Monday, 29 May 2017

The Summer Update 2017

   Just over two weeks ago, I moved house. I'd become dissatisfied with living in Derby City Centre due to its declining quality and increased crime rate, so moving to a cottage in a neighbouring village was a welcome decision. However, it did cause a disruption to my working routine and also left me without internet for a fortnight, and I'm still playing catch up as a result.

   So what is there to update you guys on? Firstly, Songbird; although the film is taking slightly longer to finish than anticipated, the project is still in a good place, and work certainly hasn't stopped. We reached picture lock towards the end of April, and so Songbird is currently in the capable hands of the sound, music and VFX guys. I'm concentrating on the backers' rewards in the meantime, which includes looking at the extended cut and liaising with 3rd AD Demetri Yiallourou on the behind-the-scenes documentary. The film's trailer also had its big screen premiere at Short Stack in April. Hopefully we'll have more updates to share with you guys soon. For now I'd like to thank everyone who contributed to the film's LiveTree campaign - we smashed it, yet again!

Costuming Emmeline Kellie on After Party. Photo by Ben Wood of Aperture Alternative.

   Also in April, I finally got to return to my film design roots when I designed a set and costumes for Liam Banks' latest film, After Party. Liam is a friend as well as a fellow director, so it's always a pleasure to work on his films - and it was great to watch him taking the time out to coach or console his actors amongst the energetic environment of a horror film set. It was also another opportunity to work with Emmeline Kellie, who produced and starred in the film. There's still some work for me to do on After Party (and not much time left to do that in - thanks, house move!) but for now, here's some lovely behind-the-scenes stills from the set build and the first block of the shoot.

   Two of my older projects had some news in Spring, too; the trailer for Stop/Eject was screened at a special film night that celebrated all things Back to the Future (apt, as that was one of director Neil Oseman's biggest inspiration); and Night Owls won it's FOURTEENTH award when the lovely Holly Rushbrooke received the audience award for 'Actress in an Indie Film' at Top Shorts 2017! Night Owls' festival run is coming to a close soon (we only have a handful of festivals left to hear from), but it's certainly done me proud!

The Stop/Eject trailer at Leicester Firebug in May

  In terms of 'day job' work, that's been pretty hectic and wonderful too. My editing job with Dynomite Productions took me to Hamburg again, and shortly after that we were privileged to create more videos for Interflora. Their beautiful new campaign that is currently being drip fed in teasing glimpses on social media, and most of it is already available to view on their YouTube channel, alongside our previous work for the company. The latest campaign involved a visit to one of my favourite locations - Calke Abbey.

   And through my own company, I've done more work for the lovely Towersey Festival. The previous videos I edited for them are up on their YouTube channel now, and the new videos will be launched within the next few weeks.

From my previous panel appearance for Film & TV Tweetup. Watch their Facebook video to see if I pull any more strange faces this time round! (Photo credit: Alex Stroud)

   May was pretty much dedicated to the house move, but I did make one public appearance, alongside fellow filmmakers David Lilley, Alex Withers and Kelly Webster. It was my second time on the panel for Film & TV Tweetup, but this time it was to discuss the highs and lows of crowdfunding. Those of you who missed it can re-watch the Facebook Live video on the Tweetup page. I know I rambled on too long (and spoke very quickly), but at one point you do hear me get my first ever 'bravo', which was somewhat unexpected and appreciated!

   There's only one more thing that's happened since my last update: I turned 28. It definitely feels different to when I turned 27: the last 12 months have been ambitious, challenging, exciting and exhausting all at once - and I now have a few grey hairs to show for it. I have the feeling that the workload, adventures and opportunities are only going to double in the last little bit of my twenties - and I've already had a small indication that justifies that theory...

My boy Edward Harvey in Haddon Hall (one of my favourite places) on my 28th birthday - because he's less camera shy than me!

   So what's coming up? Of course, finishing Songbird is my main priority - and Night Owls will be reaching its final destination (YouTube & Vimeo) later on this season. I'm also in pre-production on my next film, details for which are unfortunately under wraps, but a few people down in London are already busy preparing for it. I've already announced my wonderful cast - Aislinn de'Ath,  who starred in (and won an award for) The Dress, and her real life fiancé Robert Dukes. I love the natural chemistry that comes from working with couples, so I'm very much looking forward to their performances.

   And it won't be long until my next film design job either, as I've been booked by the ever-enthusiastic B Squared Films to work on their short film McKinley. The detective drama is shooting in the Autumn and is crowdfunding now.

   Right, with all that coming up, I'd better get cracking. Time to grab a cup of coffee and unpack the last of my new home office. See you all on the other side!


