank">this post</a> from the Nexus Awards, although I was a little under the weather when I made the speech in the latter!)</span></span></p><p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><span style="font-family: georgia;"> Ultimately, <i>Songbird</i>'s release was seen as moderately successful; we didn't get into any big festivals (e.g. BAFTA/Oscar qualifiers), but we did have a decent number of selections on the whole, and it did very well with DVD sales and a
temporary release on Amazon Prime.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span>Across both
years of the festival run, we did notice two factors which frequently
restricted <i>Songbird</i>’s chance of being selected. The first was the run-time;
our original cut was almost twenty minutes<b> </b>long, so we had to make a few
difficult choices in order to get the film under 15 minutes, to give it even
the slightest chance of being selected for festivals – most of which have a
strict run-length limit (the original version of the film, labelled the
‘extended cut’, is still available as a bonus feature on the <i>Songbird </i>DVDs). </span></p><p class="MsoNormal"><span style="font-family: georgia;"> But even then, some festivals still found the film to be too long. Festivals only have a
limited amount of time in which to screen their shorts, and selecting shorts which
are closer to 5 minutes – over <i>Songbird</i>’s 14 minutes – means that
they can include more films in their programme. Audiences also tend to get a little
bored if, when they’ve already seen numerous shorts in one sitting, a film
comes along which is more than 10 minutes long. One festival programmer even
got in touch and said they would’ve considered <i>Songbird </i>if we could make it
even shorter, but by that point we’d already taken so much out, that cutting it
down anymore would’ve butchered the story.<br /><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgadbey5kKcmHwVYN5GROWOWFgzJ0lrRsMWsl8zxcSicH2TaUHy4cJADM_034IKRhj8Q8yiR54zAqUigYqKTG32boksj_mMFxpkkY0PpncQPnvL3sO6Bpcz_XH2y4VfwZMSH4ENwORFsiFD0KuhexXg57CNyWNomH-BTnNKToZXm83B-7u8UCkaZRUc/s1920/New%20Renaissance%20festival%20QA.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgadbey5kKcmHwVYN5GROWOWFgzJ0lrRsMWsl8zxcSicH2TaUHy4cJADM_034IKRhj8Q8yiR54zAqUigYqKTG32boksj_mMFxpkkY0PpncQPnvL3sO6Bpcz_XH2y4VfwZMSH4ENwORFsiFD0KuhexXg57CNyWNomH-BTnNKToZXm83B-7u8UCkaZRUc/w640-h360/New%20Renaissance%20festival%20QA.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The super-cool New Renaissance Film Festival in London, where Songbird's production assistant Steve Giller kindly represented the film in my stead]</td></tr></tbody></table><span style="font-family: georgia;"><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p> </o:p></span><span style="font-family: georgia;">The other issue
we faced was that </span><i style="font-family: georgia;">Songbird </i><span style="font-family: georgia;">didn’t have one clearly defined genre. Festival
programmers like films which can be simply labelled as one thing, just as all
marketers do, because that makes it easier to find an audience for that film. </span><i style="font-family: georgia;">Songbird
</i><span style="font-family: georgia;">is a fantasy film, but not 'high fantasy' (meaning an epic story that takes place in another world - or the distant past - with numerous mythical creatures), and
like most of my work it closer resembled Magical Realism. There were some dramatic scenes, performed
fantastically by Janet and the rest of the cast, but the fantasy elements
stopped it from being classified purely as a drama film. It was a borderline musical at times, but never fully. Because of all the above, we were initially advised to not submit </span><i style="font-family: georgia;">Songbird </i><span style="font-family: georgia;">to genre-specific festivals, but
I'm glad we reconsidered, as we did get about a quarter of our selections from those festivals. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> The age rating was also cause for debate – is it a family-friendly
film, because it feels like a fairytale, or are some of the scenes too distressing?
We were rejected by all the family-friendly festivals we entered, but then,
right towards the end of its run, <i>Songbird </i>did win 'Best Family Friendly Film' at Lady Filmmakers Festival in 2019.</span></p>
<p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><o:p><span style="font-family: georgia;"> </span></o:p></span></p>
<p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><o:p><span style="font-family: georgia;"> </span></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;">GROWING
SHADOWS (Festival run </span>2019-2021, selection
rate: 7 out of 10<span style="color: black; mso-themecolor: text1;">)<o:p></o:p></span></span></b></p><p class="MsoNormal"><span style="font-family: georgia;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjteUC1wiofL_CL-jQgNQrfXmp752gLyFW0e6-9shhJeNW6F8UqPqc8h2Dr_e6tzABi1vqq5Pyr3ZCcOLAC4rTwVchv_-cdqvYpmUsZL11x6RXCdZkUmP5ew3ca6ggrECJCti1phSow9A6cAJ23XzIartVY4UmP7GyokQ5smY44FrnCRXNKOCZQdJPy/s1200/Poison%20Ivy%20meta-chart.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjteUC1wiofL_CL-jQgNQrfXmp752gLyFW0e6-9shhJeNW6F8UqPqc8h2Dr_e6tzABi1vqq5Pyr3ZCcOLAC4rTwVchv_-cdqvYpmUsZL11x6RXCdZkUmP5ew3ca6ggrECJCti1phSow9A6cAJ23XzIartVY4UmP7GyokQ5smY44FrnCRXNKOCZQdJPy/w640-h426/Poison%20Ivy%20meta-chart.jpeg" width="640" /></a></b></span></div><span style="font-family: georgia;"><o:p><br /> </o:p><i>Growing
Shadows</i> was always designed for an online release. It was first launched on <a href="https://youtu.be/IFMeGWsy3Qk" target="_blank">YouTube</a>, where it’s done very well with over 43,000 views to
date (the most-watched video I’ve ever shared). I didn’t really expect much of
a festival run for the film as a result, as many festivals don’t accept films
which have had a scene or more publicly online – at least they didn’t before
the pandemic changed the rules a bit. But having the film online actually
impressed one film festival, who invited me to submit the film for free because
he wanted to screen it so much, which surprised me. (Please note, this
transaction was very different to all the spam-bot festivals who email or Tweet
at you and ‘invite’ you to submit… for a massive fee… and then reject you
anyway. Do not fall for those festivals!!).</span><p></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span> In addition,
because <i>Growing Shadows</i> is a fan film, it technically contained copyrighted content which did not belong to us, which made us ineligible for most festivals
as a result. We could only submit to a very small number of festivals which
either had fan film categories, or solely selected fan films. However, because
this genre is so niche (the opposite of <i>Songbird</i>, which wasn’t quite niche
enough), and because <i>Growing Shadows </i>was a well-crafted example of the
genre, we did very well at those select few, specific festivals, resulting in the
highest selection rate of any of Triskelle Pictures’ films, by a long way – our
final stat was 78% acceptance.<br /><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQHO8DMej5XhVBHsoYOEBji5oO1YpPiASgUiSUWsr50gzOmTfdPqZtNYvZlhBB58XQczY_HRgetqXljmtnFh5mlhia8fG1zJWwLoYrQ_2WMNgtu0EPO1y1EIhS6C29bZBrO_Z0cJcQuLxbNtNPJpqcEzpfT_Aw49XyX3-mc7MtJnFpOvMT5267iBz/s2048/Five%20Lamps%20Derby%20Quad.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQHO8DMej5XhVBHsoYOEBji5oO1YpPiASgUiSUWsr50gzOmTfdPqZtNYvZlhBB58XQczY_HRgetqXljmtnFh5mlhia8fG1zJWwLoYrQ_2WMNgtu0EPO1y1EIhS6C29bZBrO_Z0cJcQuLxbNtNPJpqcEzpfT_Aw49XyX3-mc7MtJnFpOvMT5267iBz/w640-h360/Five%20Lamps%20Derby%20Quad.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: One of <i>Growing Shadows</i>' few physical screenings, taken at Five Lamps Films in Derby a couple of months before the Pandemic hit]</td></tr></tbody></table><span style="font-family: georgia;"><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p> </o:p></span><span style="font-family: georgia;">The only thing that dampened </span><i style="font-family: georgia;">Growing Shadows</i><span style="font-family: georgia;">’ festival run was the pandemic, which happened about half
way through. The majority of our festival screenings moved online, and the
brilliant </span><a href="https://geekfestla.com/" style="font-family: georgia;" target="_blank">Geekfest</a><span style="font-family: georgia;">, a festival which usually tours around
the USA doing multiple screenings at numerous comic-cons, sadly (but
understandably) couldn’t give us as many screenings as they would’ve done in
previous years. But we did have a few more physical screenings towards the end
of the film’s festival run, particularly with the return of short film nights –
and since </span><i style="font-family: georgia;">Growing Shadows</i><span style="font-family: georgia;"> was still doing well on YouTube this whole time, the
online screenings weren’t so much of a disappointment as they might’ve been for
the films which were predominantly designed for the big screen.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span>Which brings
me on to…</span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span> </span></p>
<p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><o:p><span style="font-family: georgia;"> </span></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;">LEPIDOPTERIS</span>T
(Festival run: 2021 – 2022, selection rate:
7 out of 39)<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-family: georgia;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGRe9yoH73pWq86uUu5FADLdhqHnqOKmmk8CTitgGmucEFR6sH6Z39LBJ7eiehPVaDV6H8L4Vy8xYhDxK7L40S-EWMdeucAKAAqnWPEr5QavAIsxRPP78t9r245q6xcdmbigaxlm8EcnaifG9K11UvNP3A4j5AzcpVZhcFt3FSNsQXJ_NKhObb9bqW/s1200/Lepidopterist%20meta-chart.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGRe9yoH73pWq86uUu5FADLdhqHnqOKmmk8CTitgGmucEFR6sH6Z39LBJ7eiehPVaDV6H8L4Vy8xYhDxK7L40S-EWMdeucAKAAqnWPEr5QavAIsxRPP78t9r245q6xcdmbigaxlm8EcnaifG9K11UvNP3A4j5AzcpVZhcFt3FSNsQXJ_NKhObb9bqW/w640-h426/Lepidopterist%20meta-chart.jpeg" width="640" /></a></b></span></div><span style="font-family: georgia;"><o:p><br /> </o:p>Ah, poor
<i>Lepidopterist</i> – it was a case of bad timing to the extreme! The first lockdown
in Spring 2020 gave us time to finally finish the film, which was sort of a
blessing. But just as we completed the film and set up our FilmFreeway page, festivals around the world closed their doors. Those doors stayed shut for almost another
year, and sadly, some never opened again. By the time the festivals came back in
full swing, there was a backlog of films all vying for a spot in their
programmes, resulting in an increased number of submissions worldwide and an
even smaller chance of success.</span><p></p>
<p class="MsoNormal"><span style="font-family: georgia;"><b><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span></b>Pandemic
aside, there were a couple of elements which let <i>Lepidopterist</i> down, much as my
team and I all loved the film. Firstly, it suffered with the same issue as
<i>Songbird</i>: the genre was hard to pin down. It was intended to be a Sci-Fi film,
but it was a very small, contained story, competing for screening slots against
films set on faraway planets and with multiple visual effects, which genre-focused festivals tend to favour. (This isn’t always the case, of course – for a good
example of a subtle sci-fi film, without VFX, that did well at festivals, check
out Keith Allott’s excellent <i><a href="https://www.facebook.com/photo/?fbid=379031437565803&set=a.248168480652100" target="_blank">Lifelike</a>.</i>) Even the fantasy-specific
festivals that had accepted both <i>Stop/Eject</i> and <i>Songbird </i>didn’t want <i>Lepidopterist</i>, which
is another example of the point I made at the very start of this blog post - you can't expect a free pass with festivals, just because you've screened with them before!</span></p><p class="MsoNormal"><span style="font-family: georgia;"> Once
again, <i>Lepidopterist</i> was more comparable to Magical Realism than anything else
– someone even commented that the style was like <i>Amelie</i>, which I don’t
quite see myself. It could also have been marketed as LGBTQIA+, but only based on a
couple of scenes, which isn’t enough to target those specific festivals.<br /><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP2ocRXlp3c9AWmW7PlRzU5gIkBqnBTC_01S33_s6jFS5dBTi-4eYayB263e96jqLJdDIanL5iHwPtXMRHrxo-ueNaoJEiUjyHt5ezAfiJb1kjZ2XHNmIQg3Fg-yUHZ930bap3mDr61GCwPN5MPcZ9t5GLm4xtenQ_8MR0ZIZc6OpbyBM5KM4qJC4H/s1024/Paracinema%20Andrew%20Rutter%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP2ocRXlp3c9AWmW7PlRzU5gIkBqnBTC_01S33_s6jFS5dBTi-4eYayB263e96jqLJdDIanL5iHwPtXMRHrxo-ueNaoJEiUjyHt5ezAfiJb1kjZ2XHNmIQg3Fg-yUHZ930bap3mDr61GCwPN5MPcZ9t5GLm4xtenQ_8MR0ZIZc6OpbyBM5KM4qJC4H/w640-h480/Paracinema%20Andrew%20Rutter%202.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Filmmaker Q&A after the screening of <i>Lepidopterist </i>at Paracinema Film Festival. That screening really meant the world, as it was the moment we were <i>finally </i>able to show the film to a physical audience. Photo supplied by Andrew Rutter.]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span>Finally, and
it pains me slightly to say this, but I feel as though <i>Lepidopterist</i>’s budget
level was a bit off-putting for festivals. There are exceptions to every rule,
and a very simple story with minimal actors and locations can be done well with
next to no money – but I do feel as though a showstopping short film with a
large budget and lots of flashy, immaculate scenes will always catch a festival’s
eye more, particularly if the budget allows for a named actor. That’s a very
pessimistic thing to say, and I know that it isn’t the case for all festivals,
but I think there is at least an element of truth to it. </span></p><p class="MsoNormal"><span style="font-family: georgia;"> Particularly with
sci-fi films, you need a large budget in order to pull off the level of
production design and VFX that fans of the genre have come to expect. If you
don’t have those type of funds, you run the risk of over-stretching what your
film can be, and cracks appear. <i>Lepidopterist </i>was made (admittedly with a lot
of love) for the Sci-Fi London 48hr challenge back in 2019, originally released
under the name <i><a href="https://youtu.be/lvZSG164sCE" target="_blank">FIFTY/FIFTY</a></i>, and anything compiled within that short time frame, without a
polished script, is going to struggle to compete against the ‘big boys’.</span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="color: black; mso-themecolor: text1;"><o:p> </o:p></span>It wasn’t
all doom and gloom for <i>Lepidopterist</i>, though; the film looked fantastic on the
big screen at the few festivals and film nights we were able to attend,
including Birmingham Film Festival, which showed the film on a huge Imax
screen. Birmingham Film Festival had actually rejected every other film I’d
ever submitted to them before now, so this really was a success story for
<i>Lepidopterist</i> amidst a subpar festival run. And it did win a couple of <a href="https://youtu.be/PDTnAK4KXUI" target="_blank">awards</a> along the way. Another highlight was when the
film was shown at a lesson for fledgling film critics, aged fifteen, who
reviewed <i>Lepidopterist </i>as a practice run – and I really loved <a href="https://www.instagram.com/p/CR6fwuErvZq/" target="_blank">the words they shared</a>. I hope the lesson inspired them.</span></p>
<p class="MsoNormal"><span style="color: black; mso-themecolor: text1;"><o:p><span style="font-family: georgia;"> </span></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span style="color: black; mso-themecolor: text1;"><span style="font-family: georgia;">*<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: black;"><o:p><span style="font-family: georgia;"><i> </i>I'm aware that I've name-dropped a few film festivals throughout this blog post, so I think it might be useful to do a separate post at a later date, giving a list of all the sci-fi and fantasy-focused festivals I'd recommend. But for now, to summarise everything I've learnt from six years of only marketing genre films, I believe these were the common takeaways: </span></o:p></span></p><p class="MsoNormal"><span style="color: black;"><o:p><span style="font-family: georgia;"> Understand your film's genre - and do so in a very specific and obvious way. If your film can't clearly be defined as fantasy or sci-fi, then it may be more suited to a general festival which accepts all genres (although remember that they still need to market it and find an appropriate screening slot). <i>Growing Shadows</i> is the best example I have of being specific: it was a fan film, pure and simple, and it had a high selection rate at fan film festivals.</span></o:p></span></p><p class="MsoNormal"><span style="color: black;"><o:p><span style="font-family: georgia;"> Knowing your film's genre, and marketing it accordingly, is all in service of your audience. Think about what your audience will expect from your film's genre, and that includes expectations for your budget level. If your film is over-stretching its budget, and cannot match the expectations of a sci-fi loving audience member - particularly in terms of scale and VFX - then it's better to strip back and do something simple (but clever) with the genre instead, as long as that then doesn't make your film harder to market in the process!</span></o:p></span></p><p class="MsoNormal"><o:p><span style="font-family: georgia;"> Even with everything I've learnt over the years, festivals still surprise and baffle me on a regular basis. And with two films currently starting their festival runs (<i>Good Grief</i>, directed by Rob Sharp, and <i><a href="https://www.triskellepictures.co.uk/a-different-place" target="_blank"> A Different Place</a></i>), I'm sure I'm about to learn and re-learn a lot more. I'm particularly keen to see whether or not <i>A Different Place</i>'s BFI NETWORK-funded credentials will impact its selection rate. I'll be sure to report back to you all on the other side, hopefully with good news. Any wishes of good luck are certainly welcome! But for now, I hope all of the above was helpful in some way.</span></o:p></p><p class="MsoNormal"><o:p><span style="font-family: georgia;"> And if you <i>are </i>in the process of submitting your film right now, or if you've just had your heart broken by yet another rejection email, I have one final piece of advice. To quote the fantastic <i>A Handmaid's Tale</i>: Don't let the bastards grind you down!</span></o:p></p>
<p class="MsoNormal"><span style="font-family: georgia;"><br /></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Sophie</span></p><p></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-69797682187041572192022-08-06T07:30:00.003-07:002023-10-29T08:57:04.994-07:00Happy birthday, Ashes<p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGeMKMCet2o50lXQ_j1vGQHyUtL2tiqLElbYZhmqQgEKV2Wvrr7Ym09-vNXhgrfTsxHLjvuDXt41Xq5lqSZdQ3bmu1uH3umA-R2jdSwBxV4Ey4qYla3cklpOG-6KWDga8KoUhNo5PTIMwopbygKnyk_Miac8QsVMvYdxMv6BPDHr3MDVA56T3-Xs2P/s960/553841_456743627682526_268992127_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="581" data-original-width="960" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGeMKMCet2o50lXQ_j1vGQHyUtL2tiqLElbYZhmqQgEKV2Wvrr7Ym09-vNXhgrfTsxHLjvuDXt41Xq5lqSZdQ3bmu1uH3umA-R2jdSwBxV4Ey4qYla3cklpOG-6KWDga8KoUhNo5PTIMwopbygKnyk_Miac8QsVMvYdxMv6BPDHr3MDVA56T3-Xs2P/w640-h388/553841_456743627682526_268992127_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: On this day exactly 10 years ago, directing with a sprained back. Photo by Jenna Cataldo]</td></tr></tbody></table><br /><p><span style="font-family: georgia;"> Everything is so mad right now, in a very exciting way, but I wanted to make time to reflect on the 10th anniversary of filming <i>Ashes </i>- which was my first time ever directing a professional crew. The subject matter was very challenging, but I didn't let that put me off.</span></p><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"> We had the tiniest budget and it was very hard to get the film off the ground. I went and got a 'normal job' to help pay the bills, but our location still fell through twice before we finally went into production. Then a back injury left me bed-ridden and I almost physically wasn't able to do the shoot - but we did it anyway. Our expensive rented camera kit failed the night before the shoot - but we found workarounds. Nothing was stopping us by that point.</span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"><br /></span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"> [Note: you can see how difficult the location search was for me in this dodgily-filmed old video diary which I shot at the time: <a href="https://youtu.be/q5sTZke4AFU" target="_blank">https://youtu.be/q5sTZke4AFU</a> ]</span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"><br aria-hidden="true" /></span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"> All the way through the hurdles of pre-production, I pictured the faces of my incredible cast, and that pushed me to keep going. I was such a newbie, but <a href="https://www.imdb.com/name/nm4994004/" target="_blank">Sarah Lamesch</a> & <a href="https://www.imdb.com/name/nm2437302/" target="_blank">Adam Lannon</a> put so much trust in me, and gave such brave, vulnerable, stunning performances which really elevated the film. I will forever be indebted to them, their talent and their commitment. </span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"><br aria-hidden="true" /></span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"> I'm grateful to all the crew and people who helped the film get made, but I need to say special thankyous to <a href="https://www.imdb.com/name/nm4479466/" target="_blank">Chris</a> & Rena, for offering me emotional support behind the scenes as well as managing their own roles; to <a href="https://www.imdb.com/name/nm1371637/" target="_blank">Neil</a> for showing such professionalism and creativity with such a low cinematography budget, delivering inspiration to all of us; and to <a href="https://www.imdb.com/name/nm5629169/" target="_blank">Ian</a> for making post-production so hilarious even in the final hour when we were staying up late and racing against the clock to meet festival deadlines. Our film family really was born that year.</span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"><br aria-hidden="true" /></span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"><span style="font-style: inherit;"> A lot has changed in the past decade. I've grown, learnt and created so much along the way. But I will never forget the film and people that made me who I am today. Happy birthday, </span><i>Ashes</i><span style="font-style: inherit;">.</span></span></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;"><br /></span></div><div dir="auto" style="border: 0px; color: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></div><div dir="auto" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></div><div dir="auto" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; text-align: center; vertical-align: baseline;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Bhw1vBILkxE" title="YouTube video player" width="560"></iframe><br /></div><div dir="auto" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></div><div dir="auto" style="border: 0px; color: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: georgia;">P.s. For more posts about what it took to make this film, just click the appropriate <a href="https://triskelle-pictures.blogspot.com/search/label/ashes" target="_blank">'Ashes' tag</a>, or you can read more information about how the film was shot on <a href="https://neiloseman.com/?s=ashes" target="_blank">DOP Neil's blog</a>.</span></div>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-74886811435689660932022-07-30T10:13:00.003-07:002023-10-29T08:56:48.332-07:00The Summer Update 2022<p><span style="font-family: georgia;"> Well, it’s officially summertime, although it feels a little
cooler today (which is somewhat of a relief, as the effects of global warming
came earlier than expected earlier this month). I always aim to release a
summer update blog post, to fill you all in on what’s been happening with me
and my work. I wasn’t sure if I'd have chance to write anything this time – the
world definitely feels like it’s opened up again, post-pandemic, and the past
seven months have been jam-packed full of many exciting but exhausting things. But
I've ended up travelling a lot this week, with variable WiFi, so it seemed like
the perfect time to jot down a few thoughts.</span></p><p><span style="font-family: georgia;"> The dominating project for the first half of the year was
definitely the BFI NETWORK funded short film <i><a href="https://www.imdb.com/title/tt19354160/" target="_blank">A Different Place</a></i> (formerly
known as <i>Room 515</i>). The film went into production at the end of February,
running until the start of March, but pretty much all of my January &
February were taken up by prep – which was time I gave gladly. Having support
from the BFI NETWORK was literally a dream come true for me, and I was so
grateful to be back on set after the ‘drought’ of the past two years, but there
was a lot of work involved and I really pushed myself to do the best job I
possibly could. I promise I will write a blog post about that process and my
director’s prep when I can, as I really learnt a lot.</span></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><o:p> </o:p>The film is so nearly finished now, a day or two at most
is needed to complete it as soon as we can book a time that works for
everyone’s schedules. But I am so happy and proud of everything we've done so far –
the film’s incredible performances are an element which really stand out, thanks
to our perfect cast, <a href="https://www.michelledarkinprice.com/" target="_blank">Michelle Darkin Price</a> and <a href="https://twitter.com/adayarrr" target="_blank">Adaya Henry</a>. I don’t know yet if <i>A Different Place</i> will be seen as the best film I’ve directed (I’ve
asserted for years that <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i> is still my favourite film of mine),
but time will tell. It’s looking likely!<br /><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9BLq5Q0rKGaElvdTQxTsaitOyfOIqJmugKXFfZqfifAVEwfG2m8xX2DRhVxe7RVdLo2X6X6DyDNLA5z474rCeduzcTjeJUqbs_d2uj3v2ROLoqacjufFq6AZjRx0oPEk5oYBLookcNJLVDPctVcrEKqkzGrvZLgzVjl8uSkN7WC_zQLHtBf44IiTL/s6488/Flatpack%20Screening%20social%20banner%20-%20if%20we%20go.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3973" data-original-width="6488" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9BLq5Q0rKGaElvdTQxTsaitOyfOIqJmugKXFfZqfifAVEwfG2m8xX2DRhVxe7RVdLo2X6X6DyDNLA5z474rCeduzcTjeJUqbs_d2uj3v2ROLoqacjufFq6AZjRx0oPEk5oYBLookcNJLVDPctVcrEKqkzGrvZLgzVjl8uSkN7WC_zQLHtBf44IiTL/w640-h392/Flatpack%20Screening%20social%20banner%20-%20if%20we%20go.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>A Different Place</i>'s WIP preview screening led to us getting this fantastic laurel! Background image by Shelley Richmond.]</td></tr></tbody></table><o:p style="font-family: georgia;"><br /></o:p><p></p><p class="MsoNormal"><o:p style="font-family: georgia;"> </o:p><span style="font-family: georgia;">And then in Spring, the film’s producers, </span><a href="https://www.facebook.com/CatontheWallProductions" style="font-family: georgia;" target="_blank">Charlie Clarke</a><span style="font-family: georgia;">
& </span><a href="https://www.katiesmithfilm.co.uk/film" style="font-family: georgia;" target="_blank">Katie Smith</a><span style="font-family: georgia;">, and I had an incredible opportunity. Thanks to BFI NETWORK and
Film Hub Midlands, we were invited to show a work-in-progress version of </span><i style="font-family: georgia;">A
Different Place</i><span style="font-family: georgia;"> at non other than the BAFTA-qualifying </span><a href="https://flatpackfestival.org.uk/" style="font-family: georgia;" target="_blank">Flatpack Film Festival</a><span style="font-family: georgia;"> in Birmingham – a festival which has particular poignancy for me with this project, and where
I’d never been lucky enough to have work screened before.</span></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"> The screening was a little nerve-wracking for me; as a
serial perfectionist, it was totally out of my comfort zone to share unfinished
work with the public (even though <i>A Different Place</i> was already 90% finished at the time and, as I said, I was mega proud of the film and everyone's work on it).