Wednesday, 29 March 2017

Songbird: An Insider's Perspective

Giller leading the team on the
warmest day of the shoot
   There is a crew member that's right down the bottom of the hierarchy ladder, but more valuable than most. They're always waiting in the wings, never in the way, but always there whenever you need them. They'll never be nominated for an OSCAR, but they need to have a wider range of skills than anyone else. That person is your production assistant - and the best production assistant I know is Steve Giller.

   Production assistants rarely get a voice, but they are a friend to everyone, they're on set every day, and they see literally everything - the good and the bad. So I thought it would be interesting to look at our latest production, Songbird, from Steve's perspective - and to share the personal photographs he took on his phone throughout the shoot. It's an insight into the crew and our Songbird 'life' that no-one else would've seen, and it's certainly not a view we would've requested to be captured by our professional photographers! If anyone's ever wondered what it's really like to be on a film shoot, this is probably the most realistic taster you'll get...

[The line-up on day one! We obviously weren't prepared for this photo, but I love it because it captures the genuine joy and excitement we had to be making the film - particularly early on.]

   "Working on films is something I stumbled into when I got the chance to be a zombie (who wouldn't say yes to that?), and being around people who were so passionate and dedicated about what they do got me totally hooked," says Giller. "The best thing for me about the shoot was the camaraderie and professionalism." 
[Another sneaky photo that captures so much. AD Liam Banks is prepping the background actors whilst DP Chris Newman and I are having a hug. I can't remember why exactly - I'm quite a huggy director generally - but we got some beautiful footage that day, so we're probably just excited about that!]
[Speaking of background actors, here's another side of film production people rarely see - all of our supporting cast had to wait very patiently off set (and in this case, in the hot sunshine) while waiting for their scenes. What a brilliant bunch!]
[Lying on the floor photo #1: Camera operator Dave Mullany & DP Chris Newman (of Motion Click Productions) will literally go to any angle to get the perfect shot - and I always tried to be right there with them!]
[How the 'voice stealing' scene was shot: in a real alleyway, all squished in together, fighting against the dying light. We didn't built any sets on this film - we just used the beautiful locations the Midlands had to offer.]
   Giller continues, "Songbird was the most fun I've had to date by far, partly because in addition to my normal duties I got to drive the star around! I was a bit nervous about that, as you can probably imagine, but Janet (Devlin) was really lovely; friendly, open, and easy to talk to, as well as very professional - when she wasn't working hard on the film she was keeping up with her commitments to her fans on social media. And she wasn't afraid to get her hands dirty, as you can see in the film's trailer!"

[Left: Janet, working hard in-between takes and chatting to her fans. Right: DP Chris, stealing her board later on in the day to ask for help in carrying the kit inside. Giller, where were you when he needed you??]
      On what it was like to 'live' Songbird for a week, Giller said this: "The food was great! We even got to sleep in a cabin on location in preparation for the now legendary Scene 17.
Despite the weather ranging from blisteringly hot on the first couple of days to torrential downpours on the last, the cast and crew kept each others' spirits high, and no-one hesitated to muck in where additional help was needed to overcome the difficult conditions."

[The team literally lived in the woods for two days and two nights. The landscape was our film set, and the trees were our furniture!]
[The log is ready for its close-up! This shot may look strange here, but it will make perfect sense when you see the film.]
[Lying on the floor photos #2 & #3: Sometimes the crew would offer to stand in for Janet, when she was getting her makeup done, or when we wanted to keep her out of the rain for as long as possible! This was done for the sake of the camera team, so that they could line up the shot ready for Janet's return. In these photos you can see myself and AD Charlie Clarke standing in - but I appear to be having a better time!]
Giller took so many photos of a hard-working but fun-loving team, so it was hard to decide what to share with you guys. We all have some incredible memories, and so some of those photos will be retained for the crew, to help enhance and strengthen those memories for years to come. In closing, the wonderful Giller had this to say (and I swear I didn't pay him to say it):

"Having seen how beautiful the shots looked played back on the small screen of the camera, I'm so excited to see the finished product on the big screen, it's going to look fantastic."

[The final battle. We literally filled the forest with smoke on the last shooting day, although the unexpectedly terrible weather meant that it didn't linger on camera for very long. And the man responsible for firing up the generator and spreading the smoke? That was Giller, of course!]

This special blog post was released as a public reward, as part of our Livetree funding campaign. Please help support our post-production and inject a boost into the film's festival run by donating now. You can even pre-order a copy of the film itself, if you want to see the fruits of all our labours!


Monday, 13 March 2017

The Best of Beeston 2017!

   This past weekend was my favourite local festival, Beeston Film Festival. In spite of their size, and the fact they've only been running for three years, Beeston has an incredibly high standard of international films on show, so I knew I'd be in for a fine show. In fact, the films are so good that I can easily remember and name great films from the festival's previous years: for example, Humanexus, Moving Day and Bunny from year one, and (En)vie from year two. You should watch all of those films - they're all different genres, and they're all from different countries, but they are universally brilliant.

   As well as being international, Beeston also supports local films and filmmakers, and that includes myself. In year one, they screened Ashes; year two, they screened Stop/Eject, which I produced. This year they not only screened Night Owls (twice), but it was also nominated for five of their awards: the beautiful 'B'OSCARs'.

   Because they support local filmmakers, there were a few films this year that I'd seen already. So, while I won't go into too much detail on those films now, here's a quick shout out to the brilliant films at this year's Beeston Festival by filmmakers that I know: Cadence by Siskamedia, Big Bad Wolf by Sojo Animation, Stereotype by McGibney Films, Dolls by Badshoes Film, Hinterland by Small Person Productions (a group of incredibly talented teenage filmmakers!), and Transcended & Hollow Men by YSP Media. All great films, but all of which I had seen before.

   So which films, that were new to me this year, were my highlights of this year's Beeston Film Festival? I could name absolutely tons of worthy entries, but somehow I've managed to narrow it down to my top ten favourites... (warning: contains mild spoilers)

10) Butterfly (dir. Alex Withers)

   A drama about a teenage girl, whose shot at a professional swimming career is held back by the discovery that she is epileptic. I know that the crew behind this spent years making sure it was right, so I've been keen to see it for a while, but it was worth the wait.

9) Apollo 11 (dir. Chen Chih Yin)

   Another coming-of-age drama: A teenage girl grew up idolising her Dad and his love of space so much, that she went into a career in an astrology museum. However, in a heartbreaking moment, she discovers that her Dad had a son with another woman - and she finds out because the boy shares the same love of space, and uses the same catchphrases her Dad used with her. Definitely a film about having to face maturity faster than you'd choose to.

8) What a Peaceful Day (dir. Eden Chan)

   An animated film that really appealed to my daft and quirky sense of humour. An old woman goes on a camping trip - and finds herself suddenly in the companionship of a deer. But when a hunter goes after the deer's horns, the old woman and the deer (driving!) have to make a dash for it in the old woman's caravan. An epic battle ensues. It involves a ladle. I'm not even kidding!

7) Time Thieves (dir. Fran X. Rodríguez)

   Definitely the best-edited film of the festival: such great rhythm, and more match-cuts than you can shake a stick at! The film revolved around a man trying to literally steal time from the most prompt and routine-driven man you could hope to meet. A funny film with a touching ending.

6) Transmission (dirs. Varun Raman & Tom Hancock)

   A man wakes to find he's trapped in a hangman's noose, in an underground bunker, being mentally and physically tortured by a very dapper chap. I can't say I always understood this film, but the cinematography and set design looked incredible (it was shot on 35mm), and so I was surprised it wasn't up for any technical awards.

5) The Bread Bear (dirs. Eason Lu & Yichin Tsai) 

   Another very silly film - in fact this was, without a doubt, the most random film of the festival - but it had everyone in stitches. A bear with a bread shop finds his sales rising when his customers discover an addictive creamy filling inside his loaves. But then the bear discovers the filling is actually flamingo poo... and things take a dark and (even more) bizarre turn... Lots of quirky touches in this film, like the fact the bread is 'grown' in the bear's garden. What's more, the film was made in stop motion, which is always such a treat.

4) Twiddly Things (dir. Adara Todd)

   The second stop motion film on this list, but the polar opposite of The Bread Bear. Twiddly Things is a beautiful, dark and haunting portrait of Alzheimers, using the metaphor of things literally unraveling. The fact that the voiceover came from a genuine Alzheimer sufferer made it all the more poignant. 

3) First Snow (dir. Lenka Ivančíková)

   The last animation on my list (I was surprised by how much animation I absolutely adored this year). This film was so epic and beautiful, with an incredible set and fantastic puppetry. An adorable hedgehog wanders away from hibernation in order to witness his first snow, but when he can't find his way back to his parents, and he realises the world is a dangerous place, the adventure really kicks off. Even if you don't like adorable things (what's wrong with you??) then watch this film for the stunning eagle puppet - particularly the way it lands.