And of course, I wasn’t going to turn down the chance to screen at Flatpack, as
it was a real honour and great for everyone involved. But then, as the
lights went down, I tried to settle my nerves and decided to just focus on the
sounds of the crowd as they watched the film... and wow, that was an incredible
experience. I heard little ripples of laughter, followed by what genuinely
sounded like sniffs and sobs, which shows that the audience felt all the
emotions we wanted them to feel. It’s given us a really good indicator of how
the film is going to go down when it starts its festival run in earnest.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: georgia;"> </span></o:p><span style="font-family: georgia;"> Also in Spring, <i><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a></i> turned 10 years old – which made
me feel ancient in the process! I’ve definitely lost no love for the film in
the past decade, though; I remember the shoot so fondly, like it was yesterday,
and the film remains Triskelle Pictures’ biggest success story. To celebrate
the anniversary, we re-shared the behind-the-scenes videos from the shoot (an
example can be seen <a href="https://youtu.be/Doxxhsa7bzY" target="_blank">here</a> – it’s crazy how young we all look!), plus the <a href="https://youtu.be/v5pfcgy8sBs" target="_blank">much-requested video</a> where Georgina Sherrington shared some memories from her best-known work in <i>The Worst Witch</i>, and then we had a
mini reunion with some of the cast and crew in London. It was so lovely to
catch up with the team and to reminisce, as some of us hadn’t seen each other
since the film premiered at Raindance in 2014.</span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWCFsnWw3ifCP-M8sJDrxsYgRzLvXKGa8Jp9vVLvq2LiQao-U3OOJhQCz21ywJxk4nHeiDtD7dEodJ3OT1x29dPxJx1kDiQLTWSU7UfG6DlubYr8EFne1qjYtKWCyMxtfDrYAS6RSzMH1_8b8uXYtJvJLfqV2jY1jKCiSjYu3sigNlcFGDTqvZUsO7/s1440/10th%20anniversary%20reunion.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1013" data-original-width="1440" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWCFsnWw3ifCP-M8sJDrxsYgRzLvXKGa8Jp9vVLvq2LiQao-U3OOJhQCz21ywJxk4nHeiDtD7dEodJ3OT1x29dPxJx1kDiQLTWSU7UfG6DlubYr8EFne1qjYtKWCyMxtfDrYAS6RSzMH1_8b8uXYtJvJLfqV2jY1jKCiSjYu3sigNlcFGDTqvZUsO7/w640-h450/10th%20anniversary%20reunion.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Stop/Eject's </i>co-writer Tommy Draper, me, director/DOP/co-writer Neil Oseman, and lead actor Georgina Sherrington at the film's 10th anniversary reunion dinner]</td></tr></tbody></table><o:p><span style="font-family: georgia;"><br /></span></o:p><p></p><p class="MsoNormal"><o:p><span style="font-family: georgia;"> </span></o:p><span style="font-family: georgia;"> (Next month my other ‘2012’ baby, <i>Ashes</i>, has its tenth
birthday too, so you can expect some nostalgic posts about that film on
Triskelle Pictures’ social feeds as well!)</span></p>
<p class="MsoNormal"><o:p><span style="font-family: georgia;"> </span></o:p><span style="font-family: georgia;">The day after the <i>Stop/Eject</i> anniversary reunion, I began my
journey to Cannes for the first time since 2013. This time round I had <i>A Different
Place</i>'s lead actor Michelle Darkin Price with me, who was lovely company and
possibly the best networking buddy a person can have! I wont say too much about
Cannes in this post, as I went into great detail <a href="https://triskelle-pictures.blogspot.com/2022/05/updated-cannes-advice.html" target="_blank">here</a>, but I will say that the
festival has transformed in the years since I was last there! Regardless, I had
a great time, and I made at least one contact which could lead to some exciting
things.<br /><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNhftC1XbP2M0whcMh2TnzpK0LIlCGl3x58lnm9YW65IUyuRaHZ_DojJJJ5jfqtePw9eA26iqAqVGVwI6HwhAeg7D0lRqz3ijAiWZ_Hz00nI4vg80BfuLVushNHl7xMUQ1KjJZw7o--T97LxCB-hOJhXIJE0DvKP5j0NS6bZ-3y_qmM9WwCCY3YuXR/s4032/20220517_151056.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2268" data-original-width="4032" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNhftC1XbP2M0whcMh2TnzpK0LIlCGl3x58lnm9YW65IUyuRaHZ_DojJJJ5jfqtePw9eA26iqAqVGVwI6HwhAeg7D0lRqz3ijAiWZ_Hz00nI4vg80BfuLVushNHl7xMUQ1KjJZw7o--T97LxCB-hOJhXIJE0DvKP5j0NS6bZ-3y_qmM9WwCCY3YuXR/w640-h360/20220517_151056.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Me in Cannes, where I took time out from networking to make a pilgrimage to one of the first cinemas which screened a young Peter Jackson's films! Thank you to Michelle Darkin-Price who indulged my geekery and also took this photo]</td></tr></tbody></table><p class="MsoNormal"><o:p><span style="font-family: georgia;"> </span></o:p><span style="font-family: georgia;">And then the very next day after I got back from Cannes, I
had to go to Birmingham for the aforementioned Flatpack screening! So it was
probably one of the busiest, most ‘travelly’ weeks of my life, but it still felt
very much like I was living the dream, so I wouldn’t have traded it!</span></p><p class="MsoNormal"><span style="font-family: georgia;"> The other bit of short film news is that <i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a></i> has now been released online, so you can watch it in full on <a href="https://youtu.be/ii5ZBed2irU" target="_blank">YouTube</a> and <a href="https://vimeo.com/401884478" target="_blank">Vimeo</a>. As the film was completed during the pandemic, it hasn't had the easiest festival run, but it still made us proud, and it's lovely to be able to share it with the world now. With <i>Lepidopterist</i> online, it also meant that it was time to make my 2020 director showreel public, which you can see <a href="https://youtu.be/7Z6bTGld4GQ" target="_blank">here</a>, but of course I'll be working on a new one soon, to include <i>A Different Place</i>, when it's finished, as well as some other bits.</span></p><div style="text-align: center;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ii5ZBed2irU" title="YouTube video player" width="560"></iframe></div><p class="MsoNormal" style="text-align: center;"><o:p style="font-family: georgia; text-align: left;"><span><br /></span></o:p></p><div style="text-align: left;"><span style="font-family: georgia;"><o:p><span> </span></o:p><span>Since Spring, I've very much focused on work for Triskelle
Pictures’ clients, as I'd taken some time ‘off' while prepping for <i>A Different
Place</i>. Not that I’m complaining in the slightest; June 1</span><sup>st</sup><span> marked
<a href="https://triskelle-pictures.blogspot.com/2022/06/one-year-on.html" target="_blank">exactly one year</a> since I left my day job, and I’m so grateful to have had
work booked in almost constantly since then. I’m doing what I love </span><u>and</u><span>
keeping a roof over my head in the process (literally, as we had to hire a
roofer for the cottage after the extreme winds did some damage at the start of the year – another effect of climate change!). Furthermore, as Triskelle Pictures’
clients are predominantly arts-based businesses, I still get to flex the
creative muscles when I work with them. </span></span></div><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"><span> There were a few new clients I worked with in the first half
of 2022, alongside repeat work, but I particularly enjoyed creating <a href="https://youtu.be/f5ymFn0WPXc" target="_blank">this gorgeous story film</a> for Beautiful Things Antiques, shot by guest DOP <a href="https://www.willjcarman.co.uk/" target="_blank">Will J Carman</a> (in the incredible Derwentside Antiques centre where Chris Newman and I also shot Halo Haynes' music videos in 2013). I’m also very excited to see the triumphant return of <a href="https://youtu.be/VL_igxq8cck" target="_blank">Towersey Festival</a> next month, fully operating in person (and in a fab new
location!) more than two years since the pandemic forced their tents to close. I've got quite a bit to prep for that job, but I can't wait to join them in the field again.<br /><br /></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8oJV9Fbkv0cDkVEgNF5nY7rD88qX5vgbUMMAhQKWx3P7lhbJzDSOr6aMcQs19DjPIOA9H_OXM5jdfZ4lMubeJ27VyxvY8KBriGpg7NqNeqj80WxJiMAKCp_BBEkVKZOZzV67MZCIOSbGb2yczIKJ37js69LuLPv8XydSZ7EkSK-2LJB2K8KIGjSj/s1890/Summer%202022%20client%20fliming%20for%20blog%20post.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="894" data-original-width="1890" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8oJV9Fbkv0cDkVEgNF5nY7rD88qX5vgbUMMAhQKWx3P7lhbJzDSOr6aMcQs19DjPIOA9H_OXM5jdfZ4lMubeJ27VyxvY8KBriGpg7NqNeqj80WxJiMAKCp_BBEkVKZOZzV67MZCIOSbGb2yczIKJ37js69LuLPv8XydSZ7EkSK-2LJB2K8KIGjSj/w640-h302/Summer%202022%20client%20fliming%20for%20blog%20post.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: filming for Beautiful Things Antiques, photo by Isabel at Derwentside, and for Beat SCAD, photo by Ian Cudmore at I C Things Photography]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia;"> Also, in April, my time on the Prince's Trust mentoring programme came to a close, after two wonderful, genuinely life-changing years. My mentor, Simon, kept me going when times were tough in 2020, as well as encouraging me to finally live the life I wanted by going self-employed (well, technically employing myself) again, which was such a scary decision and I'd struggled to make it for too long. I am so grateful to him, and to the Prince's Trust in general, for everything they did for me. </span></p>
<p class="MsoNormal"><o:p><span style="font-family: georgia;"> In other work updates, I was paid to do a bit of teaching, sort of, at the start of the year. In January, I gave a lecture on production design for the BFI Film Academy (it was the first time I'd ever delivered a standing-up presentation on my own, without stopping or forgetting what I was saying, which shows how far I've come in my confidence journey), and I did a talk on indie filmmaking for Nottingham College in February as part of their International Women's Day celebrations. </span></o:p><span style="font-family: georgia;">I was also a guest on the <a href="https://www.enigmaticproductions.co.uk/the-trash-tapes/episode/defb64b7/not-so-trash-reviews-essay-4-only-lovers-left-alive-and-the-rock-star-vampire-feat-sophie-black" target="_blank">Not So Trashy podcast</a> earlier this
year, where presenter Johann Chipol and I did a deep-dive review of Jim Jarmusch's <i><a href="https://www.imdb.com/title/tt1714915/" target="_blank">Only Lovers Left Alive</a></i>.</span></p><p class="MsoNormal"><span style="font-family: georgia;"><o:p><span> </span></o:p><span>As you can tell, I haven’t had much time off so far this
year! But the return of live gigs did present a couple of opportunities for me
to have mini breaks – first to Birmingham in April, where my partner <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward</a> and
I finally saw Goldfrapp, one of my all time favourite bands (talk about a
bucket list moment!); and then earlier this month, my regular co-writer <a href="https://www.tommydwriter.co.uk/" target="_blank">Tommy Draper</a> and I watched Haim in Nottingham. The latter gig also ended up being a
sort of filmmaker reunion, as we ran into Solomon Rumney-Scriven and Chris
Millross from the <i>Lepidopterist </i>team (2</span><sup>nd</sup><span> Unit Director of
Photography and Supporting Actor, respectively), and <i>Night Owls</i>' Holly
Rushbrooke was also in attendance.</span></span></p><p class="MsoNormal"><span style="font-family: georgia;"> Finally, just to end the recap of what's happened so far, I have a tiny bit of personal news. Edward and I are now owners of a cat, a white Turkish Angora named Falkor. I have never been a cat fan, and the personal space invasion is taking some getting used to, but Edward won me round with that wonderfully geeky, 80s-fantasy inspired name. And so far, you all seem to be loving the Falkor pictures in our Instagram stories, so we'll keep them coming (without forgetting about Alan the Guinea pig in the process, of course!).<br /><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGyhdD2-w3r-PADUlOSbs5StHBYua6v-_JydD88W68me1X4jZeAvRG_nsRCm-zCvFWOgR9f21TNmRp-MJPZWUr1LN3S2yvKvF19d058T_8ugEF5ih96Ft8KtX3Wl-Bg_4hB5mIsh5HvxcyttZL54pKmQzmQjazjfx7jdvaT7k4gi4KAJka3V9PDhWo/s1890/2022%20gigs%20for%20blog%20post.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1149" data-original-width="1890" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGyhdD2-w3r-PADUlOSbs5StHBYua6v-_JydD88W68me1X4jZeAvRG_nsRCm-zCvFWOgR9f21TNmRp-MJPZWUr1LN3S2yvKvF19d058T_8ugEF5ih96Ft8KtX3Wl-Bg_4hB5mIsh5HvxcyttZL54pKmQzmQjazjfx7jdvaT7k4gi4KAJka3V9PDhWo/w640-h390/2022%20gigs%20for%20blog%20post.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The Covid-delayed concerts finally happened: the bucket-list Goldfrapp gig on the left, photo by Edward, and Haim in Nottingham on the hottest day on record]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: georgia;"> So, what’s coming up for me in the last half of the year,
once </span><i style="font-family: georgia;">A Different Place</i><span style="font-family: georgia;"> is completed? Well, a lot of that is quite hard to predict
right now, and I certainly don’t have any concrete dates to share. In the current economic climate, it seems like filmmakers are finding it harder than ever to get their films funded and off the ground; crowdfunding campaigns aren't reaching their targets like they used to, industry funding bodies are closing down, and the number of filmmakers sharing their rejections online seems to go up daily. I've had an absolutely tonne of rejections myself this month (I've had four in the time it's taken me to write this blog post!), but since making </span><i style="font-family: georgia;">A Different Place</i><span style="font-family: georgia;"> and ending my director's drought, I am in a happier place and can take the rejections a little easier, even finding happiness in the useful feedback some of the rejection emails share.</span></p><p class="MsoNormal"><span style="font-family: georgia;"> But I do have a good indicator of where my focus is going to
be in the coming months. Everything is telling me that it's time to take a risk and push the features again. I've been having some amazing meetings lately with directors and other industry figures I really admire - partly off the back of my networking at Cannes, and partly because of the wonderful support I'm getting from <a href="https://directors.uk.com/" target="_blank">Directors UK</a> at the moment - and all of them have encouraged me to get back to writing my feature scripts. I even had a meeting with one of my filmmaking heroes, probably my favourite British director, on my 33rd birthday in April! It was incredibly nerve-wracking but wonderful too, he kindly guided me through some things that I've been doing wrong but was also really complimentary of my ideas, which gave me an incredible boost and certainly made for a birthday I'll never forget!</span></p>
<p class="MsoNormal"><o:p><span style="font-family: georgia;"> The main feature project I've been working towards in the last two years is <i><a href="https://www.triskellepictures.co.uk/the-barn" target="_blank">The Barn</a></i>, based on mine and Tommy's short screenplay which did well at screenwriting competitions in 2018-2020. As many filmmakers did, we submitted that project to the Creative UK x Netflix Breakout scheme when they did an open call-out earlier in the year (along with sending it to some other funding bodies), and we didn't win that one but it did give us chance to gather some new marketing assets as part of that application, and my plan is to search for different funding options in the coming months, even if it means thinking outside of the box a bit.</span></o:p></p><p class="MsoNormal"><o:p><span style="font-family: georgia;"> However, as many of you know, my lifelong ambition has been to make my film <i>Night Owls & Early Birds</i> - the feature-length version of <i>Night Owls. </i>I started writing it when I was 15 years old, even shot an unfinished, amateurish version of the film with my high school friends when I was in my late teens, and I had interest from funding bodies off the back of <i>Night Owls</i>' decent-ish festival run in 2016. But then, when that interest fell through, I just stopped pitching it. I let the rejections burn me up and shelved the project. My intention was to go away and make more shorts and become a better director, which wasn't a bad plan, then return to the script later - but I never did. I even stopped telling people about the project, although I'd always be making notes on my phone when I secretly thought of more things to change or add to the script.</span></o:p></p><p class="MsoNormal"><o:p><span style="font-family: georgia;"> But thanks to the conversation with one of my favourite directors on my birthday, where I tentatively told him the story (because heck, I wasn't going to miss that opportunity!), it encouraged me to start pitching the project again. I did so at Cannes, at other meetings I've had in person and on Zoom, and not only have people responded to the story well - which feels fecking amazing! - but I now have three people interested in reading the next draft of the script. If I can make time to write it! I'm now almost the same age as the male lead character, Kent, whereas I was Mari's age when I wrote the first draft, which gives me quite a unique perspective on the material and really makes this the perfect time to return to it.<br /><br /></span></o:p></p><p class="MsoNormal"><o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpfVMt1QD2pK6fir2oqPeyNyq-M4FmFch0o_SEZ2p8oaYraoebgmuJV_x5Lquem8UhhCv7j35id-vUaJSJP1b1iVX0w5WqTrUxFAL03fHw-il3feBEE2ay6pktRA0Fr_HkXXtzPxoz-3VBhuBeFoaMUq1sajHlEeDLldjzX5trhjs78Oas0HWnkM6F/s800/2022-07-26-19-13-14-Centerframe-GetItMade-2-800.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="800" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpfVMt1QD2pK6fir2oqPeyNyq-M4FmFch0o_SEZ2p8oaYraoebgmuJV_x5Lquem8UhhCv7j35id-vUaJSJP1b1iVX0w5WqTrUxFAL03fHw-il3feBEE2ay6pktRA0Fr_HkXXtzPxoz-3VBhuBeFoaMUq1sajHlEeDLldjzX5trhjs78Oas0HWnkM6F/w640-h428/2022-07-26-19-13-14-Centerframe-GetItMade-2-800.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The Centerframe networking event at BAFTA. You can just about make me out in the top right quarter - with the dark hair, long purple skirt and folded arms!]</td></tr></tbody></table><span style="font-family: georgia;"><br /> That doesn't mean there won't be any more short film projects in the future. I'm currently attached to produce two, including my first animation, </span><i style="font-family: georgia;">Contamination</i><span style="font-family: georgia;">, a Cronenberg-style body horror with an eco conscience, collaborating with </span><a href="https://hipster-films.com/" style="font-family: georgia;" target="_blank">Hipster Films</a><span style="font-family: georgia;">. I was also lucky enough to be shortlisted for the </span><a href="https://centerframe.com/get-it-made-uk-edition/the-shortlisted/sophie-black/" style="font-family: georgia;" target="_blank">Centerframe Get It Made competition</a><span style="font-family: georgia;">, which teams up directors, producers and writers then gives them the opportunity to pitch a short film, with one lucky team winning £10,000. The shortlisted filmmakers all got to meet up at a very swanky networking night at BAFTA's refurbished HQ last week, and I teamed up with writers Carla & Gail Hart and producer Pinghei Wong. We'll be pitching for an adorable, whimsical little short film project called </span><i style="font-family: georgia;">Call Me J</i><span style="font-family: georgia;">, so expect updates about that project in future blog posts - and wish us luck!<br /><br /></span><p></p><p class="MsoNormal"><o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisZJxEnwBgkxaNhx4vuKR1iXI7KnNO8hwM-7BX1QfbOy8rnzLnpf8k4Bbq0ScM-EZttnAmXsfDZzRYOEBQJlXbqOMWQ2YmDp0C4woXBBJxX7p-4ASZouCTnb9TjTzYM4LmAvuQmxGezNOIaeGb88V_ojkGjHJFAQjCzvONyVQ7qUpvP9TVhBt64r8q/s1280/thumbnail_IMG_7072.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="1280" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisZJxEnwBgkxaNhx4vuKR1iXI7KnNO8hwM-7BX1QfbOy8rnzLnpf8k4Bbq0ScM-EZttnAmXsfDZzRYOEBQJlXbqOMWQ2YmDp0C4woXBBJxX7p-4ASZouCTnb9TjTzYM4LmAvuQmxGezNOIaeGb88V_ojkGjHJFAQjCzvONyVQ7qUpvP9TVhBt64r8q/w640-h502/thumbnail_IMG_7072.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Strong hat game at Patchings Art Festival with my Mum, photo by my Dad. We also attended the Belper Arts Festival around Easter time. Proof that I can be social sometimes!]</td></tr></tbody></table><span style="font-family: georgia;"><br /> That's almost everything to update you all on, and I'll wrap things up now before this post gets enormous. As I said, I don't know how the next few months are going to shape out, with the upcoming household bills price increase and the likely recession that will come with that, and the repeated signs of a climate crisis are particularly terrifying for a nihilist like me. But this year, along with the previous two, has taught me how much you need to focus on what matters, and put all your energy into the people and projects you care about the most. There may never be a better time. So, once </span><i style="font-family: georgia;">A Different Place</i><span style="font-family: georgia;"> is complete, I will be making time to write another draft of </span><i style="font-family: georgia;">Night Owls & Early Birds</i><span style="font-family: georgia;">, hopefully </span><i style="font-family: georgia;">The Barn</i><span style="font-family: georgia;"> as well - and if there's somehow any hours left in the day, I want to get back to exercising and spending time with my family and friends. And hopefully finish reading </span><i style="font-family: georgia;">The Silmarillion.</i><p></p><p class="MsoNormal"><span style="font-family: georgia;"> I'll report back at the end of the year, if not sooner, and let you know how I got on with those goals. Hopefully I'll have ticked at least a couple of them off by then!</span></p><p class="MsoNormal"><span style="font-family: georgia;"><br /></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p><p class="MsoNormal"><span style="font-family: georgia;"><br /></span></p>
<p class="MsoNormal"><br /></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-79183217876648581582022-06-01T01:32:00.006-07:002022-06-01T01:32:58.732-07:00One year on<p><span style="font-family: georgia;"> A quick reflection on a year of working for myself (again):</span><br /><br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrkhI_0TRei8cTruIHFmP2VyJHfASphylLlKVi-2HB1hY9d3Q38gjzY4zeHcTo3n9QyeQK3aB7qACK0ClTxZcR1cCWkDtrBcN8UQIHBQvC3ZxQezxoz4-rZCStkOZeoJxPQSVmJdLPJHkChEI47Fd0kPr2g3921Uqul6xfZCeIZCtD3DQ7qaWC0TmT/s1700/One%20year%20self%20employed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1035" data-original-width="1700" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrkhI_0TRei8cTruIHFmP2VyJHfASphylLlKVi-2HB1hY9d3Q38gjzY4zeHcTo3n9QyeQK3aB7qACK0ClTxZcR1cCWkDtrBcN8UQIHBQvC3ZxQezxoz4-rZCStkOZeoJxPQSVmJdLPJHkChEI47Fd0kPr2g3921Uqul6xfZCeIZCtD3DQ7qaWC0TmT/w640-h390/One%20year%20self%20employed.jpg" width="640" /></a></div><br />Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-85556621642875651232022-05-25T10:09:00.004-07:002023-10-29T08:56:22.499-07:00Updated Cannes Advice<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjgxHdx-lFuaAo4rH5jip6joVwceREmXhhg_aIGmVcsgOtcIP4WKBEfNVp1LqJh0oM664IcZBz2Mo4j3Y4Nlnrs2WZKVtCIaPAmYJeJzsX0r2bUVZgRQcMbVTw4u9sBGd8O0pGvMPmjCzRKQo4q1VDs36opUYHz6CH9Q_GWI1ljBw7cG1BWVHV-PBG/s5184/Cannes%20lanyards%20for%20blog%20post.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3456" data-original-width="5184" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjgxHdx-lFuaAo4rH5jip6joVwceREmXhhg_aIGmVcsgOtcIP4WKBEfNVp1LqJh0oM664IcZBz2Mo4j3Y4Nlnrs2WZKVtCIaPAmYJeJzsX0r2bUVZgRQcMbVTw4u9sBGd8O0pGvMPmjCzRKQo4q1VDs36opUYHz6CH9Q_GWI1ljBw7cG1BWVHV-PBG/w640-h426/Cannes%20lanyards%20for%20blog%20post.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: the lanyards from my two vists to Cannes, collected almost a decade apart. <br />I can't believe how fresh-faced I look on the first one!]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Back in 2013, I went to the infamous Cannes Film Festival <a href="https://triskelle-pictures.blogspot.com/2013/05/sophie-on-her-first-time-at-cannes.html" target="_blank">for the first time</a>, and I did so somewhat sensibly; I had two short films to try and sell (<i>Ashes </i>and <i><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a> </i>had just been completed), so I organised a few meetings in advance, and I spent most of my time in the Marche du Film (Cannes' film market). Most of my meetings were scheduled during the mornings, so I went to bed early and got plenty of kip every day, waking up feeling refreshed and ready to talk about my work.</span></p><p><span style="font-family: georgia;"> But I then learnt that most of the deals - the really <i>big</i> deals - at Cannes are made at the late night parties. I did attend one early evening party hosted by Creative Scotland, which was fantastic, but as I'm not a big night person (and certainly not a party animal) I wasn't even aware of anything going on any later than that. And one of my random claims to fame is that, during my last time at Cannes, I ignored a phone call from one of my friends at 10pm - because I was already in bed - and missed out on the chance to meet Jean-Claude Van Damme as a result!</span></p><p><span style="font-family: georgia;"> So this year, when I made the last minute decision to return to Cannes, I decided to play things completed differently. My latest short, <i>A Different Place</i>, isn't quite completed, and my two features are only at the writing stage (if that), so I had nothing to sell; I didn't book any meetings in advance, instead deciding to just mingle and chat with the crowds, and try and build up my network in the process; above all, I wanted to force myself to experience the night life of Cannes, even though that's very much out of my comfort zone, to see what I missed last time.</span></p><p><span style="font-family: georgia;"> Some things went to plan, and some didn't. I had great company, which really helped, as I was joined this time by <a href="https://www.michelledarkinprice.com/" target="_blank">Michelle Darkin-Price</a>, the wonderful lead actor from <i>A Different Place</i> (so I had plenty of opportunities to promote her as well as our film). But not only has the festival changed in the 9 years since I last went, the world itself has changed, and I very much witnessed the affects of Covid, Brexit, and life after the 2015 Paris bombings. It all felt unfamiliar, from the big (armed officers walking around) to the small (my European plug adapter no longer fits!).</span></p><p><span style="font-family: georgia;"> So here's my key learnings from my latest trip, all of which I thought would be useful to share:</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">Don't book too much on your first day - or arrive the day before the festival, if you can!</span></b></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_2H_qTbWdN7OvNEe4g_drs4LOfGD_-RPHRqip_4LCfflxV5Y2ogLvbPaYUiBGKWCCOru2u-c01p_gkXR_TNi-Ce82Mw0gdMM-J_REweEDuZizSTrso7un2EgOmQgIwZefing4BQEK-HkPWj2knib9KUdHu0G0gMh140BagNYLF1-3HFTFaYJvyyFv/s3648/7HDxyO-8.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="2736" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_2H_qTbWdN7OvNEe4g_drs4LOfGD_-RPHRqip_4LCfflxV5Y2ogLvbPaYUiBGKWCCOru2u-c01p_gkXR_TNi-Ce82Mw0gdMM-J_REweEDuZizSTrso7un2EgOmQgIwZefing4BQEK-HkPWj2knib9KUdHu0G0gMh140BagNYLF1-3HFTFaYJvyyFv/s320/7HDxyO-8.jpeg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Day One with Michelle]<br /><br /></td></tr></tbody></table><span style="font-family: georgia;"><b> </b>Last time I attended Cannes, when DOP (and <i>Stop/Eject</i> director) Neil Oseman recorded his <a href="https://youtu.be/JGoq4gK5_ro" target="_blank">video diaries</a>, I went on camera saying 'don't get straight off the plane and come into Cannes' - and yet, I nearly ignored my own advice. Michelle and I arrived on the opening day of Cannes, catching a very early flight on 3 hours sleep, because it was the cheapest (Michelle also had a long drive to the London airport), and we got lost on the way to the festival; we were lugging heavy suitcases and queued in the heat for half an hour to collect our badges (more on that later); we then had a long hunt for the accommodation; so by the time we'd finally unpacked our bags, we were physically exhausted, and all our plans had to be put on hold while we listened to our bodies and recharged. No night life for us on day one!</span><p></p><span style="font-family: georgia;"> Of course, the next morning I met a filmmaker who </span><i style="font-family: georgia;">had</i><span style="font-family: georgia;"> gone out that night, and claimed to have received funding offers for his feature as well as multiple party invites, so I immediately felt guilty and cross at myself for favouring an early night instead. On reflection though, I do think it's important to rest and recharge when you need to, particularly if - like me - you're not in your twenties anymore. So if you don't want to miss the excitement of opening night, the best thing is to arrive the day before the festival, and get all the business of lugging suitcases and locating your accommodation out of the way in advance.</span><p><span style="font-family: georgia;"> I will say though, our accommodation was excellent. For the first time ever, I paid a bit extra to stay closer to the festival, and we were able to make dinner there on two occasions, cutting down food costs as well as not needing to pay for buses every day.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">Beat the queue system - but don't bring your suitcase!</span></b></p><p><span style="font-family: georgia;"> You should always factor a long queue time into your plans - particularly if you're arriving on opening day (like we did) or busy times like the first Friday of the festival, and you need to collect your badge. But this is one area that really changed since my last visit; in the aftermath of the 2015 Paris bombings, security is very very tight, with hand swabbing and full digital body scanning in place at every gate, whereas in 2013 I just had to have my handbag searched when I went inside the Marche (no searches outdoors back then). </span></p><p><span style="font-family: georgia;"> As a result of these increased security measures, you're not allowed to take suitcases anywhere in the festival anymore - so we queued for 30 minutes, just to be told we'd need to leave and put our suitcases somewhere. (Luckily Michelle was able to sweet talk us back to the front of the queue again when we came back without our bags, but I don't know if everyone was so lucky).</span></p><p><span style="font-family: georgia;"> On the plus side, the suitcase deposit area is now free to use, whereas I think it was about €1 an hour last time. But they did also have increased security, which added extra time onto our day before we'd even collected our badges.</span></p><p><span style="font-family: georgia;"> It was only after we finally collected our badges that we spotted a self service badge machine! I don't know if this only works for pay-as-you-go type badges, rather than ones you book in advance, but it's worth noting that there were no queues around this machine at all. It's the first time the festival has offered it, and not everyone is aware of it, so it's definitely a quicker option.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">The networking</span></b></p><p><span style="font-family: georgia;"> As before, the UK Pavillion provided a perfect place to catch our breath and meet people (the best connections I made all week were there, which wasn't the case last time). You can still get free Tea Pigs tea and WiFi - although, as with last time, the connection speed wasn't great when everyone was using it. There were also some tablets towards the entrance where you could search through the delegates database and book one-on-one meetings with UK attendees, which is definitely useful knowledge for my next visit.</span></p><p><span style="font-family: georgia;"> But this year, as I said, we also planned to hit the town after dark - and that was certainly a good way to meet people, as we spotted Cannes badges around necks in every part of the town! We made a good connection at a local cafe, and the famed La Petite Majestic is clearly still a popular meeting spot for Cannes attendees as it was full of festival-goers - although unfortunately, when I started to make conversation with a couple of them, we soon realised they didn't speak any English. (I meant to try La Petite Majestic again another night, but never got round to it).</span></p><p><span style="font-family: georgia;"> To guarantee English-speaking connections, someone recommended we tried Cannes' three Irish bars - Ma Nolan's, Morrison's, and The Quays - and we visited them all in one night! Because these were sports bars, there was a game on TV and they were full of patrons as a result, including many with Cannes badges. However, we soon started to notice that we were the only women in there, as well as being the only ones not openly interested in sports, and there was more than one occasion where this made me feel a little uncomfortable, like we were in unfamiliar territory - and not in a good 'step outside your comfort zone' way. The big takeaway here is that, next time I attend Cannes, I'll do so in a mixed-sex group. We shouldn't have to do that to feel safe, not in the twenty-first century, but unfortunately it's still something I feel I have to recommend.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKXa5lWVgf0EL_XZwkZ1k1g-fRcZ0YxDl7CCzlgGqIlWtyW80qmS6KrznlRI6mTHXPQ4S94USAVz75Gn55RX_e4B9v0cA6McAz6e-Ix-VrwN2ue7gK5kaq3GHEAqB3JlPh632TZZSjpiASyiq-u1HHO-hhCZJncsR57dbtM4qxPvrC8RyfdO36DZ2m/s4008/Canne%20blog%201.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1911" data-original-width="4008" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKXa5lWVgf0EL_XZwkZ1k1g-fRcZ0YxDl7CCzlgGqIlWtyW80qmS6KrznlRI6mTHXPQ4S94USAVz75Gn55RX_e4B9v0cA6McAz6e-Ix-VrwN2ue7gK5kaq3GHEAqB3JlPh632TZZSjpiASyiq-u1HHO-hhCZJncsR57dbtM4qxPvrC8RyfdO36DZ2m/w640-h306/Canne%20blog%201.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: me and Michelle, somewhat windswept and squinty but LOVING the unfamiliar heat!]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"><b>Pavilions</b></span><b><span style="font-family: georgia;"> Post-Brexit</span></b></p><p><span style="font-family: georgia;"> This was the first time I'd traveled abroad as a non-European citizen, which is definitely not something I chose to do, and it caused adverse affects on multiple occasions - particularly when we were going through the airport, moving at a snail's pace through the 'all other passports' queue and enviously watching the European passport-holders swimming past us.</span></p><p><span style="font-family: georgia;"> But the biggest disappointment for me was the fact that I could no longer go in the European Pavilion. Last time, somewhat obviously, we were allowed in both the UK and European Pavilion, and we found the European Pavilion to be bigger and filled with the type of industry professionals you wouldn't usually meet. This time, when we asked if we could go in, we were met by a 'no' and a <i>very</i> harsh look. (I can't really blame them for that, I'm not particularly fond of my country right now either!).</span></p><p><span style="font-family: georgia;"> It is a good idea to visit other pavilions, as there's no point travelling to France and just mingling with people you'd meet back home. If you can organise a meeting with a member of another Pavilion, they will let you in for the duration of your meeting. You can also buy day passes to the American Pavilion; it isn't cheap, I think it was around £20 a day, but it did sound like they had some fantastic events on in there.<br /><br /></span></p><p><b><span style="font-family: georgia;">RIP The Short Film Corner - and the Cannes bag!</span></b></p><p><span style="font-family: georgia;"><b> </b>Obviously the festival hadn't happened in 2020, and this year was the first time they were back to full capacity - but we noticed a few empty booths as a result, particularly in the basement, where half of the floor appeared to be closed off. This was the area where I spent most of my time in 2013, as it contained the dedicated 'Short Film Corner' where I had sales meetings, attended happy hours, and blagged a space at an inspiring talk with Jane Campion.</span></p><p><span style="font-family: georgia;"> This year, the Short Film Corner had been allocated a much smaller space - and the whole time we were there, it wasn't open at all. I kept going back to check because, although I'm trying to move away from shorts, I was keen to find festival programmers for <i>A Different Place</i>. By my last day, the Short Film Corner still was't open, and the space had been given away to a speed-pitching event for people trying to buy the film rights to French novels. That event was advertised as lasting the whole weekend, so I don't know if the Short Film Corner ever came back, as we flew home on the Friday evening.</span></p><p><span style="font-family: georgia;"> The other thing missing this year was the Cannes goodie bag! The festival had announced this change in advance, but I didn't read my emails properly, and so I left plenty of space in my hand luggage for it. We did get posters on our arrival, and handy things like maps and booklets, but the printed programme and the bag had both been discontinued for environmental reasons. That's admirable, but there were multiple times when we needed a bag to put our various fliers and leaflets in; so if you don't bring a shopping bag with you, the only option is to buy a Cannes bag from the gift shop - some of which cost €25!<br /><br /></span></p><p><b><span style="font-family: georgia;">Cannes' Shifting Focus</span></b></p><p><span style="font-family: georgia;"> The shunned Short Film Corner wasn't the only example of Cannes changing what they cared about; in spite of the festival's history (it celebrated its 75th anniversary this year), they were clearly focused on modern and futuristic filmmaking methods. TikTok was an official sponsor - we saw banners and content creators capturing footage all around the badge collection queue - and there were VR zones set up in the Marche. I also attended a seminar on how productions could be funded through NFTs, Bitcoin, and via Web3 platforms. I hadn't heard of most of these things and I didn't understand it all, but all the speakers were very excited and optimistic, so clearly it's a potential direction the industry is going to go in.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Y1iNKW-vdLuUju2XnkzHcq1iAuE-RzWmqKkH69sXDqdDnltOjhq-MtawvELoPkbnt1GIduqaKuZ_ocwipr3cB4RcuXhgxhLdChxB6WixrDpEJCR825-5bNJsF07fyKcIiWlW3NVXBf3lyt_zf3FSpPwkOajVhxRUTSIOOoqFndN5-Pyga_Jwkys1/s2430/Canne%20blog%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1723" data-original-width="2430" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Y1iNKW-vdLuUju2XnkzHcq1iAuE-RzWmqKkH69sXDqdDnltOjhq-MtawvELoPkbnt1GIduqaKuZ_ocwipr3cB4RcuXhgxhLdChxB6WixrDpEJCR825-5bNJsF07fyKcIiWlW3NVXBf3lyt_zf3FSpPwkOajVhxRUTSIOOoqFndN5-Pyga_Jwkys1/w640-h454/Canne%20blog%202.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: The Directors Fortnight premiere of <i>God's Creatures</i>]</td></tr></tbody></table><p></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">Navigating the Schedule</span></b></p><p><span style="font-family: georgia;"> <b> </b>Although I wasn't given a printed schedule this year, I was given access to a digital one. I was a little disappointed by how few events were on there, as the talks I attended last time were one of the highlights of the festival for me. The pavilions did each have their own events programmed, details of which the UK Pavilion sent out to me via their mailing list (or you can ask what's on at the desk, the staff there are mega friendly and will give you any information you need), but these didn't even start until Thursday - two days after we arrived.</span></p><p><span style="font-family: georgia;"> Looking back at the 2013 Cannes, the best events weren't actually advertised in advance. I actually only caught the Jane Campion talk because one of the staff recommended we 'stuck around' for a bit. And as the festival went on, even after we left, we saw more and more things being announced on the days that they happened. I'm not certain why this is but, either way, when you're in attendance at the festival, keep your ear out and ask for updated talk schedules at the start of every day!</span></p><p><span style="font-family: georgia;"> In terms of booking to watch films, which wasn't my biggest priority (I didn't catch any last time, apart from <i>Jaws</i> on the beach screen), that caused some complications as well. A lot of people struggled with the online gateway crashing, and the festival even launched a new digital platform half way through the festival to get around the issue. I also couldn't find a way to auto-fill my username and password on the online booking page - which isn't ideal when you need to grab tickets speedily - but no one else seemed to have that issue. (Quick tip, your log-in details are on your badge, which is much easier to locate than an old email!)</span></p><p><span style="font-family: georgia;"> I was pretty gutted to learn that the films I most wanted to see (<i><a href="https://www.imdb.com/title/tt14549466/" target="_blank">Crimes of the Future</a></i> and <i><a href="https://www.imdb.com/title/tt3704428/" target="_blank">Elvis</a></i>) weren't screening until after Michelle and I had flown home, even though the films all have multiple screenings. So we set about finding something else to watch, which was tricky with the online booking system, as it didn't show any thumbnails and the information was minimal. Michelle had had the forethought order the physical programme in advance, although she had to pay for it, and that included extra information about the films (as well as photographs!).</span></p><p><span style="font-family: georgia;"> Once you've chosen a film to watch, there's also no guarantee you'll even get a ticket; most were sold out in advance, and the few times tickets became available again, they'd often be gone by the time I'd made my selection.</span></p><p><span style="font-family: georgia;"> We ended up seeing <i><a href="https://www.imdb.com/title/tt10375396/" target="_blank">God's Creatures</a></i>, an indie film with a female producer/director team that was released by A24. It was a nice experience because the cast and crew were sat just in front of us, including Emily Watson - and it was good to sit down for a bit! But the tickets caused further confusion, as many people were told to sit in any empty seats, but others had booked their seats, which resulting in a lot of disgruntled shuffling ahead of the film starting. For us personally, we only had to move once, so it wasn't too bad.</span></p><p><span style="font-family: georgia;"> And for those of you who aren't able to access the online booking system at all, you are allowed to do the old-fashioned thing and queue up by the back entrance for empty seat announcements. We saw long lines of people in suits and posh frocks every day; apparently some people queued for 8 hours outside the <i>Top Gun: Maverick</i> premiere!</span></p><p><span style="font-family: georgia;"> (Speaking of <i>Top Gun</i>, we did get to see some of the red carpet - but we arrived fifteen minutes early and didn't have the best view, as the streets were already swarming with local fans by that point. If you want a really good view of the stars, it's recommended you get there at least an hour early!)</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EKmPrDzWnyBgrWmyYFfOGaoFr0N2yO8gPENco5xb8BPWDA3W5JtEPQepuuqRshN22vuFhv5dyQWrSYTKM1jlkE2dNddds1jXdCc2oTd5v_JAuTShWc1Kf_44HIzAa7F_RlSTNY5ab-WljeIsZMGcheeXzY_OQdbWBOyBHc2XDFgC1SGlRIRbOFH7/s4032/3PePET0g.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2268" data-original-width="4032" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EKmPrDzWnyBgrWmyYFfOGaoFr0N2yO8gPENco5xb8BPWDA3W5JtEPQepuuqRshN22vuFhv5dyQWrSYTKM1jlkE2dNddds1jXdCc2oTd5v_JAuTShWc1Kf_44HIzAa7F_RlSTNY5ab-WljeIsZMGcheeXzY_OQdbWBOyBHc2XDFgC1SGlRIRbOFH7/w640-h360/3PePET0g.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Our 'view' of the <i>Top Gun: Maverick</i> red carpet!]</td></tr></tbody></table><b><span style="font-family: georgia;"><br />Choose your wingmen wisely!</span></b><p></p><p><span style="font-family: georgia;"> As well as travelling in a mix of genders, as I mentioned earlier, I also cannot stress enough how important it is to have a mix of personalities within your group. Attending Cannes with Michelle was fantastic because she's very social and helped start conversations at times when I felt more reclusive (actors tend to be good in networking situations), whereas, because it was my second time coming to Cannes, I brought a knowledge of the festival to the table, telling Michelle where and what everything was, and explaining what a few of the more obscure job titles were. Last time I went, I was the 'festival virgin', whereas Neil had been four times by that point, so that partnership also worked well.</span></p><p><span style="font-family: georgia;"> It's also important to have someone in your group who speaks French!! I don't know how far I would've got without Neil in 2013, or Michelle this year, as they both speak pretty good French, at least at a level to order things and get us to the places we need to be. But both years, I caused issues when ordering food and ended up with the wrong thing!<br /><br /></span></p><p><b><span style="font-family: georgia;">The parties</span></b></p><p><span style="font-family: georgia;"> So, how did the mission to get a party invite go this time? In truth, not great - although I did talk to another filmmaker who managed to gate crash one where Madonna was performing! I also saw photos of someone I know on a boat party, which really are the holy grail of impossible venues at Cannes.</span></p><p><span style="font-family: georgia;"> In spite of our days and nights of networking, the multiple pub visits and pavilion chats, Michelle and I didn't go to a single party. I was emailed a couple of invites in advance, but those parties were - once again - after we'd left. We did manage to receive one invite during the festival itself, which was actually for one of the biggest parties around, but we turned it down for reasons I won't go into on this already-too-long blog post.</span></p><p><span style="font-family: georgia;"> I'd always been told that, in order to get party invites, you just need to talk to everyone you can, at any occasion or any time of night. It didn't even occur to me that this process might have changed in the near-decade since I last went to Cannes! In this modern world, there is a much easier and <u>safer</u> way of finding out about the parties. It turns out there's a Cannes WhatsApp group, where people share news of any events they hear about. We didn't know about this group until our second-to-last day, but if we had been aware of it in advance, it would've saved us a lot of time and hassle!</span></p><p><span style="font-family: georgia;"> Another good tip (which I also heard too late) is to research which companies are at Cannes, and email them ahead of the festival to find out when their parties are, and if you can get an invite. These organisations all want their parties to be a swinging success, so as long as you're an industry fellow, they're not likely to turn you down. It wouldn't even take much research to find these people; as I said before, I attended the Creative Scotland party in 2013, so it would've been easy enough for me to email them and ask if they were hosting one again (turns out they were, but not until after Michelle and I had flown home!). I'm also on the mailing list for WIFTV and Raindance, both of which announced their parties in advance - if only I'd thought to look! </span></p><p><span style="font-family: georgia;"> Lesson well and truly learnt. Moving forward, there is absolutely no reason to chat to strangers in bars in order to get party tickets!</span></p><p><span style="font-family: georgia;"> And if, after you've followed all those steps, you still don't manage to get party tickets, Cannes does offer other opportunities to drink-n-mingle. The Short Film Corner happy hour may be a thing of the past, but the Scandinavian Film councils host one - I think it's every day - where they take over a whole building near to the Palais des Festivals. There's plenty of free drinks and absolutely loads of people there to network with! There was also a very enthusiastic Mexican production company (<a href="https://www.instagram.com/wearecmfilms/" target="_blank">Agavia Studios</a>) with a booth in the Marche who handed out free Tequila (and pens!) to happy passers-by.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia;">Taking all the above into account: when is the best time to attend? (AKA how to avoid FOMO!)</span></b></p><p><span style="font-family: georgia;"><b> </b>When I booked my trip, the schedule hadn't been released, so I just picked a week which worked for my schedule. I thought it would be nice to catch the opening night buzz (although, as I said, we ended up missing it!), and I'd always been told that week one was better than week two. If you're going to the festival for meetings, as I did last time, then that's still true; it's better to arrange meetings in the early days when companies still have their energy and all their money to spend, but leave it too late and they'll be run down as well as potentially having their sales targets met.</span></p><p><span style="font-family: georgia;"> But if you're going to the festival to catch films, then it definitely seems as though the biggest ones are programmed in the second week - such as <i>Crimes of the Future</i> and <i>Elvis. </i>I don't if that will be the case every year, but it certainly was in 2022.<i> </i>The few events I was aware of also seemed to be scheduled in the second week, such as the 'Rendez-vous' with Alice Rohrwacher, Mads Mikkelsen and Javier Bardem, among others. The Tuesday after I left, Cannes also hosted a 'future of film' panel with directors including Guillermo del Toro, one of my absolute heroes, so I was completely gutted to have missed that. It doesn't seem to have been announced in advance, not widely at least, so it's another example of just having to be there at the festival when things happen.</span></p><p><span style="font-family: georgia;"><b> </b>However, if your main goal is parties, then you definitely want to arrive for the weekend, in the middle of the festival. The Friday before we left was absolutely heaving with new attendees, one of which informed me that directors and producers often arrived for the Creative Scotland party - which was taking place that weekend, along with the Raindance party, an amazing casting event Michelle liked the look of, and numerous others. We heard this news and then moped off into our taxi to the airport...</span></p><p><span style="font-family: georgia;"> So if you're going with a certain goal in mind, plan your visit wisely - but really, the best way to attend Cannes seems to be to go for the whole thing. That way you can pace yourself, resting when you need to but also jumping on any opportunities that are announced last minute. Obviously there's a cost implication involved, as well as a matter of managing your schedule, so not everyone can justify attending Cannes for two weeks. All I know is that, since getting back home I've had one eye on Cannes social media feed, watching them post about all the things (and people!) I would've liked to have seen, and it's somewhat of a downer!</span></p><p style="text-align: center;"><span style="font-family: georgia;">*</span></p><p><span style="font-family: georgia;"> There's much more I could talk about (such as the humidity - I learnt the hard way that I should carry a mini Frizz Ease on me at all times!), but I think I've rambled on for long enough. So much of the festival has changed since my long-ago last visit, but the excitement of being there and the sense of grandeur still feels the same. </span></p><p><span style="font-family: georgia;"> From both my trips, both of which had very different approaches, I've learnt such valuable lessons. The key takeaways this time are: research official parties in advance, travel in a group of mixed sexes and personalities, embrace technology (such as the badge machine and the WhatsApp group - not so much the ticket booking service!), and to try and stay for the full two weeks if you can, but definitely lose the suitcases and have a power nap <u>before</u> heading to the festival!</span></p><p><span style="font-family: georgia;"> And most of all, whether or not you speak to lots of people at Cannes, it only takes one or two important encounters to make the whole trip feel worth while. I have a lot of follow up to do (I write notes on business cards when they're first given to me, then email people the week after the festival to give them time to get home and recover), so I'll be jumping on that next. I'm excited to move forward and hopefully attend Cannes again next year with new knowledge and contacts under my belt.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><b><span style="font-family: georgia; font-size: large;">Sophie</span></b></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;">p.s. One tip from my 2013 blog post is still worth heeding. Dress memorably! I started wearing hair feathers and/or feathered earrings to networking events ever since my last Cannes trip, as a way of standing out; this year, one producer noticed and complimented my feathers, and we ended up having a good chat as a result! So definitely find your thing which make people go "oh yes, you were <i>that</i> person" - particularly when they talk to so many people every day of the festival.</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com2tag:blogger.com,1999:blog-5579593911432249943.post-51333683392999941892022-04-30T08:06:00.001-07:002023-10-29T08:56:12.593-07:00Checking In<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7pQFtguyk2dO8gTq1XvaCq8HQCPrpfKKNbNe3h3qYyME4mv0yQAD73W1m4ObfbOJZkEpdndwrSXLO5GG_8kXBNNfW830GYcVkOsBs_e9jO1S-QzmSp0U28Npx-Pna6Q3JxsWOUXU0aFnMnHFdODbHgVOrvVYpNaqjlW9BUc87rh8v24lMqUt-Z6o5/s2100/Ian%20headshots%20temp%20for%20website.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="654" data-original-width="2100" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7pQFtguyk2dO8gTq1XvaCq8HQCPrpfKKNbNe3h3qYyME4mv0yQAD73W1m4ObfbOJZkEpdndwrSXLO5GG_8kXBNNfW830GYcVkOsBs_e9jO1S-QzmSp0U28Npx-Pna6Q3JxsWOUXU0aFnMnHFdODbHgVOrvVYpNaqjlW9BUc87rh8v24lMqUt-Z6o5/w640-h200/Ian%20headshots%20temp%20for%20website.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: the photos I've released from my recent photo with <a href="https://icthings.co.uk/" target="_blank">I C Things Photography</a> - more to come soon!]</td></tr></tbody></table><br /><p><span style="font-family: georgia;"> This isn't a 'proper' blog post - I just wanted to say a quick hello to my regular readers (if I have any!), to reassure you that I am alive and well, and I intend on writing more again soon!</span></p><p><span style="font-family: georgia;"> When I finally left my day job, I vowed to post on my blog once a month - partly for SEO reasons, and partly for the simple love of writing - and yet my last post was four months ago!</span></p><p><span style="font-family: georgia;"> The main reason I've been kept busy is that I've finally directed another short film, after a predominantly pandemic-induced two year dry spell. Much as I'm over-the-moon to have another film under my belt, there was the added pressure and excitement from the fact that this film was funded by the <a href="https://network.bfi.org.uk/" target="_blank">BFI Network</a>, an organisation I've wanted to collaborate with since the moment I knew they existed! </span></p><p><span style="font-family: georgia;"> It was perhaps the hardest I've prepared for anything in my life, and so you can expect a new blog post with insights into my process soon. The film - working title <i>Room 515</i>, now renamed <i>A Different Place</i> - is still very much hogging my attention (I give it gladly), as the finished piece is due to be delivered early next month!</span></p><p><span style="font-family: georgia;"> On top of that, my work for clients has also continued (expect a blog post about the recent suite I produced for the wonderful <a href="https://www.youtube.com/channel/UC6BDBJXQDceR6ys6baFWEMw/videos" target="_blank">White Peak Distillery</a>), and I'm attached to produce some more short narrative work this year, including my first animation, which is at the script stage now.</span></p><p><span style="font-family: georgia;"> Last week, we marked the <a href="https://youtu.be/Doxxhsa7bzY" target="_blank">tenth anniversary</a> of the <i>Stop/Eject</i> shoot (which made me feel very old ), and then the next day I turned 33 (which made me feel even older!). My birthday this year was certainly memorable, as I happened to have a meeting with one of my actual filmmaking idols that morning! Expect more information about that in my 2022 Summer update - which I'll aim to release around June/July this year - but in a nutshell, it was an amazing experience because I got to tell him about my intended film projects, even doing a mini pitch for my long-beloved <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i> feature film, <i>Night Owls & Early Birds</i>.</span></p><p><span style="font-family: georgia;"> <i>Lepidopterist</i>'s festival run is coming to a close now, and we marked that by finally releasing <a href="https://www.facebook.com/triskellepictures/photos/a.334692079887682/5269593139730860/" target="_blank">this gorgeous poster</a> by I C Things & Garett Dale Photography. You can expect a blog post about that too; my posts about <a href="https://triskelle-pictures.blogspot.com/2019/06/night-owls-analysing-festival-run-year.html" target="_blank"><i>Night Owls</i>' festival run</a> seemed to be useful to people, but I've learnt a lot from only submitting fantasy and sci-fi films over the past few years, and I'm keen to share an update with those specific learning points.</span></p><p><span style="font-family: georgia;"> I've also just booked to go back to the Cannes Film Festival for the first time since 2013, so if I can (Cannes?), I'll write another blog post about that too, if it's changed a lot since I last went and I feel like I have some useful information to share.</span></p><p><span style="font-family: georgia;"> So those are my big headlines from the past four months, and a quick run-down of my intended upcoming blog posts. Hopefully I won't keep you all waiting too long to read them.</span></p><p><span style="font-family: georgia;"> But for now, I have funding applications to submit and a film to finish. See you all on the other side!</span></p><p><span style="font-family: georgia; font-size: x-large;"><b>Sophie</b></span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-44798884789005807532022-01-02T06:54:00.002-08:002023-10-29T08:55:49.211-07:00Reflections & Resolutions 2021/2022<p><span style="font-family: georgia;"> Tomorrow is the first working day of 2022. January is looking set to be a busy one, so I'm taking a moment now to quietly look back on the year just gone. In some ways, it's going to be therapeutic to put this one to bed, but there are things to be grateful for as well. It was a milestone year in my life, for numerous reasons.</span></p><p><span style="font-family: georgia;"> It's almost hard to believe that we started 2021 in another Lockdown. The second 'sequel' was undoubtedly the worst, as we'd lost the novelty of the first lockdown, and the weather was terrible. We had possibly the coldest Spring I've experienced, and I have a few photos of my partner Edward Harvey and I wrapped up in blankets during that time! </span></p><p><span style="font-family: georgia;"> But throughout the first four months of the year, I was kept very busy and (luckily) almost distracted from pandemic updates, as we were packing to move house. We'd bought our first home, something we'd wanted for a long time. As I covered in my <a href="https://triskelle-pictures.blogspot.com/2021/07/the-summer-update-2021.html" target="_blank">Summer update</a>, we hadn't intended to move this year, we were pretty much forced out by terrible neighbours, and there was a lot of disruption during that time; the new house needed a lot of work before we could unpack properly, and so I set up a little makeshift office at my parent's house. Since then, I have <a href="https://triskelle-pictures.blogspot.com/2021/10/the-triskelle-office-through-years.html" target="_blank">finally set up an office</a> in my own home, but the house still needs a lot of constant work - we even lost power and had to have a new fuse board fitted in November. Even so, the place feels like ours now, and we're starting to learn to live with the DIY jobs, ticking things off one at a time.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjCi-GFiEqg7Tx2Y7WB27lFEuNEeBHhA_noHAfI1Y5NeGGnT8HmiVKGupUTzPszzubeU4omD8tdcL4ARSwiEgtBCRlHWSQxINjrSFIu691wYPZOJFSchTfS_yc8rycImLeFOkS-eYkttt95xe6vgIwAwZO-GMMCDpn6KM8fusOFDZzK-eGa5hl3QFZI=s1920" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjCi-GFiEqg7Tx2Y7WB27lFEuNEeBHhA_noHAfI1Y5NeGGnT8HmiVKGupUTzPszzubeU4omD8tdcL4ARSwiEgtBCRlHWSQxINjrSFIu691wYPZOJFSchTfS_yc8rycImLeFOkS-eYkttt95xe6vgIwAwZO-GMMCDpn6KM8fusOFDZzK-eGa5hl3QFZI=w640-h360" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Filming <i>A Tale of Tresses </i>for Deaf Explorer & Maral Mamaghanizadeh. Photo by Todd Franklin]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> The other huge change this year was that, of course, I became self-employed (sort of!) for the first time in almost a decade. I submitted my 100th client invoice in the Spring, so the time felt right - although it was of course very difficult to leave my position at </span><a href="https://www.dynomiteproductions.co.uk/" style="font-family: georgia;" target="_blank">Dynomite Productions</a><span style="font-family: georgia;">, where I'd been for seven years, as it had been a big part of my life with many happy memories.</span></p><p><span style="font-family: georgia;"> How has self-employed life gone since my last update? Well, I definitely feel like I've fallen on my feet. Specialising almost entirely in making videos for creative businesses has been so, so satisfying; I've kept my regular clients like <a href="https://www.youtube.com/user/towerseyfestival" target="_blank">Towersey Festival</a> and <a href="https://www.youtube.com/c/CathyHay" target="_blank">Cathy Hay</a> / Foundations Revealed, as well as tackling some big projects for Deaf Explorer and <a href="https://www.youtube.com/channel/UC6BDBJXQDceR6ys6baFWEMw" target="_blank">White Peak Distillery</a>, the latter of which I'd wanted to work with for almost two years! (There's many more fantastic clients I haven't mentioned, so please <a href="https://www.facebook.com/triskellepictures/videos/2793079804322803" target="_blank">watch this video</a> for a little rundown of the work Triskelle Pictures did in 2021). While I don't take any of this for granted, and I know that - particularly after the events of 2020 - my financial situation could change at any time, I'm already filling up my calendar and I cannot wait to continue these incredible collaborations in the coming months.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj0dz6oGyDwALfnzQGehmZIdb08xgOSMU3zMHRF8SUAvgpVktQeD8uZsjKHmLwzFAR7M_vu-rTwZN513BVEdR4X5gAx97irVmmrqJMltg6mM-86MdlIg1xT75ty7dCwEBdeWqdbche48mSSbWukAseeitg18SOPpV8quC94OOaKVT7sfn0IdTCnt4NS=s2100" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1332" data-original-width="2100" height="406" src="https://blogger.googleusercontent.com/img/a/AVvXsEj0dz6oGyDwALfnzQGehmZIdb08xgOSMU3zMHRF8SUAvgpVktQeD8uZsjKHmLwzFAR7M_vu-rTwZN513BVEdR4X5gAx97irVmmrqJMltg6mM-86MdlIg1xT75ty7dCwEBdeWqdbche48mSSbWukAseeitg18SOPpV8quC94OOaKVT7sfn0IdTCnt4NS=w640-h406" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[A Covid-safe 'walking meeting' in the Spring, with my creative PIC Tommy Draper, where we discussed the next steps for <i>The Barn </i>and also decided to pursue <i>Room 515 </i>again]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> In terms of the narrative side of my career, it did kind of flag for a time; despite my best efforts to focus more on my director goals in 2021, the rejections continued to come, including one that really </span><a href="https://triskelle-pictures.blogspot.com/2021/08/an-ode-to-instinctual-perseverance.html" style="font-family: georgia;" target="_blank">knocked me for six</a><span style="font-family: georgia;"> in August. At the start of the year, things seemed positive, as I had been in pre-production on a proof-of-concept version of my long-gestated project </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/the-barn" target="_blank">The Barn</a></i><span style="font-family: georgia;">, called </span><i style="font-family: georgia;">Tokos</i><span style="font-family: georgia;">; in addition, the original script for </span><i style="font-family: georgia;">The Barn</i><span style="font-family: georgia;"> had continued success at screenplay competitions, even receiving a finalist laurel from FilmQuest, which had been on my festival bucket list for a while. We'd also started development on a feature-length version of the project, encouraged by a little industry interest. However, for numerous reasons - primarily budgetary concerns - all three versions of the film ultimately had to be shelved. Much as I adore the story, the time just wasn't right.</span></p><p><span style="font-family: georgia;"> Another project which struggled was <i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a></i>; although the pandemic had given us time to finish the film, it had also forced many film festivals to close their doors, and so it took us a long time to share the film with audiences. We finally had our first festival acceptance (Beeston Film Festival, online only) in March 2021, and eventually watched the film on a big screen <a href="https://triskelle-pictures.blogspot.com/2021/09/lepidopterist-search-for-perfect-credits.html" target="_blank">in the Autumn</a>, thanks to Paracinema Film Festival. Things picked up from there, as <i>Lepidopterist</i> screened in America, won a few awards - including Best Editing at the Midlands Movies Awards - and was our first film to be accepted into Birmingham Film Festival, which played the film on a huge IMAX-sized screen! There aren't many festivals left on our list now, but I hope we can bring the film to a few more cinemas in 2022 before ultimately finding a home for it online.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgTMPSteYUEV6cvcDpleoGqn8mCGZsXWQ3DLJFnQnykKt-WAlubyi-B7lWOmdAAFSh2-26GlkuosADPi9P93XmkwqqmAgQd0i8M7L5rANih3H7NF6qD8kYD6dOywRKMuOgLHPpT3lgzvfnYQZxsT_2RcZfL-tMCE_qYkzCZDXoJzQ514BViRwirGpvR=s2100" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="847" data-original-width="2100" height="258" src="https://blogger.googleusercontent.com/img/a/AVvXsEgTMPSteYUEV6cvcDpleoGqn8mCGZsXWQ3DLJFnQnykKt-WAlubyi-B7lWOmdAAFSh2-26GlkuosADPi9P93XmkwqqmAgQd0i8M7L5rANih3H7NF6qD8kYD6dOywRKMuOgLHPpT3lgzvfnYQZxsT_2RcZfL-tMCE_qYkzCZDXoJzQ514BViRwirGpvR=w640-h258" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[A few highlights from <i>Lepidopterist's </i>festival run this year. Photos courtesy of Andrew Rutter, Philip Eldridge-Smith and Edward Harvey]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> </span><a href="https://www.triskellepictures.co.uk/poison-ivy" style="font-family: georgia;" target="_blank"><i>Growing Shadows</i>: <i>the Poison Ivy fan film</i></a><span style="font-family: georgia;"> had also had its festival run disrupted by the pandemic, but it still managed a few acceptances in 2021, as well as winning two awards. It had its final festival appearance in December last year, and actually ended up having the highest acceptance rate out of all Triskelle Pictures' films so far. It's also doing well online, having received over 37,000 views on </span><a href="https://youtu.be/IFMeGWsy3Qk" style="font-family: georgia;" target="_blank">YouTube</a><span style="font-family: georgia;"> alone. Speaking of YouTube, </span><i style="font-family: georgia;"><a href="https://youtu.be/DQq9MpgYwtQ" target="_blank">Songbird</a></i><span style="font-family: georgia;"> was also released on there just before Christmas, as a response to Amazon Prime's decision to stop streaming independent shorts earlier this year - a decision which not only affected </span><i style="font-family: georgia;">Songbird</i><span style="font-family: georgia;">, but </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a> </i><span style="font-family: georgia;">and </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i><span style="font-family: georgia;"> too, which cut off a source of income for me and many other filmmakers with little warning.</span></p><p><span style="font-family: georgia;"> So it's not all been doom and gloom. In fact, since Spring 2021, my team and I (some regular collaborators and some new) have been in development on a new short film, with the working title of <i>Room 515.</i> I've actually been sitting on some exciting news about that project for a while, which I'm itching to share with you all, but I'll have to show restraint for a little longer. Either way, there will be more information to come soon, as the film is in pre-production now, with a shoot penciled for late February this year. It's now coming up to three years since I directed a short, and much as I'm scared of being rusty, I'm also desperate to get back on set and end this creative drought.</span></p><p><span style="font-family: georgia;"> I was also accepted into <a href="https://directors.uk.com/" target="_blank">Directors UK</a> last year, which was a big confidence boost for me as I hadn't even felt qualified to apply until recently. That membership has already given me numerous benefits (including an early preview screening of Dune, followed by a Q&A with Denis Villenueve himself!), and I may have more news to come on that front soon; again, I need to keep tight-lipped for now, but it's all very exciting and I'm looking forward to it being an integral part of 2022.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiyXBqIQBlVUp3x6VwqpIbpBsPghCbYhsAtfgFsKNtAtKxuUJDIu01OowphjsWSSyUhr781I6NMy30nB8e5KyB3DPN5Do2xMZs5kI1w6aUYsLXfhsl3iYG9dXkOcsh9XQw8FJHFS3_7Abk9WUcJ8EGT6k6UcbTgR04TMAcjhUfJ21rdtOqUY7YFb6Eg=s960" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiyXBqIQBlVUp3x6VwqpIbpBsPghCbYhsAtfgFsKNtAtKxuUJDIu01OowphjsWSSyUhr781I6NMy30nB8e5KyB3DPN5Do2xMZs5kI1w6aUYsLXfhsl3iYG9dXkOcsh9XQw8FJHFS3_7Abk9WUcJ8EGT6k6UcbTgR04TMAcjhUfJ21rdtOqUY7YFb6Eg=w640-h360" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[One of the first images from <i>Good Grief</i>, dir. Rob Sharp, which will start its festival run in 2022]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> 2021 also brought my return to producing; it was a privilege</span><span style="font-family: georgia;"> to help fledgling director Rob Sharp bring his film </span><i style="font-family: georgia;">Good Grief</i><span style="font-family: georgia;"> to life last Summer, but even more rewarding when my long-term collaborator (and friend) Charlie Clarke stepped up to the co-producer role, even founding her own production company, </span><a href="https://www.facebook.com/CatontheWallProductions" style="font-family: georgia;" target="_blank">Cat on the Wall Productions</a><span style="font-family: georgia;">, shortly after. </span><i style="font-family: georgia;">Good Grief</i><span style="font-family: georgia;"> had a private screening for its crew, investors and supporting charity partners last October, which was a rewarding and emotional experience, and I'm excited to (hopefully) help bring the film to festivals in 2022. I'm also currently attached to co-produce my first animation this year, called </span><i style="font-family: georgia;">Contamination</i><span style="font-family: georgia;">, working with producer Jo Lewis of </span><a href="https://hipster-films.com/" style="font-family: georgia;" target="_blank">Hipster Films</a><span style="font-family: georgia;"> and director Martyn Pick.</span></p><p><span style="font-family: georgia;"> Aside from my career (and the crazy house move), the most important thing for me this year has been the act of slowing down. Yes, I'm still a workaholic; I don't exercise or socialise as much as I should, but working for myself has enabled me to set my own pace, to take charge of my schedule, and the weeks don't fly by like they used to. In other personal news, I was able to finally see (and cuddle!) my gorgeous niece and nephews again this Summer, when my Mum celebrated her delayed 60th birthday; my wonderful Grandad also celebrated his 90th birthday in April - the day Edward and I got our keys to our new home - through scheduled visits at a sweet outdoor party. And we were lucky (albeit cautious) to spend Christmas with family for the first time since 2019.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjzFnxVRmnYJj4GyjUAKLp_f19p0icJRWSddiAZvNCYqbCnHupdmcVIhyGLzk_AguQAz3hd8l-I9WLPuabjMZkd4gXVN-_rSIA6iNv_oNYoOH_3wUWAR16Zjk4cAJYTX-fs63bCVCp90dUhxxrHrHqrtMN5ww-kh5JQ-Gi4syI95vC7b8od771KxF_e=s2100" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1172" data-original-width="2100" height="358" src="https://blogger.googleusercontent.com/img/a/AVvXsEjzFnxVRmnYJj4GyjUAKLp_f19p0icJRWSddiAZvNCYqbCnHupdmcVIhyGLzk_AguQAz3hd8l-I9WLPuabjMZkd4gXVN-_rSIA6iNv_oNYoOH_3wUWAR16Zjk4cAJYTX-fs63bCVCp90dUhxxrHrHqrtMN5ww-kh5JQ-Gi4syI95vC7b8od771KxF_e=w640-h358" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Exploring the UK, from Lud's Chapel to Yorkshire for a special family birthday]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> I've enjoyed some limited travel again; I visited Yorkshire and Wales with family in August and October respectively, also took my first trip to London since before the pandemic in October, and tested out my new camera in Staffordshire in September, when I visited the magical Luds Chapel, which is said to have been the inspiration for the legend of Sir Gawain & the Green Knight. </span></p><p><span style="font-family: georgia;"> But the biggest travel highlight of 2021 was definitely my (first) visit to Edinburgh in July, when Edward, Tommy Draper and I took a pilgrimage through torrential rain to the <a href="https://www.nationalgalleries.org/exhibition/ray-harryhausen-titan-cinema" target="_blank">Ray Harryhausen exhibition</a> at the National Galleries of Scotland. I cannot even begin to describe how it felt to be face-to-face with the actual skeletons from <i>Jason and the Argonauts</i>, particularly as it was less than a week since I'd left my day job to follow my own filmic dreams. It was as though the world stopped for a moment, and it was euphoric, even though I was bedraggled and mask-laden at the time.<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgoyf2fO1taJDJztuf4JojWpFzNE9kASLBlITdRBGF1z1F7Su62F7buHFvVQmVGZToR0RB5J9CqFh6gEpybY7COpP5r7oGVftWIOvgWmABai2jXdOBd52Q-bGzu4F5z6QA06xPGREwywxz32_CDHCVxI1NMhpCxQxrjy8r2zdwgUdYb0_ciCCKSQfu9=s2100" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="740" data-original-width="2100" height="226" src="https://blogger.googleusercontent.com/img/a/AVvXsEgoyf2fO1taJDJztuf4JojWpFzNE9kASLBlITdRBGF1z1F7Su62F7buHFvVQmVGZToR0RB5J9CqFh6gEpybY7COpP5r7oGVftWIOvgWmABai2jXdOBd52Q-bGzu4F5z6QA06xPGREwywxz32_CDHCVxI1NMhpCxQxrjy8r2zdwgUdYb0_ciCCKSQfu9=w640-h226" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Hanging out with some genuine legends of cinema: definitely one of my highlights of the year!]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> For my final reflection from 2021, I'll mention something which I didn't feel up to listing in my Summer update. It almost goes without saying that a pandemic brings multiple losses, but last year brought a lot of sadness for me, my family and many people I know, and I'm still struggling to process it all. Some of those deaths led to the standard grief reaction; a dear family friend, so beloved that we all called her 'Aunty', passed away at the incredible age of 100, peacefully in her own bed, and I hope that we can have a proper memorial service for her soon; and last week, mine and Edward's beloved pet Ziggy passed away suddenly, far too young and with no prior sign of bad health, tainting our festive holidays with shock and continued sorrow.</span></p><p><span style="font-family: georgia;"> But some deaths brought a sense of rage and confusion as much as they brought grief; they just didn't seem right or fair, and I still don't know how to channel the emotions correctly. Two people who were instrumental in their support during the early days of my career were <i>taken</i> from the world in 2021 - one through contracting Covid, and one through a sudden fatal injury. In the past, I've done memorial blog posts to pay tribute to people who have died, but it just doesn't feel right to do that this time; partly because, as I said, I'm struggling to accept that these two beautiful people are no longer with us, but also because I've learnt that my way of reacting to death - by talking constantly and publicly about the person, as a way of trying to make it feel like they're still with us - isn't right for everyone, and others may want to mourn more privately. All I will say for now is that I am so, so grateful to the two people for everything they did for me, I wish I had taken more time to tell them that when they were still here, and I wish they could've had the full lives (and achieved the dream projects they were both working on) that they deserved.</span></p><p><span style="font-family: georgia;"> Looking forward to the coming year, I'm cautious about making too many resolutions again. But, as I said before, with <i>Room 515 </i>and some other exciting career news coming soon, I certainly have a few good things to anticipate. In April and August 2022, two of my favourite film projects - <i>Stop/Eject </i>and <i>Ashes</i> - will have their 10th anniversaries, something I can scarcely believe, so I'm sure I'll bring some things out of the archives to celebrate those milestones. My main career goal this year is to visit more of the 'big' film festivals, even the ones that reject my work. I want to try and learn as much as possible from that experience, and maybe even to do some pitching while I'm there, if I can - to quote Macbeth - screw my courage to the sticking place.</span></p><p><span style="font-family: georgia;"> And for myself, I want to remember the lessons of the pandemic by continuing to take life a little slower, balancing rest as well as smashing it with my business, appreciating the little things and all the time I have with my loved ones. The bulbs I planted in my new garden are already starting to pop up, giving me hope for Spring, and I want to cherish the fleeting moments of every season - visiting the snowdrops, bluebells and heather when they're flowering, and picking elderflower, wild garlic and blackberries when they're ready to harvest.</span></p><p><span style="font-family: georgia;"> The world is still a scary place, not only with the continued pandemic but with the terrifying reality of global warming looming over our heads at all times. Whatever we have to face in 2022, may the year bring all of you some happy times and, above all, a sense of peace.</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p><p><span style="font-family: georgia; font-size: large;"><b><br /></b></span></p><p style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia;"><b>2021: THE YEAR IN STATS</b></span></p><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b>Countries visited: </b>I actually left England and visited both Scotland and Wales last year! I hope to go further afield again soon, potentially for a delayed Dublin trip with my friends, and I'd love to go back to Cannes for the first time since 2013.</span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b><br /></b></span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b>House moves: </b>Edward and I bought our first home! It's still a boxy fixer-upper, but hey, it's <i>our</i> boxy fixer-upper.</span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b><br /></b></span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b>Weddings attended: </b>None, but a dear friend of mine is getting married in 2022.</span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b><br /></b></span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b>Film Festivals attended: </b>These finally came back in 2021! I attended Paracinema and Birmingham Film Festival in the Autumn, as well as enjoying some online fests like Beeston.</span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b><br /></b></span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><b>Gigs attended: </b>Still none! Covid continues to delay everything we plan, but I'm hoping to <i>finally</i> attend the much-postponed Goldfrapp and Haim gigs, as well as Towersey Festival of course, in 2022.</span></div><div style="background-color: #fef5eb; font-family: Lora, serif; font-size: 16px; text-align: center;"><span style="font-family: georgia, "times new roman", serif;"><br /></span></div>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-42558780930888880422021-12-31T04:36:00.005-08:002023-10-29T08:55:34.762-07:002021 - The Year In Cinemas<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiFsDiVdxFUCUPpJ8KNsDmJ9HlPv99xvj17Y7Mbq4P7viipK9b6fZZdG1R8u63qkm1rXfaqdvPCgrzXfTtY1RUDlbMpaQvPZcigMjTZo3haX5VRH7pQaVsgdE3DNh1ljwRvjSxdDFtRIdx2--qW0jiniqQAUetjBPCZMARFVVKigBkPBu1oMcCIDN5A=s1194" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="496" data-original-width="1194" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEiFsDiVdxFUCUPpJ8KNsDmJ9HlPv99xvj17Y7Mbq4P7viipK9b6fZZdG1R8u63qkm1rXfaqdvPCgrzXfTtY1RUDlbMpaQvPZcigMjTZo3haX5VRH7pQaVsgdE3DNh1ljwRvjSxdDFtRIdx2--qW0jiniqQAUetjBPCZMARFVVKigBkPBu1oMcCIDN5A=w640-h266" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Edgar Wright's <i>Last Night in Soho</i>]</td></tr></tbody></table><br /><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> It has actually been an incredible year for cinema. Although I didn't manage to return to my usual 'one cinema trip per month' routine (an early lockdown put pay to that, when I wasn't able to use the <a href="https://triskelle-pictures.blogspot.com/2020/12/2020-year-in-cinemas-kind-of.html" target="_blank">ticket I'd booked to see <i>Wonder Woman 1984</i></a> in January), I've more than made up for lost time. I took two trips in May, August and September,<b> </b>three trips in July, and FOUR in November! In fact, I was so spoiled for choice - catching up on last year's delayed films as well as watching plenty of new releases - that, for the first time, I even subscribed to a Limitless account.</span></p><p><span style="font-family: georgia;"> So which films did I see and when, which were my favourites, and which were the (few) movies that got away from me? Read on for my seasonal mini-reviews!</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi850zbLgPihQ5l-4HCPS5LPrFlDZRzZz_F7MubkABC1tfg-HoepjW4LHUULyls-dI6HE6yGgwBdBEtM0DknTjpf2XTtF_QSxXtjJ9hUKF0QB_BuwmwbGu1B_7bHgkr9p_Xwp8MmtamlcED5eemDf_K7K6DaK7MlK6NcvgOPjCParDm9FE04eie78IE=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEi850zbLgPihQ5l-4HCPS5LPrFlDZRzZz_F7MubkABC1tfg-HoepjW4LHUULyls-dI6HE6yGgwBdBEtM0DknTjpf2XTtF_QSxXtjJ9hUKF0QB_BuwmwbGu1B_7bHgkr9p_Xwp8MmtamlcED5eemDf_K7K6DaK7MlK6NcvgOPjCParDm9FE04eie78IE=w640-h360" width="640" /></a></div><b><br /><span style="font-family: georgia;">MAY 2021</span></b><p></p><p><i><span style="font-family: georgia;">Films: Ammonite & Nomadland</span></i></p><p><span style="font-family: georgia;"><i> </i>The very day that cinemas re-opened, my cinema buddy Tommy Draper and I went to catch <i><a href="https://www.imdb.com/title/tt7983894/" target="_blank">Ammonite</a></i> at Derby Quad. In spite of a couple of teenage girls who clearly couldn't wait to come back and chat loudly on the back row (!), it was wonderful to see Francis Lee's latest. I support people's reservations about casting straight actors in LGBTQIA+ roles, but I also applaud Kate Winslet's raw and brave performance, and I love the film's textural sound design and world-building.</span></p><p><span style="font-family: georgia;"> Next up, I caught this year's worthy OSCAR-winner, Chloe Zhao's stunning <i><a href="https://www.imdb.com/title/tt9770150/" target="_blank">Nomadland</a></i>. Beautiful cinematography aside, I was surprised by how emotional I found this film; post-pandemic, and having just handed in my notice at my day job, the message of getting back to one's self, treasuring the small moments, and moving at a steadier pace really hit home.</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhmegojPKEnXsMO9dSqfiTxZtsLePpmoyAYQaQcwHTVOoHoCa0SlrGEjimd0jw56S011b-d2zK61epxuolAAqUtXYCNN-ytUklsCGpggkr16E34klc2UNkAPNqjR-ff1Fhw_Jg9yomrTJLEwGlT3mQ1WdBgaLxZ2wgk_cFRtALp7uSr2DMAYfvrmBlF=s1280" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="692" data-original-width="1280" height="346" src="https://blogger.googleusercontent.com/img/a/AVvXsEhmegojPKEnXsMO9dSqfiTxZtsLePpmoyAYQaQcwHTVOoHoCa0SlrGEjimd0jw56S011b-d2zK61epxuolAAqUtXYCNN-ytUklsCGpggkr16E34klc2UNkAPNqjR-ff1Fhw_Jg9yomrTJLEwGlT3mQ1WdBgaLxZ2wgk_cFRtALp7uSr2DMAYfvrmBlF=w640-h346" width="640" /></a></div><b><br /><span style="font-family: georgia;">JUNE 2021</span></b><p></p><p><i><span style="font-family: georgia;">Film: Cruella</span></i></p><p><span style="font-family: georgia;"> I only saw one film in June, Disney's <i><a href="https://www.imdb.com/title/tt3228774/" target="_blank">Cruella</a></i> origin story (of sorts!). I had expected to enjoy the film, but it actually exceeded those expectations, with a fantastic 70s soundtrack, incredible costume design and a super fun plot with Emma Thompson devouring every scene she was in, in the best way possible. Only negatives? I felt some of the side acting was a little wooden, and the way they forced in the original <i>101 Dalmations</i> characters towards the end was way too clumsy - it should've just been a standalone film.</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjDJ1mFddOHZ5-0-fxXDv-jJ-GtO7b8PY886DSIVXNLRaArREV4ypcLiZmLeMAKEtVxWdDT0tOIIkN9u_bs-DvcCWgDgt6IPWOLY8ezrK6U4STPgB3uZc9E-niPGiojmhBoGho0ScaSRkFMbg7XpzSh_eZbmR6y6Wo3ghSD2GoRo8ffo4pBsdxKhxTh=s1024" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="575" data-original-width="1024" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjDJ1mFddOHZ5-0-fxXDv-jJ-GtO7b8PY886DSIVXNLRaArREV4ypcLiZmLeMAKEtVxWdDT0tOIIkN9u_bs-DvcCWgDgt6IPWOLY8ezrK6U4STPgB3uZc9E-niPGiojmhBoGho0ScaSRkFMbg7XpzSh_eZbmR6y6Wo3ghSD2GoRo8ffo4pBsdxKhxTh=w640-h360" width="640" /></a></div><p></p><p><span style="font-family: georgia;"><b>JULY 2021</b></span></p><p><i><span style="font-family: georgia;">Films: Supernova, Another Round & Black Widow</span></i></p><p><span style="font-family: georgia;"> As with <i>Ammonite</i>, <i><a href="https://www.imdb.com/title/tt11169050/" target="_blank">Supernova</a> </i>was another film which drew criticism for casting straight actors as gay characters and, likeable as Colin Firth and Stanley Tucci are, I couldn't quite buy their chemistry, even playing a couple who have been together for a long time. It was also very disappointing how quickly an interesting road trip plotline was cast aside for kitchen sink drama, with great back-and-forth dialogue, early-on, making way for predictable lines and heavy cliches.</span></p><p><span style="font-family: georgia;"> My disappointment in <i>Supernova</i>, however, was soon forgotten when I watched a film which - like <i>Cruella</i> - really exceeded my expectations. <i><a href="https://www.imdb.com/title/tt10288566/" target="_blank">Another Round</a> </i>was a masterful piece of filmmaking, and took the top spot for me this year, even with so many more cinematic expeditions to come. It helps that this was the perfect cinema trip, as it was our first time visiting a cute, quirky independent cinema called <i>The Northern Light </i>in Wirksworth. The film itself blended together social commentary with <i>Full-Monty</i>-esque underdog comedy, ultimately creating a beautiful, celebratory portrait of life, and with an ending that literally made me cheer. I've also been a little bit in love with Mads Mikkelsen ever since...</span></p><p><span style="font-family: georgia;"> Before the month was out, I also saw the much-delayed<i> <a href="https://www.imdb.com/title/tt3480822/" target="_blank">Black Widow</a></i>, and it was lovely to see the first female avenger finally get her own movie. I was, however, surprised by how dark in tone the film was (definitely not one to show to my niece!), with a memorable grunge-filled opening credits. And I was a little disappointed by the CGI-laden, gravity-defying battle that came at the end, but hey, Marvel's got to Marvel!</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEigT4dXYO6LwJSbLQgDaHwTFki9cLO4gOmJJ0UzGug5kQPtixMg5J5sv7kfTVv1axZvhhkPVMPeAlG1r938WdSI3WMADk2VaAlRZVCxwdnVrq1mY7ia04_JE2tFiZGtAsTwMyVQ3LeFkp_Ngfl8_lmgXn8l-iyPM-beDOFqY_wRD1TelpShUfDu2uF4=s1024" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="1024" height="328" src="https://blogger.googleusercontent.com/img/a/AVvXsEigT4dXYO6LwJSbLQgDaHwTFki9cLO4gOmJJ0UzGug5kQPtixMg5J5sv7kfTVv1axZvhhkPVMPeAlG1r938WdSI3WMADk2VaAlRZVCxwdnVrq1mY7ia04_JE2tFiZGtAsTwMyVQ3LeFkp_Ngfl8_lmgXn8l-iyPM-beDOFqY_wRD1TelpShUfDu2uF4=w640-h328" width="640" /></a></div><b><br /><span style="font-family: georgia;">AUGUST 2021</span></b><p></p><p><span style="font-family: georgia;"><i>Films: The Suicide Squad & In the Mood for Lov</i><i>e</i></span></p><p><span style="font-family: georgia;"><i> </i>The first film this month was <i><a href="https://www.imdb.com/title/tt6334354/" target="_blank">The Suicide Squad</a></i>, a film that had a lot to prove after the disappointment of its 2016 predecessor. It did that and then some, giving us a wonderful piece of barmy but brilliant escapism, with villains as bonkers as DC intended. Only two small criticisms; the near-schmaltzy scenes felt a little out of place in a film with this high a gore count, and I also wish they hadn't portrayed Harley Quinn as just a dumb blonde who passively falls into sequence after sequence; she is supposed to have a physcologist's brain, albeit a warped one, and the animated <i><a href="https://www.imdb.com/title/tt7658402/" target="_blank">Harley Quinn</a></i> series gave us a much better version of the character this year.</span></p><p><span style="font-family: georgia;"> Next up was a <u>completely</u> different (and much older) film; Derby Quad had a Wong Kar Wai season, and I'd never seen any of his work but I'd heard great things about <i><a href="https://www.imdb.com/title/tt0118694/" target="_blank">In the Mood for Love</a></i>, so Tommy and I went to see it, partly as research for our upcoming short film. I think that <i>In the Mood for Love</i> really is a film that needs to be seen to be appreciated, as the language of cinema really oozes from every frame, with cinematography, production and costume design perfectly in sync. It is a little slow in pace for some tastes, but the patient will be rewarded with some gorgeously tender and unique character moments.</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgM5vd06QY6FTfRyGgrWzr40rP3WDkr1ktJNrRo60D-ePWQkLRyJR1UIWhZySlGcy8L2RsotOS9LmdXqDP3jmOBI6eGS9rb6PwxqPcjmi7XLZptuXv9_UNtI5yWZGA4XcgbXNs2BYZD-Si_ixad8RVZk84LG5cLmyuHpSADGoZCbQnCb1qJ9mVDuJp7=s1280" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1280" height="342" src="https://blogger.googleusercontent.com/img/a/AVvXsEgM5vd06QY6FTfRyGgrWzr40rP3WDkr1ktJNrRo60D-ePWQkLRyJR1UIWhZySlGcy8L2RsotOS9LmdXqDP3jmOBI6eGS9rb6PwxqPcjmi7XLZptuXv9_UNtI5yWZGA4XcgbXNs2BYZD-Si_ixad8RVZk84LG5cLmyuHpSADGoZCbQnCb1qJ9mVDuJp7=w640-h342" width="640" /></a></div><b><span style="font-family: georgia;"><br />SEPTEMBER 2021</span></b><p></p><p><i><span style="font-family: georgia;">Films: Herself & The Green Knight</span></i></p><p><span style="font-family: georgia;"> Autumn came around, and I found myself invited to a special <a href="https://www.birds-eye-view.co.uk/" target="_blank">Birds Eye View</a> screening of <i><a href="https://www.imdb.com/title/tt9902160/" target="_blank">Herself</a> </i>at Nottingham's Broadway, thanks to the BFI Network, and I really appreciated the ticket as it wasn't the kind of film I'd normally seek out for myself. Although the film was tonally uncertain, like it wasn't sure if it wanted to be a hard-hitting drama or a feel-good romp, it was very enjoyable with some good performances, and its debut writer (and also lead actor) Clare Dunne definitely deserves some kudos.</span></p><p><span style="font-family: georgia;"> And then, finally, after over a year of waiting, I was able to see the film I'd most looked forward to: David Lowery's <i><a href="https://www.imdb.com/title/tt9243804/" target="_blank">The Green Knight</a></i>. I was so pumped up to see this film that it probably could've done anything and I still would've loved it (I'm a fantasy nut, but I also love most A24-produced indie films, so this ticked every box for me), and I was particularly buzzing as we'd just been to my film <i>Lepidopterist</i>'s <a href="https://triskelle-pictures.blogspot.com/2021/09/lepidopterist-search-for-perfect-credits.html" target="_blank">big screen debut</a> at Paracinema Festival a couple of hours before. I will admit, I could've done without the penultimate chapter, as the film was starting to drag a little too much by then, but I applaud the director's commitment to telling a full Arthurian saga; furthermore, although every scene looked exquisite, Gawain's challenge to retrieve Winifred's head from a lake was a particular stand-out moment. Highly recommended.</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEipMfIdScdI4bSmiV8rprEWOXImHYQctI5PkVWE8tXemsHsApcRFssup37Ce3tUCo488AmX_SOBDbMcT_gsuhMTD1V1onhUa3HCPtV_hYCUpX4SmiqsQC4HJPJ_v6aaD-SeEZLNxpGNxGRyVeXjBfQFra6957BQgjbUQCamC0Ec_OEileLerhpIE7e4=s4448" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1876" data-original-width="4448" height="270" src="https://blogger.googleusercontent.com/img/a/AVvXsEipMfIdScdI4bSmiV8rprEWOXImHYQctI5PkVWE8tXemsHsApcRFssup37Ce3tUCo488AmX_SOBDbMcT_gsuhMTD1V1onhUa3HCPtV_hYCUpX4SmiqsQC4HJPJ_v6aaD-SeEZLNxpGNxGRyVeXjBfQFra6957BQgjbUQCamC0Ec_OEileLerhpIE7e4=w640-h270" width="640" /></a></div><b><br /><span style="font-family: georgia;">OCTOBER 2021</span></b><p></p><p><i><span style="font-family: georgia;">Films: Dune </span></i></p><p><span style="font-family: georgia;"><i> </i>As I excitedly told anyone who would listen, I was so incredibly lucky enough to see <i><a href="https://www.imdb.com/title/tt1160419/" target="_blank">Dune</a></i> ahead of its cinema release, at a private screening with a Q&A from director Denis Villeneuve himself! This was one of the many perks of having been accepted as a member of <a href="https://directors.uk.com/" target="_blank">Directors UK</a> this year. The film was, of course, flawless - and during a particularly intense battle scene, I looked round and saw many of my fellow directors leaning forward in their seats, completely gripped and in awe, which was a wonderful sight to see. I'm just sorry that this wasn't one of my favourite films of the year; it doesn't help that I'd just done my first post-pandemic trip to London to see the film, so I had a little anxiety and I was worn out before the film even started! Furthermore, despite my love of fantasy, I'm not the biggest sci-fi fan. The film's near-monochromatic, Bauhaus stylings didn't appeal to my personal senses, and I also don't like sandy settings (it's why I don't like Westerns), so I just don't think this was the film for me! But I will see the sequel when it comes out, and I'm looking forward to it.</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6iPFXXiqTzuOo5xT20XcedRVRukBS8L8s0U4mSfzqU2LsgHojC1KiCwmqFGRPWl0UQAxkHu0PfnitMAdWRqxiCwaZpWtiedW92kWheRYCIM89JZhXvAB0PakI-S19rjknW5SeFZQb4hKJ_2v4Nttnggnw_wO062lAx8aDNwoqpFeTUlo1e0LQBeQt=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6iPFXXiqTzuOo5xT20XcedRVRukBS8L8s0U4mSfzqU2LsgHojC1KiCwmqFGRPWl0UQAxkHu0PfnitMAdWRqxiCwaZpWtiedW92kWheRYCIM89JZhXvAB0PakI-S19rjknW5SeFZQb4hKJ_2v4Nttnggnw_wO062lAx8aDNwoqpFeTUlo1e0LQBeQt=w640-h266" width="640" /></a></div><b><br /><span style="font-family: georgia;">NOVEMBER 2021</span></b><p></p><p><i><span style="font-family: georgia;">Films: The French Dispatch, Last Night in Soho, Eternals & The Power of the Dog</span></i></p><p><span style="font-family: georgia;"> I really was spoiled for choice with films in November, and that's when I finally caved in and purchased my Limitless subscription! </span></p><p><span style="font-family: georgia;"> The first film this month was <i><a href="https://www.imdb.com/title/tt8847712/" target="_blank">The French Dispatch</a></i>, which I know disappointed a few Wes Anderson fans, but I enjoyed it as the humour really landed for me. I could've done without the middle chapter (maybe I was a bit Timothy-Chalamet'd-out after <i>Dune</i>!) but Benicio Del Toro's prison-set chapter was like a perfect short film, and I thought the sporadic use of colour throughout the film to enhance emotions was really well done.</span></p><p><span style="font-family: georgia;"> Film number two was <i><a href="https://www.imdb.com/title/tt9639470/" target="_blank">Last Night in Soho</a></i>, another long-anticipated and much-delayed picture. From the very first scene, I was hooked. I wanted to go wherever the film wanted to take me, and I lost myself in striking visuals and breathtaking camera trickery. I did feel that the ending was a little too neat, with loose ends not so much tied together as discarded, so much so that I kept expecting there to be a twist (which never came), and that was disappointing - but it didn't totally taint everything that had gone before.</span></p><p><span style="font-family: georgia;"> For <i><a href="https://www.imdb.com/title/tt9032400/" target="_blank">Eternals</a></i>, I went in with very low expectations - having read lots of bad reviews - and I actually really liked the film. Cinema has the power to bring long-lost cities and historical events back to life, and I really think <i>Eternals </i>achieved that, showing me places I'd never see otherwise, like a magical version of National Geographic! And although the film's beautifully diverse cast of heroes didn't always make logical sense from a story perspective, I didn't care, as it was just so great to see such representation on screen.</span></p><p><span style="font-family: georgia;"> The last film this month was <i><a href="https://www.imdb.com/title/tt10293406/" target="_blank">The Power of the Dog</a></i>, made by one of my cinematic heroes, Jane Campion - and while I hope that, one day, directors won't be notable by their gender, I do believe that Campion is the greatest female director working today. Annoyingly, this was another film trip where people spoke all the way through the film, even after I politely asked them to stop, but the film was so incredible that I was almost able to ignore them. No one does quiet intensity quite like Campion, and the script and actors said so much by saying so little. All that being said... I don't think I can list this as one of my favourite films of the year, and I can't compliment or recommend it as much as I originally wanted to. There has been a lot of articles about the depiction of animal cruelty in the film - PETA have even boycotted the film, and whether or not it's real, the scenes are difficult to watch. So until I have proof as to what's staged and what isn't, I can't commit my heart fully to this film.</span></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjIAH2B9PO-jbTjIdULHbmuvzMvxoOZDfnSN18nqnSbXJJ6_GcNDWLZka4zMxgA-Nm6TA5mmV64xv5W_x9HBVpymYtH3FX3bgVSOlvr2yYug2nKNUSgpb4Wbgm1vSvg-wEt91AruRY5X3mV-ipwv0rdEZ5kRLbne4kfYMzn60ZogJx4hInrWC7iWNp6=s780" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="780" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjIAH2B9PO-jbTjIdULHbmuvzMvxoOZDfnSN18nqnSbXJJ6_GcNDWLZka4zMxgA-Nm6TA5mmV64xv5W_x9HBVpymYtH3FX3bgVSOlvr2yYug2nKNUSgpb4Wbgm1vSvg-wEt91AruRY5X3mV-ipwv0rdEZ5kRLbne4kfYMzn60ZogJx4hInrWC7iWNp6=w640-h360" width="640" /></a></div><b><br /><span style="font-family: georgia;">DECEMBER 2021</span></b><p></p><p><i><span style="font-family: georgia;">Films: House of Gucci</span></i></p><p><span style="font-family: georgia;"> And finally, unfortunately, my last cinema trip of the year (for reasons I'll go into shortly) was to see <i><a href="https://www.imdb.com/title/tt11214590/" target="_blank">House of Gucci</a></i>. I haven't walked out of a film since <i>The Desolation of Smaug</i> - and that was only because I'd already seen the film in cinemas once already, and was killing time before catching a bus - but I really wanted to leave during Ridley Scott's latest. The story of the real-life Gucci family is fascinating, but you can know everything you need to just by reading about it on the internet, and the film struggled to fill the gaps in-between the facts. As a result, character's actions seemed to come out of nowhere with minimal motivation, and some scenes were clearly filler (a scene where two characters searched for their car in a car park comes to mind!). I will give the film one point for Jeremy Irons, but I'll knock off all the other points for Jared Leto's ridiculously OTT and borderline-racist portrayal of Paolo Gucci. A fat suit does not and <u>should</u> not equal an Oscar, and I hope the Academy realises that, come awards season. His performance would've been better placed in <i>Bo Selecta</i>!</span></p><p><span style="font-family: georgia;"> Anyway, I'll stop ranting about <i>House of Gucci </i>now (it's like my reaction to <i>Joker</i> all over again!), but I am sorry to have ended my string of great cinema trips on such a sour note.</span></p><p><i><br /></i></p><p></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgOr6hIwflErQcdQIXe3jBNy1xj6zmZTjsTMWLnOxfMNEGJqRm6QVABMc4Fx7-yzwzaE0Cpa-tz0l2SBEUc2cbAYlIgnMvvSuBWiytYiVE2n5yzRnPE7glH3U0KIDFfjSdICC3dbw8r4S59YcpIKrifEkPdCrX94Pj1iYm0-yTd1B4_PA2kg4MrcUod=s1500"><img border="0" data-original-height="843" data-original-width="1500" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgOr6hIwflErQcdQIXe3jBNy1xj6zmZTjsTMWLnOxfMNEGJqRm6QVABMc4Fx7-yzwzaE0Cpa-tz0l2SBEUc2cbAYlIgnMvvSuBWiytYiVE2n5yzRnPE7glH3U0KIDFfjSdICC3dbw8r4S59YcpIKrifEkPdCrX94Pj1iYm0-yTd1B4_PA2kg4MrcUod=w640-h360" width="640" /></a></div><p></p><p><b><span style="font-family: georgia;">THE ONES THAT GOT AWAY</span></b></p><p><span style="font-family: georgia;"> Unlike last year (when I went to see any film that was on, even though it was slim pickings, to support cinemas), this year there were so many great films that my schedule - and my budget - wouldn't allow me to see them all. Obviously the fact that I couldn't see <i>Wonder Woman 1984</i> in cinemas was out of my control, although I did catch it on DVD at a movie night a few months later (and unfortunately... it wasn't worth the wait. But I was still glad to finally see it!). <i><a href="https://www.imdb.com/title/tt9620292/" target="_blank">Promising Young Woman</a></i> was another example of this - I kept hoping it would have a cinema release in the UK, but ultimately had to except that it wouldn't, and it became another movie night treat. On other occasions, I just had to prioritise the films I most wanted to see, particularly during busy weeks or when films only had limited releases.</span></p><p><span style="font-family: georgia;"> So the titles I wanted to see, but missed, included: <i><a href="https://www.imdb.com/title/tt11007444/" target="_blank">Tove</a></i>, <i><a href="https://www.imdb.com/title/tt9138170/" target="_blank">Limbo</a></i>, <i><a href="https://www.imdb.com/title/tt4244994/" target="_blank">The Last Duel</a></i>, <i><a href="https://www.imdb.com/title/tt7740510/" target="_blank">Antlers</a></i> and <i><a href="https://www.imdb.com/title/tt13204490/" target="_blank">Petite Maman</a> </i> - all of which I hope to watch soon - and I also chickened out from seeing Nia DaCosta's <i><a href="https://www.imdb.com/title/tt9347730/" target="_blank">Candyman</a></i>, as I'm not great with horror films! Finally, I had been really looking forward to seeing A24's <i><a href="https://www.imdb.com/title/tt9812474/" target="_blank">Lamb</a></i>, and I even had tickets to go and see it at Derby Quad this week, but as our beloved Guinea Pig Ziggy has just passed away (too young, and completely unexpectedly), my partner Edward and I decided that watching a melancholy film about loss and 'fur babies' might not be the best plan. I'll catch the film on DVD or on demand when I can.</span></p><p><span style="font-family: georgia;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjtfaRxwtF5IvKwdFtuDtIUwgL70A9nnoJUjG_ZPm8V4UxtarPwkq2iS91IjHej3LPl5GEWukBhcRHVqB2DIJGLx3M8znpYfNE5GT0cGQdgntWHqWPjzqw5aqflRy3p7hhkXXAvx4yDrS87HIK1O9LR_6tsznkm37C7JQItyH4j2BK1l5S-WQUBISlQ=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEjtfaRxwtF5IvKwdFtuDtIUwgL70A9nnoJUjG_ZPm8V4UxtarPwkq2iS91IjHej3LPl5GEWukBhcRHVqB2DIJGLx3M8znpYfNE5GT0cGQdgntWHqWPjzqw5aqflRy3p7hhkXXAvx4yDrS87HIK1O9LR_6tsznkm37C7JQItyH4j2BK1l5S-WQUBISlQ=w640-h266" width="640" /></a></div><p><b><span style="font-family: georgia;">THE BEST OF THE REST</span></b></p><p><span style="font-family: georgia;"><b> </b>Long ago as it feels, there was a lockdown in 2021, so television shows and on-demand films really were a welcome treat when cinemas were shut. As a result, one of my media highlights of the year came early on, when we got Disney + to watch <i><a href="https://www.imdb.com/title/tt9140560/" target="_blank">Wandavision</a></i>. Although the show descended into typical Marvel madness by the end, I love how many risks they took with the styling, with early episodes perfectly homaging <i>The Twilight Zone</i> and the work of David Lynch. It was also, for all its magic moments, a heartfelt vignette of grief.</span></p><p><span style="font-family: georgia;"> Other Disney+ highlights included <i><a href="https://www.imdb.com/title/tt5109280/" target="_blank">Raya and the Last Dragon</a></i> (which we watched the first day we could get into our living room in our new home, with the laptop perched on top of moving boxes!) and the brilliant <i><a href="https://www.imdb.com/title/tt9376612/" target="_blank">Shang Chi</a>, </i>which I subsequently regretted not seeing in cinemas. Also, although I was disappointed to hear that Peter Jackson's latest wouldn't be getting a big screen release, having now seen <i><a href="https://www.imdb.com/title/tt9735318/" target="_blank">Get Back</a></i>, I can see that Disney+ has enabled the director to finally have the almost unlimited run length he's always dreamed of!</span></p><p><span style="font-family: georgia;"> Away from Disney+, I also enjoyed the final season of <i><a href="https://www.imdb.com/title/tt1898069/" target="_blank">American Gods</a></i> (a vast improvement on season two, so it was a shame it's been cancelled), and I've now seen all of <i><a href="https://www.imdb.com/title/tt7767422/" target="_blank">Sex Education</a>.</i> Yes, I'm late to the party, and yes, it's a wonderful show! </span></p><p><span style="font-family: georgia;"> There's one more title to mention on this blog post, and if it weren't for <i>Wandavision </i>then my TV highlight of the year would've definitely been <i><a href="https://www.imdb.com/title/tt10574558/" target="_blank">Midnight Mass</a>. </i>It's a series that gets under your skin, unsettling you so steadily that you don't realise you're afraid until you're terrified, and it's particularly uncomfortable for someone like me who grew up in a church-heavy environment. I felt like it dropped the ball a bit with the final episode, same as <i>Wandavision</i>, but otherwise it's a must-see. It's also a masterclass on pitching, as the series' fantastic concept could easily be described in a sentence, maybe even in two words.</span></p><p style="text-align: center;"><span style="font-family: georgia;">*</span></p><p style="text-align: left;"><span style="font-family: georgia;"> In conclusion, this year has been a treat for cinephiles, obviously a high improvement on last year, and it's so wonderful to be able to go to cinemas again. Even with all the tickets I've bought this year, it's still an experience I won't take for granted. </span></p><p style="text-align: left;"><span style="font-family: georgia;"> It's also reminded me of the importance of the cinema experience as a whole; the way a cold screen or audience members talking can really disrupt the way I view a film, whereas a perfect trip to a cute independent cinema on a warm Summer day helps to make a brilliant film even better. That's probably my biggest takeaway from this cinematic year.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> Taking the above into account, my top films were <i>Another Round</i>, <i>Nomadland</i>, <i>The</i> <i>Green Knight</i>, <i>Last Night in Soho</i> and - I say this tentatively - maybe <i>The Power of The Dog</i>.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> There's plenty of films on my list for 2022 already, even if we now have to wear masks in screens again. The latest <i><a href="https://www.imdb.com/title/tt10838180/" target="_blank">Matrix</a> </i>film will be the next one I see, but I'm also particularly excited to watch Guillermo del Torro's latest offerings, <i><a href="https://www.imdb.com/title/tt7740496/" target="_blank">Nightmare Alley</a> </i>and<i> <a href="https://www.imdb.com/title/tt1488589/" target="_blank">Pinnochio</a>, </i>and also <i><a href="https://www.imdb.com/title/tt11138512/" target="_blank">The Northman</a>, </i>and the latest interpretation of <a href="https://www.imdb.com/title/tt1877830/" target="_blank"><i>The</i> </a><i><a href="https://www.imdb.com/title/tt1877830/" target="_blank">Batman</a>, </i>away from the DCU, this time starring Robert Pattinson.</span></p><p style="text-align: left;"><span style="font-family: georgia;"><br /></span></p><p style="text-align: left;"><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p><p><br /></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-63467681570487747672021-11-27T06:57:00.007-08:002023-11-09T04:20:48.873-08:00Middle Earth, Movies, and Me<p><span style="font-family: georgia;"> Next month marks a whopping 20 years since <i>The Lord of the Rings: The Fellowship of the Rings</i> was released in cinemas, and I didn't want that anniversary to pass without saying a few words.</span></p><p><span style="font-family: georgia;"> I've spoken many times, at length, in interviews as well as on this blog, about my love of the <a href="https://triskelle-pictures.blogspot.com/2020/09/my-top-12-fantasy-films.html" target="_blank">fantasy genre</a>. I was raised on 80s fantasy movies and artwork, so, when <i>Fellowship </i>came out at my local UCI in December 2001, of course my Dad took myself and my brother to see it. </span><span style="font-family: georgia;">I was twelve years old at the time, and unaware that I was about to experience a key moment in my life.</span></p><p><span style="font-family: georgia;"> I don't remember too much about that first screening; I mostly remember comparing it to the book, as I'd just started reading that at the time (I'd read <i>The Hobbit</i> previously, and I'd read enough of <i>LOTR</i> to know that Bilbo's ring was The One Ring, but I was surprised by other things like, for example, the fact that Gimli was the son of Gloin), but of course I adored the film, to the extent that I had read the rest of the book and a few movie tie-ins by Brian Sibley by the time the second film came out. </span></p><p><span style="font-family: georgia;"> I sadly don't remember anything about my trip to see <i>The Two Towers</i>, but my memory of seeing <i>The Return of the King</i> is very vivid, as it had a <i>profound </i>emotional effect on me. Not only is Peter Jackson's trilogy responsible for my addiction to buying action figures, but it also made me learn about what filmmaking really was, and suddenly I knew what career I wanted to pursue. I dabbled with theatre for the next few years, as (for some reason) that felt like a more realistic goal for this small-town girl - but I got my first camcorder when I was 15, and as the saying goes, I never looked back.</span></p><p><span style="font-family: georgia;"> Because <i>The Lord of the Rings</i> inspired me to make films, there were obviously times when it inspired <i>what </i>I'd film. Sometimes these were obvious visual homages to the fantasy epic, others were cinematography ideas I pinched, and others were - I swear - completely unintentional, perhaps because of how much the series is ingrained into my psyche, even twenty years later.</span></p><p><span style="font-family: georgia;"> So, to the best of my knowledge, here's all the times my films gave a visual nod to the work of Messrs Tolkein and Jackson...</span></p><p><span style="font-family: georgia;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-I4Xz3sT0MY0/YaI471a7VPI/AAAAAAAAEpw/hOYkPE_6la0AcYSzmiHyIbSkWSKBXlT7gCLcBGAsYHQ/s1500/Blog%2BTemp%2BLOTT.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1401" data-original-width="1500" height="598" src="https://1.bp.blogspot.com/-I4Xz3sT0MY0/YaI471a7VPI/AAAAAAAAEpw/hOYkPE_6la0AcYSzmiHyIbSkWSKBXlT7gCLcBGAsYHQ/w640-h598/Blog%2BTemp%2BLOTT.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /></span><p><b><span style="font-family: georgia;"><i>The Lord of the Things </i>(2006)</span></b></p><p><span style="font-family: georgia;"> This is undoubtedly the most obvious example of a LOTR rip-off on my list. When I got my second camera - a standard-definition DV-tape camcorder - I wanted to test it out by making a film. I found a fan-made 'comedy version' of <i>The Fellowship of the Rings</i> script online, got my friends together, made costumes out of curtains and cardboard (special kudos to my mate Josh for his surprisingly accurate cardboard Sauron armour!), and ended up making my first narrative film as a result. We thought the script was funny at the time, as we were teenagers - but looking back on it now, it was incredibly crude and would probably be seen as offensive today, so I have no intention of ever releasing the film online!</span></p><p><span style="font-family: georgia;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-v1upDz1YaaE/YaI55L4vCjI/AAAAAAAAEp4/skWsf9mNcQQvwayCClrKLLR9ElpDwnXgQCLcBGAsYHQ/s1500/Blog%2BTemp%2BOpening%2BNight.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1401" data-original-width="1500" height="598" src="https://1.bp.blogspot.com/-v1upDz1YaaE/YaI55L4vCjI/AAAAAAAAEp4/skWsf9mNcQQvwayCClrKLLR9ElpDwnXgQCLcBGAsYHQ/w640-h598/Blog%2BTemp%2BOpening%2BNight.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /></span><p><b><span style="font-family: georgia;"><i>The Opening Night </i>(2010) </span></b></p><p><span style="font-family: georgia;"><i> </i>This example is much less obvious, and it doesn't help that the original shot in question is hard to find; we didn't use it in the finished film, so I'd have to trawl through hours of rushes to show you a screenshot. I did try to find my original storyboards for this blog post, to help demonstrate my point, but I seem to be missing a few pages - so bear with me while I try and explain this one as best I can!</span></p><p><span style="font-family: georgia;"> <i>The Opening Night</i> was my student film about the world of Theatre, with more visual inspirations from <i><a href="https://www.imdb.com/title/tt0203009/" target="_blank">Moulin Rouge!</a></i> (which also turned 20 this year) than anything else. It certainly didn't need to reference <i>The Lord of The Rings</i>, and yet, young me decided to try and do that. There was a scene when the lead character, Marianne (Lucy Hagan-Walker), blots her lipstick and leaves the tissue on the dressing table. I asked my crew to film a close-up of said tissue where the framing made it look exactly like the snowy mountains of Caradhas! This was completely unnecessary, as the finished shot was just a bland white close-up of a screwed up tissue, which is why it wasn't ultimately used in the edit.</span></p><p><span style="font-family: georgia;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qN2fM_3N7KY/YaI7RDt3dII/AAAAAAAAEqA/zuRhEHkaXuAKof1W81skTWLzC-zCg2F0ACLcBGAsYHQ/s1500/Blog%2BTemp%2BAshes.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1401" data-original-width="1500" height="598" src="https://1.bp.blogspot.com/-qN2fM_3N7KY/YaI7RDt3dII/AAAAAAAAEqA/zuRhEHkaXuAKof1W81skTWLzC-zCg2F0ACLcBGAsYHQ/w640-h598/Blog%2BTemp%2BAshes.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /></span><p><b><span style="font-family: georgia;"><i>Ashes </i>(shot in 2012)</span></b></p><p><span style="font-family: georgia;"><b> </b>As this was my first time directing a professional crew, <i>Ashes</i> was a film where I wanted to throw every visual trick that I could at it. I was also fascinated by how amazing the lead actor's (Sarah Lamesch) eyes looked on camera, so I wanted to enhance them wherever possible. In the film's terrifying penultimate scene, there were some close-ups where Sarah looked directly at camera, so I suggested to DOP <a href="https://neiloseman.com/" target="_blank">Neil Oseman</a> that we should steal a lighting trick from <i>The Fellowship of the Ring</i>, where Galadriel's eyes always look like they have stars reflected in them. Neil was all too happy to oblige, and you can see a breakdown of this lighting technique - as well as other examples of his cinematography on the film - in <a href="https://neiloseman.com/water-and-ashes/" target="_blank">this archived blog post</a>.</span></p><p><span style="font-family: georgia;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qGl6_L-1qyo/YaJKaWikrGI/AAAAAAAAEqg/J6Yfx2F-u3kAgqdxvfnbTlxfgeBuQtfEgCLcBGAsYHQ/s1500/Blog%2BTemp%2BSongbird%2Bnew.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1328" data-original-width="1500" height="566" src="https://1.bp.blogspot.com/-qGl6_L-1qyo/YaJKaWikrGI/AAAAAAAAEqg/J6Yfx2F-u3kAgqdxvfnbTlxfgeBuQtfEgCLcBGAsYHQ/w640-h566/Blog%2BTemp%2BSongbird%2Bnew.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b><span style="font-family: georgia;"><i>Songbird </i>(shot in 2016)</span></b></p><p><span style="font-family: georgia;"> When time came for me to shoot my first full-on fantasy film, of course my love of <i>Lord of the Rings</i> was going to rear its head again, on numerous occasions. However, it was only last year - when I was introducing my partner, Edward Harvey, to the trilogy as part of my lockdown birthday celebrations - that I realised how much my favourite shot from <i>Songbird</i> looked like a shot of Frodo from the Flight at the Ford scene! I had storyboarded this shot, and I know that DOP <a href="https://www.instagram.com/motionclickchris/" target="_blank">Christopher Newman</a> is as big of a Tolkein nerd as I am, so the seeds of inspiration must've been there, even if it wasn't a conscious decision.<br /><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8khOSdibk18/YaI9XTto8mI/AAAAAAAAEqQ/cPWNlXfEGqA57pvsUv4YHUSXsGi4juMQwCLcBGAsYHQ/s1500/Blog%2BTemp%2BSongbird%2B2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1263" data-original-width="1500" height="538" src="https://1.bp.blogspot.com/-8khOSdibk18/YaI9XTto8mI/AAAAAAAAEqQ/cPWNlXfEGqA57pvsUv4YHUSXsGi4juMQwCLcBGAsYHQ/w640-h538/Blog%2BTemp%2BSongbird%2B2.jpg" width="640" /></span></a></div><p><span style="font-family: georgia;"><br /> A more obvious <i>Lord of the Rings</i> reference can be seen in the extended cut of <i>Songbird</i> where, in the opening scene, a metal eagle is hanging from the mirror of the car that's driving Janet Devlin's Jennifer. This, again, was a very gratuitous decision - it was an in-joke about the fact that the driver, Mickey (Terry Palmer) could only take Jennifer part of the way to Blackmoor Woods, just as Tolkein's Eagles could never fly the Fellowship all of the way to Mordor. [And yes, I do know that the above screengrab is from <i>The Hobbit</i>, but it was the best visual comparison I could find!]<br /><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nt-ti_fEFyo/YaI-bOe0_jI/AAAAAAAAEqY/_3GUlXv8AV0UP5RLD2W17FEyeng4BmmDwCLcBGAsYHQ/s1600/Collector%2BDefeated%2Binspiration.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="491" data-original-width="1600" height="196" src="https://1.bp.blogspot.com/-nt-ti_fEFyo/YaI-bOe0_jI/AAAAAAAAEqY/_3GUlXv8AV0UP5RLD2W17FEyeng4BmmDwCLcBGAsYHQ/w640-h196/Collector%2BDefeated%2Binspiration.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /> And finally, another accidental Tolkein reference; at the end of the climactic battle scene, we captured this shot of the villain, Therese Collins' 'The Collector', lying defeated on the ground. Again, this shot was storyboarded, so whether it was intentional or not, it was clearly inspired by one of the paintings my Dad had in the house when I was young - <i>Return of the Shadow</i> by the artist <a href="https://www.lakeside-gallery.com/index.php?main_page=index&cPath=3#rogergarland" target="_blank">Roger Garland</a>.</span><p></p><p><span style="font-family: georgia;"> You can read more about <i>Songbird</i>'s visual inspirations and Easter eggs in <a href="https://triskelle-pictures.blogspot.com/2020/03/songbird-easter-eggs-9-things-you-might.html" target="_blank">this blog post</a>.</span></p><p><span style="font-family: georgia;"><br /></span></p><p style="text-align: center;"><span style="font-family: georgia;"> *</span></p><p style="text-align: center;"><span style="font-family: georgia;"><br /></span></p><p style="text-align: left;"><span style="font-family: georgia;"> Over the years, as I grew and my filmmaking developed, I like to hope I have found my own style as a director, rather than just stealing ideas from other people. However, that is something all fledgling filmmakers do when they're first starting out - and as long as it's done with respect, it's something I encourage. If you're picking up a camera for the first time, and you don't know what to shoot, why not try recreating a camera angle from a film you really love? It's a great way to figure out the nuts and bolts that go into shot composition.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> And with more Tolkein films and television shows coming our way <a href="https://triskelle-pictures.blogspot.com/2021/06/the-fantasy-comeback-of-2021.html" target="_blank">next year</a>, who's to say I won't be inspired to try more visual references in the future. As a result of the pandemic, I've also learnt the power of rest, which has inspired me to start reading more - and of course, <i>The Silmarillion</i> is at the top of my list. Who knows what that will awaken in my mind?</span></p><p style="text-align: left;"><span style="font-family: georgia;"> But what is incredible is that fact that, two decades later, I'm still inspired by <i>The Lord of The Rings</i>. I still listen to the soundtrack, I still collect the merchandise, and particularly today, as 'Storm Arwen' is currently ravaging my garden, I've realised that there aren't many days where I don't think about the films. Even now, I'm still discovering new behind-the-scenes stories, still learning about techniques that were implemented during the shoot, which just goes to show how much care and attention to detail the filmmakers put into their work.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> It's also worth noting that those filmmakers (and most of their cast) weren't well-known names at the time. They had studio backing, but a very restricted budget, and they chose to film in their underused homeland rather than on a Hollywood backlot. It was, in many ways, the biggest 'indie film' ever made, and I always strive to apply that approach when working with my own film crews today.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> Tolkein created the world of Middle Earth, and he deserves constant love and admiration for that. But <i>The Lord of the Rings</i> and Peter Jackson are what made me want to make movies in the first place; it's a career path I'm still fighting for in 2021, and I will always be immensely grateful for that.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> Now if only someone could put me in touch with WingNut Films so that I could say thank you to Peter Jackson in person...</span></p><p style="text-align: left;"><span style="font-family: georgia;"><br /></span></p><p style="text-align: left;"><span style="font-family: georgia; font-size: large;">Sophie</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-52965315762870905812021-10-28T11:10:00.006-07:002023-10-29T08:54:56.074-07:00The Triskelle Office Through the Years<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rPiEy4Jszg4/YXrnWDxqkII/AAAAAAAAD5M/FwUnp3MMdCUV06H2iffE0Y2jst-Q1gBJACLcBGAsYHQ/s2048/7jWPaFYs.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://1.bp.blogspot.com/-rPiEy4Jszg4/YXrnWDxqkII/AAAAAAAAD5M/FwUnp3MMdCUV06H2iffE0Y2jst-Q1gBJACLcBGAsYHQ/w640-h426/7jWPaFYs.jpeg" width="640" /></a></div><p></p><p><span style="font-family: georgia;"> There's no Hallowe'en-themed blog post from me this year. Instead, I'd like to celebrate the fact that - finally - the new Triskelle Pictures HQ (also known as my home office) is finished. Nearly. I've been unpacking a box or putting up a poster in every free afternoon I've had over the past few months, and there haven't been many of those, so there's still a few things left to set up (mostly more action figures!) and I still have art supplies on the floor, but we're very much getting there now.</span></p><p><span style="font-family: georgia;"> As someone who even played 'office' as a child, I've always appreciated having a place to work. But all through the last 19 months of working from home, and particularly now that I'm kinda self-employed again, I've really come to cherish the importance of a private creative space. My edit suite is surrounded by posters, prop replicas, books and other inspiring things; symbols of everything I've achieved so far, and imagery from my filmmaking heroes to keep me pushing forward in the direction of my dream career.</span></p><p><span style="font-family: georgia;"> I don't have photos from my first two workspaces. Originally I had a computer in my teenage bedroom, which was actually contained inside a sliding wardrobe to save space, where I edited some pixelated videos on cheap pre-Adobe software. Then I moved to a Windows Vista laptop, with Premiere elements installed, when I moved to student halls at the University of Creative Arts (you can see a little glimpse of that room in <a href="https://triskelle-pictures.blogspot.com/2020/07/graduation-ten-years-later.html" target="_blank">this blog post</a>). But ever since then, I've always made sure to get a photo of my office set-ups, partly to document the work that I was doing at that time.</span></p><p><span style="font-family: georgia;"> So how has my creative space (particularly the technology involved!) changed over the years, and how does it compare to my latest home office? Well, I thought it would be fun to share that with you...</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3pvgtdrvzwo/YXrSy-I2waI/AAAAAAAAD3E/juOkw6HncysXznlusn1RYwnX6oPIC3JTgCLcBGAsYHQ/s1600/Ashes%2B-%2BEditing%2BScene%2BOneA.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="898" data-original-width="1600" height="360" src="https://1.bp.blogspot.com/-3pvgtdrvzwo/YXrSy-I2waI/AAAAAAAAD3E/juOkw6HncysXznlusn1RYwnX6oPIC3JTgCLcBGAsYHQ/w640-h360/Ashes%2B-%2BEditing%2BScene%2BOneA.jpg" width="640" /></span></a></div><span style="font-family: georgia;"><br /><b>1) The Belper office, 2010 - 2013</b></span><p></p><p><span style="font-family: georgia;"> When I graduated, my parents kindly let me set up an office in their spare box room (which had actually been my bedroom when I was little). My friend Josh also helped me build my first 'proper' computer, including a 1920 resolution monitor - which we were really excited about at the time, as it felt like the future! It wasn't until my team and I shot <i>Night Owls</i> in 2014, using 4k for the first time, when I realised we had a problem (sections of the preview image disappeared off the edge of the screen!)</span></p><p><span style="font-family: georgia;"> That office was heavily documented in my (now slightly cringeworthy) 'Filmmaker Diary' series on <a href="https://youtu.be/C_fOHG2L6Vw" target="_blank">YouTube</a>. I also had a nice sense of deja vu this year when I set up a temporary office back at my parent's home, in this same room, while my new house had to have some building work done. My Dad had turned the room into his artist's studio when I left home, so it was really generous of him to give it up and let me use it again.</span></p><p><span style="font-family: georgia;"><b>Software used:</b> Avid & Premiere Elements</span></p><p><span style="font-family: georgia;"><b>Films edited here:</b> <i>Stop/Eject</i> BTS videos, <i>Ashes</i>, some early music videos & multiple filmmaker diaries for YouTube</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Z7DgHOuylXQ/YXrU6i2jdlI/AAAAAAAAD3M/nMYihk7m9W0ypOW-HoYkVsqXLbiJMehWACLcBGAsYHQ/s2048/921612_10152249476192841_1729511826_o.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="1149" data-original-width="2048" height="360" src="https://1.bp.blogspot.com/-Z7DgHOuylXQ/YXrU6i2jdlI/AAAAAAAAD3M/nMYihk7m9W0ypOW-HoYkVsqXLbiJMehWACLcBGAsYHQ/w640-h360/921612_10152249476192841_1729511826_o.jpg" width="640" /></span></a></div><p><span style="font-family: georgia;"><b>2) The first Derby office, 2013</b></span></p><p><span style="font-family: georgia;"> Leaving home in 2013, I briefly moved in with a creative group of people including the brilliant filmmaker <a href="https://www.instagram.com/motionclickchris/" target="_blank">Christopher Newman</a>, and his equally brilliant partner <a href="https://www.instagram.com/alakasamalchemist/" target="_blank">Sam Tansley</a>, who was then studying dance and is now a jewellery and gift designer. They also had a spare room, so we set up a joint space for us all to make things together, which was lovely. This office set-up could also be seen on <a href="https://youtu.be/egjJNccYuP8" target="_blank">BBC News</a> in May 2013, when they did a feature about my journey to the Cannes Film Festival.</span></p><p><span style="font-family: georgia;"><b>Software used:</b> Avid</span></p><p><span style="font-family: georgia;"><b>Films edited here:</b> <i>Ashes </i>(finishing touches and EPK) and Halo Haynes' unplugged music video suite - I think I also started the music video for The Oramics Machine in this office, too</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BGBGNCpmFiM/YXra3a0HNrI/AAAAAAAAD3U/NoYQIImALx80f-V1vNVqpHviHcqJNvf6gCLcBGAsYHQ/s2172/Derby%2Boffice.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia;"><img border="0" data-original-height="698" data-original-width="2172" height="206" src="https://1.bp.blogspot.com/-BGBGNCpmFiM/YXra3a0HNrI/AAAAAAAAD3U/NoYQIImALx80f-V1vNVqpHviHcqJNvf6gCLcBGAsYHQ/w640-h206/Derby%2Boffice.jpg" width="640" /></span></a></div><b><p><b><span style="font-family: georgia;">3) The second Derby office, 2013-2017</span></b></p></b><p></p><p><span style="font-family: georgia;"> Also in 2013, I met my partner <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward Harvey</a> (who I'm still with today), and we ended up moving in together fairly quickly because our leases were up around the same time. Our Derby town house was a decent size, so we left the spare bedroom as a spare bedroom and instead turned the dining room into a shared office for the two of us. Because who needs a dining room when you have films to make??</span></p><p><span style="font-family: georgia;"><b>Software used:</b> Avid then Adobe Premiere Pro</span></p><p><span style="font-family: georgia;"><b>Films edited here:</b> <i>Night Owls</i> (promotional assets), <i>The Dress</i>, <i>Songbird </i>(film and funding videos) and multiple films for clients including Sheena Holland's promotional video, a music video for Scribble Victory, and my entry into the James Bay Film Project, <i>The Chaos & the Calm</i></span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-NhsMK2V6Ny4/YXrgNSmoowI/AAAAAAAAD3s/PaUNPXpE3fM_uqqBXKbGndaJRKabsHfkQCLcBGAsYHQ/s2293/Duffield%2Boffice%2B2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="2293" height="140" src="https://1.bp.blogspot.com/-NhsMK2V6Ny4/YXrgNSmoowI/AAAAAAAAD3s/PaUNPXpE3fM_uqqBXKbGndaJRKabsHfkQCLcBGAsYHQ/w640-h140/Duffield%2Boffice%2B2.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><b style="font-family: georgia;">4) The Duffield office, 2017-2021</b><p></p><p><span style="font-family: georgia;"> And then we moved to the cutest, cosiest little space - and an office that will always mean a lot to me. It's the first place where I really started making a living while working from home, and I also loved the view of my garden and country sunsets from that office window. It served me well all through the pandemic, with many a long evening spent sat at that desk. I felt quite sad packing it away, but as I ranted about in a blog post earlier this year, we'd been driven away by some truly terrible neighbours. (But it's all's well that ends well, as you'll see when I unveil my new office...)</span></p><p><span style="font-family: georgia;"> You can't really tell in these photos, but this was also the office where I really upgraded my kit; I had a new super-powered computer tower built, and I was also finally able to purchase a giant colour-grading monitor with help from The Prince's Trust. And yes, it did allow me to play 4k full-screen, for the first time in my life!</span></p><p><span style="font-family: georgia;"><b>Software used:</b> Adobe Premiere Pro - and a bit of After Effects!</span></p><p><span style="font-family: georgia;"><b>Films edited here: </b><i>Songbird</i> (main film and behind-the-scenes videos), funding videos for <i>Growing Shadows </i>and <i>Lepidopterist</i>, plus absolutely loads of edits for brilliant creative clients including Towersey Festival, Foundations Revealed and many more.</span></p><p style="text-align: center;"><span style="font-family: georgia;">*</span></p><p><span style="font-family: georgia;"> So, without further ado, it's time to unveil my new office. It's definitely my favourite one so far, even if it is taking a long time to set up. What makes it really special is the fact that it's in the first home me and Edward actually <u>own</u>, so it's meant that I really have had free reign with the decorating!</span></p><p><span style="font-family: georgia;"> As a reminder, here's how it looked before....</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GSM3_pDsyEM/YXrggXaSRxI/AAAAAAAAD30/2W0nE67aDlQNePdR2eNshgFd7svNLvD9QCLcBGAsYHQ/s1024/78824_29996523_IMG_09_0000-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="684" data-original-width="1024" height="428" src="https://1.bp.blogspot.com/-GSM3_pDsyEM/YXrggXaSRxI/AAAAAAAAD30/2W0nE67aDlQNePdR2eNshgFd7svNLvD9QCLcBGAsYHQ/w640-h428/78824_29996523_IMG_09_0000-1.jpg" width="640" /></a></div><br /><p></p><p><span style="font-family: georgia;"> And here's how it looks now (so far - it's still a work in progress!)...</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KbcA2OYFnkc/YXrikI-sFPI/AAAAAAAAD38/8pe9JnURbdIHpz56qDgi5fw6LB237zC0wCLcBGAsYHQ/s2048/T-B0Y-uc.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://1.bp.blogspot.com/-KbcA2OYFnkc/YXrikI-sFPI/AAAAAAAAD38/8pe9JnURbdIHpz56qDgi5fw6LB237zC0wCLcBGAsYHQ/w640-h426/T-B0Y-uc.jpeg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GVF-E_XAUZ0/YXriw4gKjZI/AAAAAAAAD4A/PWknPgANKvMtSWjJT5VAvsd_2D6PSKHOgCLcBGAsYHQ/s2048/PLiU5_XU.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://1.bp.blogspot.com/-GVF-E_XAUZ0/YXriw4gKjZI/AAAAAAAAD4A/PWknPgANKvMtSWjJT5VAvsd_2D6PSKHOgCLcBGAsYHQ/w640-h426/PLiU5_XU.jpeg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-I0XNM0MKMmY/YXri6-qZwzI/AAAAAAAAD4I/2BcBD4XVFkYp0J2Y_lGEKdX7RTZctqEEQCLcBGAsYHQ/s2048/A4y4wmkY.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="640" src="https://1.bp.blogspot.com/-I0XNM0MKMmY/YXri6-qZwzI/AAAAAAAAD4I/2BcBD4XVFkYp0J2Y_lGEKdX7RTZctqEEQCLcBGAsYHQ/w426-h640/A4y4wmkY.jpeg" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ovmM4a7FjOU/YXrjPVzuprI/AAAAAAAAD4Y/1Ash9DGgW-MszLeEh0PXx2Kxt1mAJKLEgCLcBGAsYHQ/s2048/1dvJ4VdI.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="640" src="https://1.bp.blogspot.com/-ovmM4a7FjOU/YXrjPVzuprI/AAAAAAAAD4Y/1Ash9DGgW-MszLeEh0PXx2Kxt1mAJKLEgCLcBGAsYHQ/w426-h640/1dvJ4VdI.jpeg" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-zRQHFQ8RX5I/YXrjVxwQqJI/AAAAAAAAD4c/SxiJw733Pt4rcBd1uHqasyoOxFqSLRzwgCLcBGAsYHQ/s2048/n6J7GVM8.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://1.bp.blogspot.com/-zRQHFQ8RX5I/YXrjVxwQqJI/AAAAAAAAD4c/SxiJw733Pt4rcBd1uHqasyoOxFqSLRzwgCLcBGAsYHQ/w640-h426/n6J7GVM8.jpeg" width="640" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><p></p><p><span style="font-family: georgia;"> So far, I'm loving working here. I still get to watch the sun set when I work into the evenings, but now that view has been joined by a family of bats as well! And as for what films I'll be making in this office? Well, my fab creative clients are keeping me busy as always - but beyond that, we'll have to wait and see. All I'll say for now is that I've definitely left some wall space for an extra poster or two...</span></p><p><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p><p><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><br /></span></div><span style="font-family: georgia;"><br /><br /></span><p></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-70374769139228355782021-09-30T06:35:00.000-07:002023-10-29T08:54:33.345-07:00Lepidopterist & the Search for Perfect Credits<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8mWPPm1BLz0/YVWptiE3aNI/AAAAAAAAD14/fNW5w7xg2mocPjprmatkyVq6LEw9p4BlgCLcBGAsYHQ/s1920/Title%2Bscreenshot.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="810" data-original-width="1920" height="270" src="https://1.bp.blogspot.com/-8mWPPm1BLz0/YVWptiE3aNI/AAAAAAAAD14/fNW5w7xg2mocPjprmatkyVq6LEw9p4BlgCLcBGAsYHQ/w640-h270/Title%2Bscreenshot.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: frame from the <i>Lepidopterist </i>end credits, designed by Jerry Nelson of Attack Studios]</td></tr></tbody></table><br /><p> <span style="font-family: georgia;"> On Sunday, more than two and a half years after we shot the film (thanks, Pandemic!), I finally saw <i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a> </i>on the big screen. I was sat in one of my favourite local cinemas, Derby Quad - hosting the wonderful <a href="https://paracinema.co.uk/" target="_blank">Paracinema Film Festival</a> - and I was with some of the team who helped me make the film. It looked and sounded fantastic, I was bursting with pride, and it was worth the wait. Streaming platforms have enabled us to get our films to a wider audience, which is great, but nothing beats the big screen experience for me. It's my lifeblood, the reason I do what I do.</span></p><p><span style="font-family: georgia;"> One of the things that looked particularly brilliant was the film's end credits. They were designed exclusively for the extended festival cut of the film by VFX artist Jerry Nelson (from <a href="https://attackmotiondesign.com/" target="_blank">Attack Studios</a>), who originally came on board the project to blur some license plates before revealing his wider skillset. If you haven't caught <i>Lepidopterist </i>at a film festival yet, you can see images from the credits and an insightful breakdown of their design in Jerry's detailed <a href="https://attackmotiondesign.com/project/lepidopterist-main-titles" target="_blank">case study</a>. </span></p><p><span style="font-family: georgia;"> I adore <i>Lepidopterist</i>'s credits. They look magical and just so professional! I didn't think I'd have anything like them unless I was lucky enough to get into high-end television one day, or if I finally directed that elusive feature film. The sequence Jerry designed sums up the core themes of <i>Lepidopterist </i>(a soft-focused menagerie of biology and entomology imagery), and it's pretty darn close to film credit perfection, in my opinion.</span></p><p><span style="font-family: georgia;"> These are the slickest credits my team and I have ever had - but it isn't the first time we've put effort into the ending of our films. Post-2010, I've never just had white credits on a black screen (<i><a href="https://youtu.be/Z4IuDxlK9r8?t=761" target="_blank">Night Owls</a></i> came close, save for the subtle super-8 footage of night-time that flanked the credits list). Even when budgets were tight, my DOPs and I always tried to get clever with our credits' imagery.</span></p><p><span style="font-family: georgia;"> One good example of this is the end credits for <i><a href="https://youtu.be/IFMeGWsy3Qk" target="_blank">Growing Shadows: The Poison Ivy Fan Film</a></i>. The visuals for these were captured right at the end of the shoot, when we had only minutes to spare before the location owners kicked us out; Director of Photography <a href="https://www.willpricedop.com/showreel" target="_blank">Will Price</a> did a quick dash-and-grab with his camera, and utilised Production Designer <a href="https://www.charlotteball.co.uk/" target="_blank">Charlotte Ball</a>'s gorgeous set build to get a range of luscious background images for our credits.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-FnYV71XXseY/YVWuigqQQlI/AAAAAAAAD2A/zFFccOI1QdgFsKxB4GuQHwG1DJ3nU1nOACLcBGAsYHQ/s1500/Growing%2BShadows%2Bcredits.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1179" height="640" src="https://1.bp.blogspot.com/-FnYV71XXseY/YVWuigqQQlI/AAAAAAAAD2A/zFFccOI1QdgFsKxB4GuQHwG1DJ3nU1nOACLcBGAsYHQ/w504-h640/Growing%2BShadows%2Bcredits.jpg" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: frames from the <i>Growing Shadows</i> end credits, captured by Will Price]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> Another favourite early title sequence of mine was the ending of <i>Ashes - </i>although that was definitely a 'don't try this at home' moment! To symbolise the relationship of the lead characters coming to an end, I took all the 'couple photos' from the set dressing, and then Director of Photography <a href="https://neiloseman.com/" target="_blank">Neil Oseman</a> and I burned these photos (along with some other bits), and filmed it on an abandoned railway track (which you can see briefly in <a href="https://youtu.be/xfGauIHD77I?t=140" target="_blank">this old video diary</a> of mine). Simple as they were, these credits captured the film's visual inspirations of macabre romance and decay.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-PBMv1jEe5yA/YVWuw4ARovI/AAAAAAAAD2E/cFJwp_DRbg4jW0RP5onnge9_I2S4Rz6OQCLcBGAsYHQ/s1500/Ashes%2Bcredits.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1184" height="640" src="https://1.bp.blogspot.com/-PBMv1jEe5yA/YVWuw4ARovI/AAAAAAAAD2E/cFJwp_DRbg4jW0RP5onnge9_I2S4Rz6OQCLcBGAsYHQ/w506-h640/Ashes%2Bcredits.jpg" width="506" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: frames from the <i>Ashes</i> end credits, captured by Neil Oseman]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> It's hard to know what makes a perfect credit sequence. The best ones seem to capture the main motifs of the film whilst doing their own thing enough to visually stand alone - without, at the same time, overshadowing the film itself.</span></p><p><span style="font-family: georgia;"> I've also learned the hard way what credits <i>shouldn't </i>do, particularly on a short film. They shouldn't be too long (I've seen first-hand how awkward it can be when people get bored of clapping, and the credits keep rolling...). Short films also don't need opening credits, bar a couple of subtle on-screen names; it's not a feature film, you need to cut to the chase straight away.</span></p><p><span style="font-family: georgia;"> In a nutshell, credits shouldn't be an afterthought. Think about them in advance, but don't forget to be clever with your budget; utilise what you have, such as any leftover props and set dressing, and select a great closing music track. And I'll end this blog post with a few examples of my favourite title sequences (most of which, randomly, come from television shows - perhaps they take more risks than the producers of film credits?):</span></p><p><span style="font-family: georgia;"><b>Se7en (1995)</b></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-BJkDyCdw0c" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><b><br /></b></span></p><p><span style="font-family: georgia;"><b>Carnival Row (2019-)</b></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/aOvzBh73ND8" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><b><br /></b></span></p><p><span style="font-family: georgia;"><b>American Gods (2017-2021)<br /></b></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/eBkoG-8E-2w" title="YouTube video player" width="560"></iframe></p><p><span style="font-family: georgia;"><b>Top of the Lake (2013)</b></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/TCIDMC4NwUQ" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><b><br /></b></span></p><p><span style="font-family: georgia;"><b>American Horror Story (2011-)</b></span></p><p><span style="font-family: georgia;"><i>Every series had a wicked title original sequence, all of which give me the heebie jeebies, so it was hard to pick just one:</i></span></p><p style="text-align: center;"><span style="font-family: georgia;"><i><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/I2jFHMgZ71U" title="YouTube video player" width="560"></iframe></i></span></p><p><span style="font-family: georgia;"><b>McQueen (2018)</b></span></p><p><span style="font-family: georgia;"><i>Unfortunately I can't find a video of these extravagant but trippy chapter headings, so you'll just have to watch the documentary to see them!</i></span></p><p style="text-align: center;"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia;"><a href="https://1.bp.blogspot.com/-Xigmdwkv8_I/YVW1dFnDGAI/AAAAAAAAD2Q/2fTsD-vr7aomY73l5NW9zmtfwCzzg7QAgCLcBGAsYHQ/s1500/mcqueen.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="1500" height="232" src="https://1.bp.blogspot.com/-Xigmdwkv8_I/YVW1dFnDGAI/AAAAAAAAD2Q/2fTsD-vr7aomY73l5NW9zmtfwCzzg7QAgCLcBGAsYHQ/w640-h232/mcqueen.jpeg" width="640" /></a></span></div><span style="font-family: georgia;"><b><br /></b></span><p></p><p><span style="font-family: georgia;"><b>A Series of Unfortunate Events (2004)</b></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SVV0ONSiQoA" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><b><br /></b></span></p><p><span style="font-family: georgia;"><b>The Royal Tenenbaums (2001)</b></span></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/aTJdHJ13f98" title="YouTube video player" width="560"></iframe><span style="font-family: georgia;"><br /></span></p><p style="text-align: center;"><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"> Other honourable mentions:<a href="https://youtu.be/4IXDTnfkkEA" target="_blank"> <i>Swamp Thing</i></a>, <i><a href="https://youtu.be/a6zJ9dEwNek" target="_blank">House</a></i>, <i><a href="https://youtu.be/s7L2PVdrb_8" target="_blank">Game of Thrones</a></i>, <i><a href="https://youtu.be/nCk5EGkV1Xk" target="_blank">The Age of Innocence</a></i>, <i><a href="https://youtu.be/FKKegu737LI" target="_blank">Ratched</a></i>, <i><a href="https://youtu.be/2pBXO6mK7WA" target="_blank">Juno</a></i>, <i><a href="https://youtu.be/z-gjywJN6tA" target="_blank">Napoleon Dynamite</a>,</i> <i><a href="https://youtu.be/kmUQAZ7K3co" target="_blank">Jessica Jones</a></i>, <i><a href="https://youtu.be/HZgnLXmsA4o" target="_blank">Kingdom Hospital</a></i>, and <i><a href="https://youtu.be/BwkCZV4exSY" target="_blank">Wandavision</a></i>!</span></p><p><span style="font-family: georgia;"> Did I miss your favourite title sequences? Let me know in the comments below. You can also find out more about what makes great title design in <a href="https://youtu.be/Q_Mo0MqICXI" target="_blank">this series</a> on <i>Little White Lies</i>' YouTube channel.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-PZ-tKMziF0I/YVW5OQ7_3QI/AAAAAAAAD2Y/iL2WQ8PDyeQvPtQYJqhr9uIgrl5lJ_4xACLcBGAsYHQ/s1600/Paracinema%2BAndrew%2BRutter%2B1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-PZ-tKMziF0I/YVW5OQ7_3QI/AAAAAAAAD2Y/iL2WQ8PDyeQvPtQYJqhr9uIgrl5lJ_4xACLcBGAsYHQ/w640-h480/Paracinema%2BAndrew%2BRutter%2B1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: answering questions at Paracinema Film Festival last Sunday. The photo was supplied to me by ace filmmaker Andrew Rutter.]</td></tr></tbody></table><span style="font-family: georgia;"><br /></span><p></p><p><span style="font-family: georgia;"> One final note; this is the blog post that I originally intended on releasing in March, before my workload got in the way. I'd planned on sharing it around the time of <i>Lepidopterist</i>'s (virtual) premiere at Beeston Film Festival, but in a way I'm glad it's taken me so long to write this post, as the film's festival run is really picking up steam now. As well as the Paracinema screening on Sunday, the film had its American Premiere the same day, at Festival of Cinema NYC. Before then, it took home trophies at The Actors Awards Los Angeles and The Midlands Movies Awards (who have just released this year's <a href="https://youtu.be/PDTnAK4KXUI" target="_blank">winners speeches</a> online). And yesterday, I had an email to say that <i>Lepidopterist</i> has been accepted into a festival that none of my films have <i>ever</i> gotten into before, so stay tuned for news of that screening in the next few weeks!</span></p><p><b style="font-family: georgia; font-size: x-large;">Sophie</b></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-92088757929829288242021-08-31T05:21:00.007-07:002023-10-29T08:54:02.550-07:00Instinctual Perseverance<br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-H7D-JMjaxl4/YSqxWP2YsiI/AAAAAAAAD0g/L8-lWbzneg4M4roIglxxI3JNxDfT2FKCgCLcBGAsYHQ/s500/i-will-sell-this-house-today-gif-4.gif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="213" data-original-width="500" height="272" src="https://1.bp.blogspot.com/-H7D-JMjaxl4/YSqxWP2YsiI/AAAAAAAAD0g/L8-lWbzneg4M4roIglxxI3JNxDfT2FKCgCLcBGAsYHQ/w640-h272/i-will-sell-this-house-today-gif-4.gif" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: Annette Bening in <i>American Beauty</i>, an unfortunately relatable figure for the ambitious and self-critical among us!]</td></tr></tbody></table><br /><p></p><p> <span style="font-family: georgia;">What a week it's been. What a month. Summer is coming to a close, and I always find this time of year a little sombre.</span></p><p><span style="font-family: georgia;"> I'm determined to keep up the 'once a month' blogging plan where I can. Apparently it's good for SEO, and also I enjoy it - but the blog post I had scheduled for this month is just not going to happen in time. It involves a lot of research, photos and links, and I'm in the midst of yet another manic time with my client work. So instead of the planned content, here's just a few words from me, from the heart. Because whenever I learn a new lesson in my career, even the difficult ones, I like to pass that knowledge on to you, whoever my regular readers may be.</span></p><p><span style="font-family: georgia;"> Two weeks ago, I felt as though I'd hit rock bottom. It wasn't the first time that's happened, and knowing how challenging the film industry can be, I doubt it will be the last. I'm starting to feel like myself again now, thanks to some rest and a bit of time back on set, and I also have a sense of clarity which only comes from feeling as low as I did.</span></p><p><span style="font-family: georgia;"> By way of context, it's worth noting that I'm the overly ambitious type. Like many creatives do, I put a lot of pressure on myself, and I'm unnecessarily critical when I feel like I'm under-achieving. And much as I love social media, it exacerbates the issue. People only really post about their successes, and on a bad day, when you see your feed flooded with stories of great filmmakers doing great things, it's all too easy to think, "will I ever be good enough?" </span></p><p><span style="font-family: georgia;"> We don't share our failures as much as we should - possibly because sharing failures makes them feel even more real, and harder to move past. That's why blog posts like this one are important, even though, as I write it, I still don't know if I feel brave enough to share it like I shared the others.</span></p><p><span style="font-family: georgia;"> If you compare yourself to the glistening Hollywood success stories on Twitter, you can feel outcast, like you're 'not a proper filmmaker' or that you're not working hard enough. But when you stop scrolling and actually <i>talk </i>to other filmmakers, the truth is that many of us feel the same. We aren't all reaching our goals, and many of us feel like imposters. </span></p><p><span style="font-family: georgia;"> Point of context number two is that I'd been having a particularly challenging month when the latest 'rock bottom' incident happened. Having just made the leap to freelance, I <i>had</i> been in a really good place (the happiest I'd been since</span><span style="font-family: georgia;"> I left my supermarket job in 2011 to make </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/stop-eject" target="_blank">Stop/Eject</a>,</i><span style="font-family: georgia;"> </span><i style="font-family: georgia;">Ashes, </i><span style="font-family: georgia;">and others); b</span><span style="font-family: georgia;">ut just because I've taken charge of my career now, it doesn't stop the film industry from being an impossible nut to crack. And it won't stop rejection emails from reaching my inbox. </span></p><p><span style="font-family: georgia;"> By this stage in my career, I am quite thick-skinned with rejections. None of my films have had easy festival runs (apart from maybe </span><i style="font-family: georgia;"><a href="https://www.triskellepictures.co.uk/poison-ivy" target="_blank">Growing Shadows</a></i><span style="font-family: georgia;">), and at one point, I was getting so many rejection emails that I joked I couldn't even go to the bathroom without receiving one. I've actually had two in the time it's taken me to write this post! But sometimes, a rejection can still come along which hurts like hell, particularly if you see it as the 'next step' in your career that you're working towards. </span></p><p><span style="font-family: georgia;"> A few weeks ago, I received just such a rejection; this one was from a sort of training programme I'd had my heart set on, and it really knocked the wind out of my sails. I tried not to be too hard on myself, but I was frustrated as I knew I'd not done as good a job as I could've on my application form; I'd had to do it in the middle of the busiest month of the year so far, and I had been tired at the time. <br /><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-b5XD3WdZgvs/YSq0M2iM-rI/AAAAAAAAD0w/2TYXFc5WggsAV7I2zpcFoLo-acCRt_77gCLcBGAsYHQ/s1350/AB%2B7%2B%25281%2529.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="568" data-original-width="1350" height="270" src="https://1.bp.blogspot.com/-b5XD3WdZgvs/YSq0M2iM-rI/AAAAAAAAD0w/2TYXFc5WggsAV7I2zpcFoLo-acCRt_77gCLcBGAsYHQ/w640-h270/AB%2B7%2B%25281%2529.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[More Annette Bening, just because her performance in <i>American Beauty</i> is a whole vibe of its own]</td></tr></tbody></table><br /><p> <span style="font-family: georgia;">Shortly after that - and literally a month to the day since I'd left my job - I had a hardware failure on my computer. It was something vital to my everyday work (or so I thought at the time), particularly now that I'm working from home, but it would've cost almost a month's worth of wages to fix. Basically, in the blink of an eye, I was about to lose everything I'd earned so far. It was a very scary weekend.</span></p><p><span style="font-family: georgia;"> I started to feel unwell (probably due to the stress of the previously mentioned incidents, and because of my workload), and add to that, the constant stream of terrible news on the radio left me in a state of constant anxiety. One night, I said to my partner, <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward</a>, "that's it, I can't take any more bad news right now. I think I'll fall apart."</span></p><p><span style="font-family: georgia;"> Then the next rejection came.</span></p><p><span style="font-family: georgia;"> Anyone who has followed my work thus far will know how much I yearn to direct a feature film. It has been the Moby Dick of my life. I'd had interest from funding bodies a few times in the past, when I was pushing to make <i>Night Owls & Early Birds</i>, the feature-length version of my award-winning short film <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a></i>, and which I'd been working on on-and-off since I was fifteen years old. I wanted that film to happen too much. I still do. So every time the plug was pulled on that project, part of me went down the drain too - to the point where I had to stop working on it (albeit temporarily), and instead put all my efforts into making shorts and improving as a filmmaker.</span></p><p><span style="font-family: georgia;"> Last year, I started pursuing features again - a different feature this time. I didn't talk about it much publicly because of the aforementioned fear of looking like a failure to my peers on social media. A couple of months ago, I was given the opportunity to apply for some funding. I took a leap of faith, 'fought the fear and did it anyway', and put in my application. Then two weeks ago, in the midst of that particularly stressful batch of incidents, and also on the night when I was feeling the flattening side effects of my second vaccine, the result came in. </span></p><p><span style="font-family: georgia;"> There it was in black and white: "we are sorry to say that your application has been unsuccessful on this occasion."</span></p><p><span style="font-family: georgia;"> I have read those words so many times in my career. I couldn't even count the times if I tried. But because this one meant so much, because it came at a time where my mental and physical health was already stretched to its limits, I'm sorry to say that I did, in fact, fall apart - so much so that I didn't know how to put my pieces back together. Not straight away, at least.</span></p><p><span style="font-family: georgia;"> I've had a plan for my career since I was a teenager. I've re-written that plan many times, whenever things have gone wrong or different opportunities had come my way. But this time, I genuinely didn't know what my next steps were. And after seventeen years of chasing a near-impossible dream, I started to wonder if it was time to stop. </span></p><p><span style="font-family: georgia;"> If it hurt so much, as it had hurt so many times before, maybe I was mad for putting myself through this. </span></p><p><span style="font-family: georgia;"> My self-doubt went into overdrive. What if I <i>wasn't</i> good enough? What if I'm actually delusional, and I've <i>never</i> been good enough? What if features just aren't on the cards for me? Can I live the rest of my life always feeling a little bit unfulfilled? And, as I had asked myself in a similarly bleak moment back in 2013, is there <i>anything</i> else I want to do with my life? </span></p><p><span style="font-family: georgia;"> My brain was just bringing up white noise. I didn't just feel my dreams slipping away, I felt myself slipping away too. I just didn't have the answers.</span></p><p><span style="font-family: georgia;"> I was lying in bed that night, sleepless and feeling broken, when the moment of clarity - and the main inspiration for this blog post - finally came to me. Because even though I was feeling lost, doubting myself and my career, not knowing what on earth I was going to do next, I suddenly had the overwhelming urge to write. Not the project that had been rejected, but <i>Night Owls & Early Birds</i> - that script I keep coming back to, year after year. <br /><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ih0fw4--h9s/YS4YpfDedvI/AAAAAAAAD1I/BrRZNvtSWmwLElb9l-fg0RtwwqZG4VQ9ACLcBGAsYHQ/s2100/NOEB%2Bscript%2BJanuary%2B2015.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1045" data-original-width="2100" height="318" src="https://1.bp.blogspot.com/-ih0fw4--h9s/YS4YpfDedvI/AAAAAAAAD1I/BrRZNvtSWmwLElb9l-fg0RtwwqZG4VQ9ACLcBGAsYHQ/w640-h318/NOEB%2Bscript%2BJanuary%2B2015.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[The <i>Night Owls & Early Birds</i> script in January 2015, shortly before I 'gave up' on the project]</td></tr></tbody></table><br /><p> <span style="font-family: georgia;">In that moment, I felt like my career was going nowhere. I felt like I wasn't good enough. I felt like a feature wasn't going to happen for me - and having put the project on a shelf years ago, <i>Night Owls & Early Birds </i>was the least likely to get made any time soon. So why did I suddenly feel inspired to work on it, in the middle of the night, during a time where all hope felt lost?</span></p><p><span style="font-family: georgia;"> I wanted to write it out of <i>instinct</i>.</span></p><p><span style="font-family: georgia;"> And the realisation came: I wanted to work on that script whether or not it was going to get made. I wanted to work on it when I knew it <i>wasn't</i> going to get made any time soon. I wanted to write purely because it's a huge part of who I am.</span></p><p><span style="font-family: georgia;"> Daft as it sounds, it took me going to absolute rock bottom to realise that I don't need external funding or recognition on Twitter to be a filmmaker. It was there in my subconscious, at a time when my conscious brain had taken a severe stress battering. </span></p><p><span style="font-family: georgia;"> That's why I won't give up. Because clearly, I couldn't if I tried. It's an inseparable part of what makes me me.</span></p><p><span style="font-family: georgia;"> And the ironic part? The very next day another email came, and it was the best news for my career to date. It isn't a feature, not yet, but it's the biggest opportunity yet, and I'm so damn grateful for it. I just had to get through that fateful night, and suddenly, I was back in business. </span></p><p><span style="font-family: georgia;"> (Although obviously I couldn't celebrate straight away, I was too run down from everything that had just gone before, and I just needed to take care of myself. I finished my work a little early that day and ended the night watching movies. Peter Jackson, of course, as he's always my go-to director when I need a little boost.)</span></p><p><span style="font-family: georgia;"> Now that I have rested and recovered, everything is full systems go again. My career wasn't over, it's just getting started. And yes, I am aware that I'm saying that at 32, not at the age I was when I <a href="https://triskelle-pictures.blogspot.com/2020/07/graduation-ten-years-later.html" target="_blank">first left film school</a>. I look forward to telling you all about what's coming next. As soon as it's public knowledge, I'll be lighting the beacons and sharing it with the world.</span></p><p><span style="font-family: georgia;"> Just as importantly, I then went back and re-read the last rejection email, the one that I found so hard to take at the time. Because I'd been so upset, I hadn't digested it properly, and there was actually some crucial feedback in there, as well as some kind words of encouragement. The email told me exactly what my application was missing, and some of those were things I knew I could address straight away, so I essentially had bullet points to tick off for the next time I apply for funding, whether it's with the same organisation or another one. That is a gold mine!</span></p><p><span style="font-family: georgia;"> Also, this is the first time I'd tried to get funding for that feature; I'd tried numerous times with <i>Night Owls & Early Birds </i>before I shelved it. Am I the kind of person who gives up after only trying something once? Absolutely not (unless it's driving)! So I just need to buck up, give the project some space, and then come back to it again in the future.</span></p><p><span style="font-family: georgia;"> And you know what, after a lot of thought and organisation, I then found a way to work without that 'vital' piece of hardware after all. So I didn't need it fixed, and almost all of my hard-earned money was mine again. So pretty much all the drama I went through last month was for nothing! Lessons very much learned, indeed.</span></p><p><span style="font-family: georgia;"> What was intended to be a quick blog post has, yet again, turned into a mega rant. So I'll close things by saying I definitely have my mojo back now, and I've shared this story not to receive pity, but because I think my key takeaway from this incident is really important:</span></p><p><span style="font-family: georgia;"> Why do you make things? Why are you chasing your dream, and would you stop doing it even if you knew you were likely to fail? Could you live without it?</span></p><p><span style="font-family: georgia;"> The film industry is beyond competitive. It's over-saturated and dominated by the wealthy. It's never going to get easier. So we as filmmakers just need to stay tough, keep persevering, and in our darkest moments, just keep making for the sake of making. Do it for ourselves, not for anyone else, not for a wage packet. Do it because it's a part of who you are.</span></p><p><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-46615715589350112512021-07-18T14:15:00.005-07:002023-10-29T08:53:54.275-07:00The Summer Update 2021<p><span style="background-color: #fef5ec; font-family: georgia;"> It's a rare quiet Sunday. There's a heatwave outside, the kind of weather where you always crave cold ciders. I'm writing this blog post in my new home office, in my new home. That statement alone is cause for celebration, but it grows in significance when you add the fact that I co-own the house with my partner, <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward Harvey</a>, and we are first-time-buyers. Furthermore, my home office is now my only office because, for the first time in almost a decade, I am fully self-employed. Even if you don't take the pandemic into consideration, this has been a year of change for me - and we're only just over half way through it.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> So, to quote the <i>Talking Heads </i>(because I'm that old), "well... how did I get here?"</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Unlike most blog posts, I'm going to start this one with the personal updates, because they are significant - and first up, I'm going to talk about the house move.<br /></span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Anyone who follows my Instagram feed might be surprised to hear that I left my old house. Edward and I were living in a gorgeous village, surrounded by countryside; our house was the type of stone cottage I've always dreamed of living in; and I put a lot of time and effort into growing plants in my garden, resulting in a lot of flower spam on social media, and a stream of hashtags like <span style="color: #202124;">#CottageGarden and </span><span style="color: #202124;">#CottageLife.</span></span></p><p><span style="background-color: #fef5ec; font-family: georgia;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-A67G7XQV6cs/YPSIw-eRS8I/AAAAAAAADyQ/t_RwBXZYn_grYUOqCTG6ol9jsLAzoNJ3ACLcBGAsYHQ/s1890/house%2Bmove.jpg" style="background-color: #fef5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1248" data-original-width="1890" height="422" src="https://1.bp.blogspot.com/-A67G7XQV6cs/YPSIw-eRS8I/AAAAAAAADyQ/t_RwBXZYn_grYUOqCTG6ol9jsLAzoNJ3ACLcBGAsYHQ/w640-h422/house%2Bmove.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fef5ec;">[Above: from 'chocolate box' cottage to our own fixer-upper]</span></td></tr></tbody></table><p></p><p><span><span style="font-family: georgia;"><span style="background-color: #fef5ec; color: #202124;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><span><span style="font-family: georgia;"><span style="background-color: #fef5ec; color: #202124;"> As we are told time and time again, what you see on Instagram is far removed from the truth. I can testify to that fact. I hadn't even been in my garden much since before the Pandemic started, because of what I could see from my back window... We'd had troubles with the neighbours since literally the day we moved into that cottage, but when they moved away, and new neighbours moved in, the problems increased. The police were round constantly, and I'd find anything and everything in my back garden from cigarette butts to unaccompanied children (pulling up/trampling my plants), even drunken party guests and unfamiliar dogs at times. One day there was broken glass, and a lot of blood. We stuck it out as long as we could, because we loved the house and had put so much effort into it - but at the point when it didn't feel like home anymore, we realised we were being stubborn for no reason, and made the decision to pack our bags.</span></span></span><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-0phzkhB5sL8/YPSNRIxXmII/AAAAAAAADy0/5PTicTd04Aom6mQm7oVPLggaSN8ZhKfGwCLcBGAsYHQ/s2048/20210604_215040.jpg" style="background-color: #fef5ec; clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1152" height="320" src="https://1.bp.blogspot.com/-0phzkhB5sL8/YPSNRIxXmII/AAAAAAAADy0/5PTicTd04Aom6mQm7oVPLggaSN8ZhKfGwCLcBGAsYHQ/s320/20210604_215040.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fef5ec;">[Above: living in<br />box land!]<br /><br /></span></td></tr></tbody></table><span><span style="font-family: georgia;"><span style="background-color: #fef5ec; color: #202124;"> The new house hasn't been without its challenges. We had a lot of help getting our foot in the door, which we're so grateful for, but we also had to be realistic about what we could afford, so we moved into tiny fixer-upper. We spent an unseasonably-cold Spring without proper insulation, the kitchen was stripped bare by damp proofing, the living room light switch used to turn off the bedroom light, and every time we paint over a crack, a cupboard door drops off its hinges, or something similar happens. But it's ours. Things are quieter, safer, and our neighbours are lovely (with a great taste in music!). Eventually Edward and I stopped jumping at every sound we heard outside, like we were recovering from trauma. There are still a few boxes dotted around, but things are coming together slowly. <br /></span></span></span><p></p><p><span style="background-color: #fef5ec; font-family: georgia;"> So that was the first big change. The second was just as big: my decision to go self-employed again. Quite a few people weren't aware that I actually had a 'day job' of sorts, because I pretty much never dropped the ball with the other stuff - but it turns out that moving house, having a day job and running a business (which contains a mix of client work and narrative film production) is really ruddy hard!! Between the start of March and June, apart from moving house - which was work in itself - I only had two full days off. I was proud of all the work I was doing, but I wasn't looking after myself, and something had to give.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> It was another really difficult decision to make because I'd loved my job; I'd been there seven years and grown really close to the team. Also, because I was editing and occasionally producing videos, it didn't always feel like a job, and there were many days where I couldn't believe my luck that I was making a living that way. I'll always be so grateful to my boss for not only giving me the job, but also training me up and teaching me everything I know about editing and business; I was able to 'rise through the ranks' to Head of Post-production, and I was well looked after during the Pandemic. But the corporate/commercial video production world and narrative film productions aren't exactly part of the same industry, even though similar skills are used, and with my long-term career goals in mind, I couldn't stay in that job forever. It seems mad to say this on the outskirts of a global financial crisis, but the time felt right now - even if I had to say a few tearful goodbyes as a result.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Self-employed life is scary. I'm over-cautious, so I took a long time to make this step, and nearly bottled it twice on the run-up. My biggest cause for concern is that I've been here before; back in 2011, I quit my supermarket day job to 'chase the dream', and I did it wrong. I did unpaid passion projects - which I loved, and which gave me the opportunity to meet many collaborators I still work with - but I ran out of money after about a year, and ended up in a 'normal' job again (read <a href="https://triskelle-pictures.blogspot.com/2014/03/is-art-only-valid-when-it-comes-with.html" target="_blank">this mopey blog post</a> to see what that did for my mood levels at the time). I don't want to fail; I also don't want to fall flat on my face, particularly as I've just bought a house. But I'm not the same person I was back then. I'm more experienced, partly because I've made mistakes and learned from them.<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-U2y-fKf_Rfg/YPSQAPLW4mI/AAAAAAAADzM/uLSgywjJJ94iHY72tEz4t158jxaH_PJpgCLcBGAsYHQ/s1252/E6AQyq5XoAENSjz.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1205" data-original-width="1252" height="616" src="https://1.bp.blogspot.com/-U2y-fKf_Rfg/YPSQAPLW4mI/AAAAAAAADzM/uLSgywjJJ94iHY72tEz4t158jxaH_PJpgCLcBGAsYHQ/w640-h616/E6AQyq5XoAENSjz.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: my new work-in-progress home office]</td></tr></tbody></table><span style="background-color: #fef5ec; font-family: georgia;"><br /></span><p></p><p><span style="background-color: #fef5ec; font-family: georgia;"> I'm still mega busy. I wouldn't have left my job if I didn't already have plenty of work on. I've saved up a chunk of cash, and I have bookings well into September. But the pace feels better - I'm working <i>most</i> days instead of every day, I have a quiet piece of time every morning over breakfast rather than rushing to start my commute (currently I'm watching the BFI's mega documentary <i><a href="https://www.imdb.com/title/tt8819192/" target="_blank">Women Make Film</a></i> in bits over breakfast, which was a birthday present from Tommy Draper), and I finish at a good time most evenings, unless I have deadlines that require a little extra work. It also means I can more regularly make time to exercise, cook proper food, and work on finishing the house - all of which are things that I neglected before.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> And, unless it's a 'big edit week', Sunday is now dedicated to the narrative side of my career - which was a key part in my decision to take this step. Whenever things are slightly quieter, I'll use this day to work on scripts, apply for grants, take online courses, etc. And then once a month, if I can, I'll do a quick blog post to update you all on my progress - because I actually really enjoy writing these posts, particularly after I stopped keeping a diary at the end of 2015. Looking back at these posts is always a cathartic experience, even if it can be difficult sometimes.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> The thing is, I've been taking stock a lot lately, as we all have over the past year. Life is fantastic right now, but two things worry me (beyond financial stability). Firstly, I miss being on set in general, but more than anything I miss being on set as a director. I've had my fingers in so many pies in this industry over the years, but directing is still the thing I love the most, and I always want to get better at it, which takes experience. I haven't directed a film since <i><a href="https://www.triskellepictures.co.uk/lepidopterist" target="_blank">Lepidopterist</a></i>, which was shot over two years ago. That was a small, competition-entry film, and so I haven't actually directed a larger-scale short film since 2016, which was when we shot <i><a href="https://www.triskellepictures.co.uk/songbird" target="_blank">Songbird</a></i>. There are factors at play here beyond the pandemic. It's a matter of finance, definitely, but also my priorities over the past five years. It's hard for me to even write this, but I'm scared that this drought will make my skills rusty, and I know that if I can't get back to directing larger scale shorts - and getting better at them - then I don't really have a chance in hell at successfully making the feature films I have on my list. And I'm not as young as I used to be. Thirty-two isn't old by any stretch of the imagination, but if it's taken me this long to have only directed one larger-scale short, and I want to make more and improve my skills before tackling the features I have planned... it's just a matter of maths and life-expectancy. It isn't possible.<br /><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-XXCVGCl0Z04/YPSOugMEP1I/AAAAAAAADy8/e1g9KT6_1h84r32UgFngtwX8vMrPhzocACLcBGAsYHQ/s2048/E5JQ9uXXMAMTle3.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1463" data-original-width="2048" height="458" src="https://1.bp.blogspot.com/-XXCVGCl0Z04/YPSOugMEP1I/AAAAAAAADy8/e1g9KT6_1h84r32UgFngtwX8vMrPhzocACLcBGAsYHQ/w640-h458/E5JQ9uXXMAMTle3.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: I am now a proud Associate Member of Directors UK!]</td></tr></tbody></table><span style="background-color: #fef5ec; font-family: georgia;"><br /></span><p></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Rather than give up, I've had to think long and hard about everything I'm doing in my life. The pandemic actually gave me a great opportunity to reach out to more experienced industry figures, the type who wouldn't normally be available for meetings, so I had a lot of Zoom calls and got a lot of useful advice. I'm also applying for any opportunities for funding or training as a director; I'm still waiting to hear from a few of those (fingers and toes crossed!), but as a result of my applications, I am now a member of Directors UK. That's been a part of my career plan for a while, as BAFTA Crew was before, and I was surprised to hear that I'd actually been qualified for a membership for a few years now! (Darn me and my humble British nature).</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> I'm also being more picky about the work that I do - at least while I can be, financially. From now on, I'm not looking for work which doesn't get me a step closer to my big career goals, or which gives me vital experience or enjoyment in a similar role. This partly extends to the clients I work with (although luckily most of my clients are awesome, more on them in a moment), but a key part of this has been stepping away from Art Department or Costume work. I pursued those careers as a way to get on set with the skills that I already had, so that I could work on film shoots from the moment I left university. It was a plan that served me well, I've loved so many of the jobs I've done and met some amazing people along the way, but it's been over ten years now - it's time to step away and focus on work that gets me useful experience as a director. It's also important that I don't take design jobs away from the people who really want them, the people who don't want to do anything else with their careers. So, unless I'm really down on my luck, I won't be pursuing any more work in that field - but I will of course honour the existing projects I'm attached to as a Production or Costume Designer, as I know there's three of those films that have been in development since before the pandemic.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> My other concern is a personal one: I'm worried about forgetting all the lessons lockdown taught me. During those difficult months, we all came back to ourselves, taking pleasure in quiet moments like walking in nature or cooking comfort food. Most importantly, we realised how much 'being together' truly meant. Since Springtime, the laws have changed and we've been able to see family and friends again, to a certain degree; and yet I've barely seen them, due to my workload. If 2020 Sophie could see 2021 Sophie, she'd be screaming, "what are you doing? You could go and see and <i>hug</i> your grandparents now - why aren't you there this moment?!" Life has gotten too fast again, this year is going more quickly than I'd like, and it's been a blur of editing deadlines and moving boxes. I'm excited about the next step in my career, but I also need to remember - and I'm putting this in writing for myself as much as my readers - to carry the lockdown version of myself with me at all times. Work hard, achieve goals, but also remember to see your loved ones and appreciate the smaller moments when you can.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> This blog post is getting a bit long and mushy, so I'll draw a line under the personal stuff for now (there have been sadder times recently as well as the good days, which I haven't processed properly, but I'll reflect on those at the end of the year), and instead I'll round off this entry with a quick-ish update on all my live film projects:</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><i style="background-color: #fef5ec;">The client work</i></span></p><p style="text-align: left;"><span style="background-color: #fef5ec; font-family: georgia;"> For a while I've thought that, if my production company Triskelle Pictures were to offer promotional videos for clients, we should specialise in working with creative businesses. That way we could play to our strengths as well as flexing the cinematic filmmaking muscles in-between narrative film projects. That seemed like an unrealistic goal, but I'm happy to say that it's a target I've reached and maintained, even during the darker days of the pandemic. Over the past six months Triskelle has worked with a plethora of wonderful makers, including artist and author <a href="https://www.instagram.com/sabrinawardharrison/" target="_blank">Sabrina Ward Harrison</a>, ceramics artist <a href="http://www.aprilyoung.co.uk/" target="_blank">April Young</a>, and particularly <a href="https://www.youtube.com/user/sapphorama" target="_blank">Cathy Hay</a> and her company Foundations Revealed. </span></p><p style="text-align: left;"><span style="background-color: #fef5ec; font-family: georgia;"> I haven't directed a music video since August last year, but it's certainly something I'd love to do again soon. The music festival industry, previously a key client sector for Triskelle, has also been one of the hardest-hit by the effects of Lockdown and social distancing, but I hope that they can come back fighting bigger and better as we move into 2022. </span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-U1pa7fdOZTA/YPSJLKcDd_I/AAAAAAAADyY/PRR3oYLUMowV4ALCCKZ4hjXixccqcuucACLcBGAsYHQ/s1920/198431115_4250659414957576_3125704418786503494_n.jpeg" style="background-color: #fef5ec; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1920" height="270" src="https://1.bp.blogspot.com/-U1pa7fdOZTA/YPSJLKcDd_I/AAAAAAAADyY/PRR3oYLUMowV4ALCCKZ4hjXixccqcuucACLcBGAsYHQ/w640-h270/198431115_4250659414957576_3125704418786503494_n.jpeg" width="640" /></a></div><p></p><p><span style="font-family: georgia;"><i style="background-color: #fef5ec;">Lepidopterist and Growing Shadows</i></span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><i> </i>I have two shorts on the festival circuit at the moment, and although <i>Growing Shadows: The Poison Ivy Fan Film</i> is nearing the end of its run, it continues to make us proud, with a near-unbroken acceptance streak. Many of the festivals that selected <i>Growing Shadows</i> last year had to move their festivals online, but we do have 1-2 more physical screenings to come, and I'll announce the first one as soon as I have more information. The film is also doing fantastically well on streaming platforms, having now had over <a href="https://youtu.be/IFMeGWsy3Qk" target="_blank">33,000 views on YouTube</a> alone.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> <i>Lepidopterist</i>'s festival run was similarly disrupted by the pandemic. The first lockdown gave us time to finally finish the film, but it also forced all the festivals to close their doors. We finally had our premiere at Beeston Film Festival in March this year (always a pleasure to screen with them), but again, the festival had to move online - and the crew is itching to finally share our work with audiences on a big screen. That should finally happen - touch wood - in Autumn this year, as we have two upcoming physical screenings to announce soon, one in the UK and one in the USA. In the meantime, the film has also been gaining a buzz on the awards circuit; it received two nominations at the <a href="https://www.midlandsmovies.com/midlands-movies-awards-2021-nominations" target="_blank">Midlands Movies Awards</a> (Best Editing and Best Music, winners to be announced in September), and the film took home Best Actress in a Sci-Fi, Best Supporting Actress AND Performance of the Festival at <a href="https://www.theactorsawards.com/single-post/june-2021" target="_blank">The Actors Awards Los Angeles</a> last month! I'm over the moon for <a href="https://www.facebook.com/charlieclarkeactressuk" target="_blank">Charlie Clarke</a> and her two big wins, but it was also so lovely to see Sarah Lamesch awarded too, as she starred in one of my first ever directorial shorts, <i>Ashes</i>, way back in 2012.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Film Festivals are a never-ending learning curve, and I have a lot more new advice to share off the back of these films, as well as from <i>Songbird</i>'s festival run, so expect a new blog post focussing on festival tips for genre films in the coming months.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-oczHA7JNxmw/YPSJSmKIcbI/AAAAAAAADyc/nJUR9bV0uxUDQo3VH6uvzdFlSHaX9dsOACLcBGAsYHQ/s2000/154676083_3937024156321105_2524386572750635963_n.jpeg" style="background-color: #fef5ec; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1848" data-original-width="2000" height="592" src="https://1.bp.blogspot.com/-oczHA7JNxmw/YPSJSmKIcbI/AAAAAAAADyc/nJUR9bV0uxUDQo3VH6uvzdFlSHaX9dsOACLcBGAsYHQ/w640-h592/154676083_3937024156321105_2524386572750635963_n.jpeg" width="640" /></a></div><p></p><p><i><span style="background-color: #fef5ec; font-family: georgia;">The Barn (Working Title)</span></i></p><p><span style="background-color: #fef5ec; font-family: georgia;"> One of the reasons I haven't directed a film in two years is that I've been putting all my eggs in one basket - and it was a colossal, barn-shaped basket! I genuinely believe that <i>The Barn </i>- a fantasy thriller that visualises the fears of an expectant father - is the best story concept I've ever had, it's probably the best script myself and Tommy and I have written together, and although it's an ambitious project, it felt like the next logical step after <i>Songbird</i>, so I threw all my weight at it after that film was finished. </span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> The script did well at festivals and script competitions (most recently, it was a finalist for Best Unproduced Short Screenplay at the amazing FilmQuest in May), and everyone I've met with has said how much they loved the concept and wanted to see the film made. But ambitious projects aren't cheap - it would cost at least £35,000 to make the film, and even then we'd be penny-pinching in all departments. Shorts aren't investment pieces, so getting the funding was difficult even before the pandemic hit, and then it became impossible.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> At the start of this year, we decided to scale back and make more of a 'proof of concept' version of the film, still containing the film's key elements and many striking visual set pieces, but whittling down to one location. We wrote a script that I was still proud of, renamed it <i>Tokos</i>, and came close to pre-production in early Spring this year. But budgetary concerns reared their ugly heads again - it still wasn't a cheap film to make - and also the film's producer had to step away and focus on her larger commitments (all of which sound very exciting, and I wish her the best of luck as she had been lovely to work with). These two factors left the project floating without an oar.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Difficult decision number three of this blog post. I had spent five years developing this project, which I was wholly passionate about, and I hadn't got on set or improved my director skills much during that time as a result. The film was no closer to getting made and had now lost a vital member of the team. How long would I keep pursuing it, keeping everything else on hold in the meantime? Readers, I really didn't want to do it, but I've had to shelf <i>The Barn </i>- at least for now. It's not so much pulling the plug as putting a pin in the project, in the hope that something will change and we can come back to it in the future.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> <i>The Barn/ Tokos</i>/ whatever you want to call it, is not dead. I still believe in its merit and I still want to make it. There's also a lifeline in the fact that, believe it or not, it might be easier to get funding for the film if it were feature-length - if we can fill in the gaps and stretch the material out to at least ninety pages. In the meantime, I need to get back on set before I mentally shrivel up any further, and I need to keep improving my skills. So that means making something smaller in the coming months...</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p><i><span style="background-color: #fef5ec; font-family: georgia;">Room 515 (working title - again!)</span></i></p><p><span style="background-color: #fef5ec; font-family: georgia;"><i> </i>So I'll reveal more about this project and who's involved in it another time - partly because the subject nature needs to be handled with care, and also because I'm aware this post is getting super long - but in a nutshell, <i>Room 515 </i>is a tender drama film with an important message. Not only am I working with some brilliant filmmakers and organisations in the development of the film, but the film's minimal scale (two lead actors and mostly one location) means I can focus on character moments and crafting visuals to the best of my ability, similar to the way we made <i><a href="https://www.triskellepictures.co.uk/night-owls" target="_blank">Night Owls</a> </i>in 2014. Essentially I'll be getting back to the basics of directing after some time away, but that doesn't mean I'll be taking it easy! I want to do the best job I possibly can, I want to practice and grow in the process, and there's some incredible talent attached to the film that I'm so excited to work with (and learn from) on set. Tommy's written the script again, it's probably his best work, but he's also teamed up with the wonderful <a href="https://www.imdb.com/name/nm9312032/" target="_blank">Z. Igbe</a>, who has brought a much-treasured fresh perspective to the last couple of drafts.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> <i>Room 515 </i>does require funding, but it's a smaller project and hopefully more achievable, so watch this space. If I can avoid coming to you all cap in hand (virtually) again, then I will!</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-CRS6ccrtSHQ/YPSKK7110hI/AAAAAAAADyk/12pQj87K7ScLBPlpH_6GPstc6oxUgbo1QCLcBGAsYHQ/s1314/Screenshot%2B2021-07-18%2Bat%2B21.06.45.png" style="background-color: #fef5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1314" data-original-width="1312" height="640" src="https://1.bp.blogspot.com/-CRS6ccrtSHQ/YPSKK7110hI/AAAAAAAADyk/12pQj87K7ScLBPlpH_6GPstc6oxUgbo1QCLcBGAsYHQ/w640-h640/Screenshot%2B2021-07-18%2Bat%2B21.06.45.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fef5ec;">[Above: Rob Sharp & Charlie Clarke on the set of <i>Good Grief</i>. Photo by Jane Webb]</span></td></tr></tbody></table><i><span style="background-color: #fef5ec; font-family: georgia;"><br />Good Grief</span></i><p></p><p><span style="background-color: #fef5ec; font-family: georgia;"> I haven't been on set myself recently, but I was able to help get another brilliant crew onto one, and that has been such a rewarding feeling. Last year <a href="https://youtu.be/DkWEFHNa26o" target="_blank">I announced</a> that I was going to Executive Produce Sirloin Films' <i>Good Grief</i>, because I loved the concept but knew I didn't have time to commit to it as a full-time producer. I've been overseeing the project's development ever since, and Director/Writer/Producer Rob Sharp is full of heart and always eager to absorb knowledge, even when I'm nagging him about risk assessment etiquette and the like, so it's been a privilege to help him along this journey. My regular collaborator Charlie Clarke took the role of co-producer during pre-production, having already been on board as 1st AD, so I knew the project was in safe hands. (Yes this is the same Charlie who just won all those acting awards for <i>Lepidopterist</i>, because she's a multi-tasking wonder woman!)</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> The film finally went into production last month, and although I was a little jealous not to be there with them, the behind-the-scenes photos tell a great story - and I've had a sneak preview of some beautiful rushes, too! The film's diverse cast have given us some stunning performances, and I know that this is going to be a beautiful and moving film. Post-production has started now, and I'm so excited for you all to see the finished result. </span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> So that's everything I have on my plate at the moment. There's no updates for the <i>Night Owls </i>feature ('<i>Night Owls & Early Birds'</i>) or anything else right now, but I'm hoping to return to some older scripts on quieter Sundays as part of my new schedule, so maybe I can push those a bit more in the near future.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-iP8tY0XULaA/YPSKeyPMX2I/AAAAAAAADys/4BTEP95mKREiLVDTiAzs-gFpxwdIC4d1gCLcBGAsYHQ/s1200/IMG-20210711-WA0032.jpeg" style="background-color: #fef5ec; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="920" data-original-width="1200" height="490" src="https://1.bp.blogspot.com/-iP8tY0XULaA/YPSKeyPMX2I/AAAAAAAADys/4BTEP95mKREiLVDTiAzs-gFpxwdIC4d1gCLcBGAsYHQ/w640-h490/IMG-20210711-WA0032.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #fef5ec;">[Above: meeting Ray Harryhausen's skeletons. I'm very bedraggled and wearing a mask, but this photo - taken by Edward - still means the world]</span></td></tr></tbody></table><span style="background-color: #fef5ec; font-family: georgia;"><br /></span><p></p><p><span style="background-color: #fef5ec; font-family: georgia;"> I've got a big week of edits and meetings coming up - and maybe more work off the back of those meetings - and I don't quite know how to fit it all in, but I'm not complaining. Who knows what the future will hold, but right now things are secure and steady, and life is good. I'm doing the best that I can by my clients, but also taking time out to feel refreshed and inspired, for example by taking regular trips to the cinema or to a certain exhibition (more from that on my <a href="https://www.instagram.com/p/CRevx_rF3qy/" target="_blank">Instagram feed</a> now, and also in <a href="https://youtu.be/ya2bd6RuYmo" target="_blank">this video</a> that Edward has just released).</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"> Change has arrived. It's intimidating but I'm here for it, and I'm ready to make up for time lost over the past months (maybe even longer). I'll keep you all updated along the way, and I hope I can make you proud. I'll try and make myself proud, too.</span></p><p><span style="background-color: #fef5ec; font-family: georgia;"><br /></span></p><p><span style="background-color: #fef5ec; font-family: georgia; font-size: large;">Sophie</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com0tag:blogger.com,1999:blog-5579593911432249943.post-62562666562608929232021-06-21T09:57:00.006-07:002023-10-29T08:53:35.979-07:00The Fantasy Comeback of 2021<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wkDuhx_lspE/YNCsc_AdWuI/AAAAAAAADws/k2HTo4Odo_EjLKCbctRuowAf-zWKy7IUwCLcBGAsYHQ/s1920/May%2B22%2B2021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://1.bp.blogspot.com/-wkDuhx_lspE/YNCsc_AdWuI/AAAAAAAADws/k2HTo4Odo_EjLKCbctRuowAf-zWKy7IUwCLcBGAsYHQ/w640-h360/May%2B22%2B2021.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: opening the Fantasy Films Epic Box by Epic Toys & Collectibles. Photo by my partner Edward Harvey, pictured with me]</td></tr></tbody></table><br /><p><br /></p><p> <span style="font-family: georgia;"> Is it me, or are the 'classic' fantasy franchises having a bit of a moment?</span></p><p><span style="font-family: georgia;"> I've told this story numerous times before; I was raised on eighties fantasy films, mostly shown to me by my Dad who loves the genre. And when I was 12 years old, I went to see <i><a href="https://www.imdb.com/title/tt0120737/" target="_blank">The Fellowship of The Ring</a></i> in cinemas, and that film not only cemented my career aspirations, but it also spawned a colossal amount of merchandise. <i>The</i> <i>Lord of the Rings </i>was everywhere you looked, it was one of the most popular films of all time, and it inspired numerous imitator franchises. </span></p><p><span style="font-family: georgia;"> So, it was cool to like fantasy... until one day, it wasn't. People tired of all the films which were made quickly off the back of LOTR; many of them lacked the quality of Peter Jackson's trilogy, and on the whole, <a href="https://triskelle-pictures.blogspot.com/2015/10/fantasy-films-and-modern-audience.html" target="_blank">original fantasy offerings</a> weren't doing as well as predicted at the box office. All my early adult life, it looked as though the fantasy film genre was going to go the way of the Western. There were so few fantasy films on streaming services that they didn't even get their own category (they were just lumped together with Sci-Fi films) and I was told that, if I was going to be taken seriously as a director, I'd have to learn to make dramas instead.</span></p><p><span style="font-family: georgia;"> <i><a href="https://www.imdb.com/title/tt0944947/" target="_blank">Game of Thrones</a></i> briefly changed things, by offering 'must-see television' that appealed to lovers of fantasy, drama, action and even soap operas. At that time, a career in directing fantasy looked like a feasible plan again. But again, people tired of the <i>Game of Thrones</i> imitators that popped up all over television, the latter GoT series all dwindled in quality - culminating in possibly the most disappointing finale episode of all time - and even Peter Jackson couldn't recapture his Middle Earth magic with his CGI-heavy <i>Hobbit </i>prequel trilogy.</span></p><p><span style="font-family: georgia;"> So I thought, "well, that's it - time to be a closet fantasy fan again."</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bLaPB03OoaI/YNCtaaryweI/AAAAAAAADw0/Puwq3Q9In-4XPHKzWnco6OOG60f9tEZDgCLcBGAsYHQ/s2683/DC_Unit_12461_RC.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1172" data-original-width="2683" height="280" src="https://1.bp.blogspot.com/-bLaPB03OoaI/YNCtaaryweI/AAAAAAAADw0/Puwq3Q9In-4XPHKzWnco6OOG60f9tEZDgCLcBGAsYHQ/w640-h280/DC_Unit_12461_RC.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">[Above: <i>Dark Crystal: Age of Resistance</i> was an unexpected treat for fans, even if it was robbed of a second season]</td></tr></tbody></table><br /><p><span style="font-family: georgia;"> And then (and I'm honestly not quite sure how this happened), fantasy had a bit of a comeback, starting with the unexpected but incredible Netflix series <i><a href="https://www.imdb.com/title/tt6905542/" target="_blank">The Dark Crystal: Age of Resistance</a> </i>in 2019, a prequel to Jim Henson's seminal 1982 film <i><a href="https://www.imdb.com/title/tt0083791/" target="_blank">The Dark Crystal</a>. Age of Resistance</i> is genuinely one of the the most beautiful and brilliant things I've seen on television, and even though it wasn't renewed for a second season, that hasn't stopped a stream of fantasy offerings from popping up in its place ever since it went off the air.</span></p><p><span style="font-family: georgia;"> Here's everything that fantasy geeks like me now have to look forward to in the coming year:</span></p><p><br /></p><p><b><span style="font-family: georgia;">The Dark Crystal: Odyssey (The Ballet!)</span></b></p><p><span style="font-family: georgia;"><b> </b>Although fans were robbed of a second series of <i>Age of Resistance</i>, that doesn't mean they won't be able to return to Thra in the near future. Shortly after Netflix cancelled the series, London's Royal Opera House have announced that a <i>Dark Crystal</i> ballet will feature as part of their upcoming season of shows! Although very little is known about the project at the moment, it's been announced that the show will be a family-friendly offering that is inspired more by the original film, featuring puppets and props from Jim Henson's Creature Shop! Find out more here: </span><span style="font-family: georgia;"><a href="https://www.roh.org.uk/news/the-royal-opera-house-reveals-highlights-of-its-first-full-season-since-2019" target="_blank">https://www.roh.org.uk/news/the-royal-opera-house-reveals-highlights-of-its-first-full-season-since-2019</a></span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-pk6H776T7kQ/YNCxe7ojt6I/AAAAAAAADw8/FXljpnhmepwCna9O3zG0SbCXKrpbcGwqgCLcBGAsYHQ/s768/princess-rhaenyra-targaryen-prince-daemon-targaryen-house-of-the-dragon-1620229284.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="768" height="426" src="https://1.bp.blogspot.com/-pk6H776T7kQ/YNCxe7ojt6I/AAAAAAAADw8/FXljpnhmepwCna9O3zG0SbCXKrpbcGwqgCLcBGAsYHQ/w640-h426/princess-rhaenyra-targaryen-prince-daemon-targaryen-house-of-the-dragon-1620229284.jpg" width="640" /></a></div><p><span style="font-family: georgia;"><b>House of the Dragon</b></span></p><p><span style="font-family: georgia;"> Whether or not you've recovered from <i>Game of Thrones</i>' atrocious final season, the franchise doesn't plan on staying away from our screens for long! </span></p><p><span style="font-family: georgia;"> After a series with the working title <i>Bloodmoon </i>failed to get past the pilot stage (which is a shame, as it was written by <a href="https://www.imdb.com/name/nm0963359/" target="_blank">Jane Goldman</a> and starred Naomi Watts), HBO has pushed ahead with another series, <i>House of Dragons</i>, which revolves around the ill-fated Targaryen family. The first images have already been released, and although I'm reserving judgement at this stage (I'm not blown away by the costumes in those images), there is a good cast attached to the project, including Matt Smith, Paddy Considine and Rhys Ifans. <i><a href="https://www.imdb.com/title/tt11198330/" target="_blank">House of the Dragon</a></i> is in production now, and expected to be released in 2022 - and if that goes down well with audiences, another <u>five</u> GoT series are also expected to go into production!</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;"><b>The Lord of The Rings (on Amazon Prime)</b></span></p><p><span style="font-family: georgia;"> This is one which has been coming for a while, and when Amazon Prime first announced their Lord of the Rings series, a lot of fans were worried that it was a remake of the beloved trilogy (which turns 20 this year!). It was later revealed to be a prequel series - and further panic ensued when a rumour stated that the series would follow a 'young Aragorn' - because who could replace Viggo Mortensen, even in a prequel situation??</span></p><p><span style="font-family: georgia;"> A collective sigh of relief was heard when Amazon finally <a href="https://www.techradar.com/news/the-lord-of-the-rings-on-amazon-prime-has-an-official-synopsis-and-were-excited" target="_blank">revealed more information</a> about the series. It will be The Lord of The Rings in name alone, as it's set in the Second Age of Middle Earth - thousands of years before the events of <i>Fellowship</i>. So it would seem that no beloved characters are being recast (bar a young Galadriel, who will be played by <i><a href="https://www.imdb.com/title/tt7557108/" target="_blank">Saint Maud</a></i>'s excellent Morfydd Clark), and further more, it means that some of Tolkein's rarely-adapted earlier stories will finally be getting some screen time. The events of <i>The Silmarillion</i>, for example, are even more epic than Lord of the Rings - and that's an understatement!</span></p><p><span style="font-family: georgia;"> Production on the series (said to be one of the most expensive series ever made) was recently halted because of the pandemic, but has now resumed in earnest in New Zealand, so the show is still expected to reach Amazon Prime later this year.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-l-zOZXOxi5o/YNC1i27R94I/AAAAAAAADxE/sMJKUimKxhgY3WiX3a5R8ozUGA82QuEVwCLcBGAsYHQ/s681/LOTR-TWOTR-TT.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://1.bp.blogspot.com/-l-zOZXOxi5o/YNC1i27R94I/AAAAAAAADxE/sMJKUimKxhgY3WiX3a5R8ozUGA82QuEVwCLcBGAsYHQ/w640-h360/LOTR-TWOTR-TT.jpg" width="640" /></a></div><b style="font-family: georgia;"><p><b>The Lord of the Rings: The War of the Rohirrim</b></p></b><p></p><p><span style="font-family: georgia;"> And if the Lord of the Rings series wasn't enough for Middle Earth fans, the <a href="https://variety.com/2021/film/news/lord-of-the-rings-anime-the-war-of-the-rohirrim-new-line-cinema-warner-bros-animation-1234993740/" target="_blank">news dropped</a> last week that an Anime film is also on the way! Because this is all fairly hot off the press, there isn't much information out there yet - but again, the film is set before the events of <i>The Lord of the Rings</i>, this time focusing on the Rohirrim - particularly their leader, Helm Hammerhand, the former king of Rohan. The film promises to tell more about the history of Helm's Deep, the fortress which housed one of the greatest battles of the original trilogy.</span></p><p><span style="font-family: georgia;"> Although I'm not the biggest fan of animated films, I'm excited about this project because of the talent behind it. Director Kenji Kamiyama is an anime veteran, the screenwriters are the team behind <i>Dark Crystal: Age of Resistance</i>, and they've even got Phillipa Boyens working as a consultant. Boyens not only co-wrote <i>The Lord of the Rings</i> with Peter Jackson and Fran Walsh, but she was responsible for injecting 'the voice of the fans' into their early drafts.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BI2ykDeLZLA/YNC4rZDF5fI/AAAAAAAADxM/G3d6PUFGq4w5uKnsKtvKhXxFwRxTq3iUQCLcBGAsYHQ/s1400/willow-logo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1400" height="320" src="https://1.bp.blogspot.com/-BI2ykDeLZLA/YNC4rZDF5fI/AAAAAAAADxM/G3d6PUFGq4w5uKnsKtvKhXxFwRxTq3iUQCLcBGAsYHQ/w640-h320/willow-logo.jpg" width="640" /></a></div><p><span style="font-family: georgia;"><b>Willow (The Series)</b></span></p><p><span style="font-family: georgia;"> Another one that's been in development for a long time now is the <i>Willow</i> series, inspired by Ron Howard's 1988 film of the same name (and one of my all time <a href="https://triskelle-pictures.blogspot.com/2020/09/my-top-12-fantasy-films.html" target="_blank">favourite fantasy films</a>). The series will be made and released exclusively by Disney+, and although we don't have an official synopsis yet, we do know that Warwick Davis is returning to the role of Willow, and has already <a href="https://youtu.be/Qs8Bl3hEw48" target="_blank">vocalised his excitement</a> about the project. <i>Willow </i>mega-fan Laura Legends has released a <a href="https://youtu.be/rC_TrfI_PnE" target="_blank">good video</a> that summarises all the information that's been released about the series so far, so I recommend you give that a watch if you want to know more.</span></p><p><span style="font-family: georgia;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9ag9wxCZiIs/YNC46PcS3bI/AAAAAAAADxQ/zrkZe-Zfuh0ku0-fFfiX-FTWbG4AGNBOQCLcBGAsYHQ/s2048/the-green-knight-trailer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://1.bp.blogspot.com/-9ag9wxCZiIs/YNC46PcS3bI/AAAAAAAADxQ/zrkZe-Zfuh0ku0-fFfiX-FTWbG4AGNBOQCLcBGAsYHQ/w640-h360/the-green-knight-trailer.jpg" width="640" /></a></div><b style="font-family: georgia;"><p><b>The Green Knight</b></p></b><p></p><p><span style="font-family: georgia;"> Finally, if you'd rather see something new than another 'Hollywood' franchise film, then A24's <i><a href="https://www.imdb.com/title/tt9243804/" target="_blank">The Green Knight</a> </i>is for you. This is the film I was most excited about last year, and it will finally be released in August after multiple Covid-related delays. </span></p><p><span style="font-family: georgia;"> Although there's been numerous adaptations of the Arthurian legend, the magical tale of The Green Knight rarely makes it onto the screen, and you just know that indie director David Lowery (<i>A Ghost Story, Pete's Dragon</i>) will make something unique, beautiful and a little bit weird - but what else would you expect from the studio that brought us <i><a href="https://www.imdb.com/title/tt8772262/" target="_blank">Midsommar</a> </i>and <i><a href="https://www.imdb.com/title/tt4263482/" target="_blank">The VVitch</a></i>? I genuinely cannot wait for this film.</span></p><p><br /></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://1.bp.blogspot.com/-fc90t_PgTtw/YNGezEjDFRI/AAAAAAAADxc/34Y0-FRmOvUi5BJzo4U9sDbCC2CnFlA_ACLcBGAsYHQ/s1937/200659707_2345586702241821_3171082365055607254_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1129" data-original-width="1937" height="374" src="https://1.bp.blogspot.com/-fc90t_PgTtw/YNGezEjDFRI/AAAAAAAADxc/34Y0-FRmOvUi5BJzo4U9sDbCC2CnFlA_ACLcBGAsYHQ/w640-h374/200659707_2345586702241821_3171082365055607254_n.jpg" width="640" /></a></b></div><b><span style="font-family: georgia;"><br />(Extra entry!) Ray Harryhausen: Titan of Cinema</span></b><p></p><p><span style="font-family: georgia;"><b> </b>I actually forgot this one when I originally shared this post, but it's a perfect example of saving the best for last. Years before <i>The Lord of The Rings</i> came along, Ray Harryhausen was the pioneer of the fantasy genre, and his stop-motion monster work inspired generations of filmmakers that tried to follow in his footsteps. He created some of the most <a href="https://youtu.be/JlFjNVTiI1c" target="_blank">iconic scenes</a> in movie history (not just fantasy history), and now - after multiple Covid-related closures - fans can actually see his work in person. Edinburgh's <a href="https://www.nationalgalleries.org/exhibition/ray-harryhausen-titan-cinema" target="_blank">National Galleries</a> are now hosting the exhibition 'Ray Harryhausen: Titan of Cinema' until February 2022, featuring multiple examples of Harryhausen's creations, including those all-important skeletons (photographed above by Bryan Robertson). I've got my tickets!</span></p><p style="text-align: center;"><span style="font-family: georgia;">*</span></p><p><span style="font-family: georgia;"> Looking at all the above, it can be slightly disappointing to see that they're mostly re-treads of old franchises. There is still a lack of good original fantasy films and television shows in the world, and I am aware of that. However, as most of these upcoming productions are inspired by the fantasy films of my childhood, I am overjoyed - it feels like, exactly twenty years later, it is finally a good time to be a fan of those films. Us nerds went against the trend by loving this genre, and that love has finally been rewarded.</span></p><p style="text-align: left;"><span style="font-family: georgia;"> That's exactly how I felt in April when <a href="https://epictoysandcollectibles.com/collections/epic-box" target="_blank">Epic Toys & Collectibles</a> announced that they were going to release an 'Epic Box' full of merchandise for lovers of fantasy films. I was trying to save money at the time, having already made a hefty fantasy purchase (the gorgeous <i>Age of Resistance</i> <a href="https://www.instagram.com/p/COha14BhXyX/?utm_source=ig_web_copy_link" target="_blank">Deet figure</a> by none other than Weta Workshop!), but it didn't take me long before I caved in - and my partner <a href="https://www.instagram.com/harvey_retro/" target="_blank">Edward Harvey</a> couldn't resist filming my reaction when I opened that beautiful box:</span></p><p style="text-align: center;"><span style="font-family: georgia;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SvEbS9Z_Bi0" title="YouTube video player" width="560"></iframe><br /></span></p><p><span style="font-family: georgia;"> Not only did I open a variety of cool objects from <i>Willow</i>, <i>Legend</i>, <i>Lord of the Rings</i>, <i>Labyrinth </i>and <i><a href="https://www.imdb.com/title/tt0088323/" target="_blank">The Neverending Story</a></i>, but the ultimate treat came on Saturday when Epic Toys & Collectibles invited me onto a Zoom call with Atreyu himself, <a href="https://www.instagram.com/noahhathaway666/" target="_blank">Noah Hathaway</a>!! Out of all the Zoom calls I've had over the past year, this one will definitely take some beating. Noah Hathaway is such a cool and genuinely lovely guy - and as I was talking with him about how great it would be if someone made a film with a large budget, but with a very subtle use of CGI and a lot of authenticity, I realised that, yeah, 2021 definitely is a great time to be a fantasy film fan... and maybe I should keep pursuing the genre after all...</span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia; font-size: large;"><b>Sophie</b></span></p><p><span style="font-family: georgia;"><br /></span></p><p><span style="font-family: georgia;">p.s. I'm aware that this has been my first blog post in months! I had another one drafted in March that I didn't get round to finishing, so that will come soon, along with my regular 'Summer update' about my life and my latest projects. It's been a very intense but exciting time for me lately, both personally and professionally, but hopef</span><span style="font-family: georgia;">ully my new schedule will allow me to post monthly again. More on that to be revealed next time!</span></p>Sophie Blackhttp://www.blogger.com/profile/08509478992231771111noreply@blogger.com1