2) Cinephiliac (dir. Matthew Tichenor)

   This film was the most epic of the lot, and it nearly made my top spot for sheer cinematic storytelling. A woman chases the man she's meant to be with through every genre of film: romantic comedy, thriller, western, film noir, sci fi... the film nails every genre and utilises every aspect ratio. There's even a little loving homage to the wonderful Metropolis. But the film is most lovable and relatable when it moves into the real world. If it is the real world...

1) What Is Hidden In Snow? (dir. Loic Gaillard)

   This was one of the first films I saw at the festival, but it stuck with me throughout. It's at once hilarious and brutal, colourful and bleak (the production design and costumes are so bright it's almost uncomfortable). In the near future, a man uses a performance-based simulation service to act out the revenge he wanted to take on his cheating wife. Meanwhile, a group of plastic-faced staff with huge, constant smiles watch on encouragingly. Definitely one for the Black Mirror fans!

   And finally, honourable mentions to Anoesis, (a dark and engaging portrait of an outcast, featuring some raw and watchable performances) and I Am God, And Severely Underqualified (a set dresser's dream, with an enigmatic lead performance and a subtle Edgar Allen Poe feel to the script). I loved both films, both of which featured local actors, so they nearly made my list!

It didn't say 'La La Land', but I still couldn't believe it!

   So, how did Night Owls do? Unfortunately we didn't win any of the awards we were nominated for (the quality and budgets of our competition were just too high), but I did come away with a special, unexpected award: Rising Star, an award that comes with industry mentoring. I was so surprised to have won anything that it didn't sink in for a bit: I just carried on clapping without realising I was supposed to go up and make a speech!!

   Thank you to John Currie and all of the Beeston Film team for another great year. I'll be sure to support you guys again in 2018!


Saturday, 4 March 2017

Songbird: Mastering the Songs

[Up at first light for our road trip... and a teasing glance of the famous zebra crossing, which we posted to make people guess where we were.]

   So, once again my film life gave me the opportunity to dip my toe in the world of music, as recently myself and Songbird's writer, Tommy Draper, got an inside look at the world-famous Abbey Road Studios. We were there with Songbird's leading lady, Janet Devlin, her wonderful manager Rick, and music producer Graham (who is also a bit of a legend) to master Janet's two songs for the film: Chandeliers and Once Upon a Time.

   I believe the mastering went well; I don't know anything about sound mixing (although I'm sure some of the sound guys I work with would've reveled in all the gear we saw!), but the songs sound beautiful, and there of course was no doubt that the tracks were in safe, experienced hands!

   The 'work' side of the day was relatively brief for myself and Tommy - it was really a chance to catch up with Janet and get some footage for the Songbird behind-the-scenes videos (see below) - so a good portion of our time was spent on general music geekery. Did we walk across the famous zebra crossing? Yes, but only because we actually had to cross the road, and we had to wait for some tourists to move. It still felt pretty damn cool.

[The mixing desk at Abbey Road. It's all a mystery to me, but it certainly looked cool!]
[One of Abbey Road's original vinyl presses - from back before vinyl had a comeback!]
[Janet watching and listening carefully nearby as her tracks are mixed]

   What else did we take away from our time there? Well, we were allowed a quick and cheeky look inside studios one and two, which felt amazing: not only did we see the piano 'Let it Be' was written on (it's still there!), but also the studio where the scores for The Lord of the Rings and The Hobbit films were recorded. I was barely able to keep my cool at that point! Anything Peter Jackson-related leaves me buzzing.

   Looking at all the amazing names of people who had recorded at Abbey Road, I saw Kate Bush listed, and I couldn't resist asking questions about her. I found out that she had worked in many of the rooms there, including the very room we were mastering the Songbird tracks in (again, another moment where I struggled to keep calm!). And, mentioning no names, I now know someone who claims to have got stoned with Kate Bush - and he also once went clubbing with David Bowie! When I asked him what Bowie was like, he said "he was one of those people who seemed incredibly normal and incredibly special at the same time." In all honesty, that's exactly how I felt about Janet when I first met her.

[Janet, myself and Tommy in the studio, beneath some platinum disks! Photo credit: Rick at Insomnia Music Management]

   Moving back to the Songbird songs themselves. They really are lovely pieces, both of which perfectly capture the two sides of Jennifer's personality; Chandeliers is beautifully delicate and haunting, and Once Upon a Time is a happy, catchy, confident anthem for anyone who has overcome a difficult personal challenge. For those of you who pre-ordered copies of the songs during the last campaign, the tracks should have just been sent out. If you missed out on the chance to buy them back then, you can do so via our 'festival booster' funding campaign, which will be launched within the next few days. Watch this space!


Monday, 13 February 2017

Losing my Muchness (and getting it back)

Very relatable artwork by
Gemma Correll!
   I'm always striving to blog more often, and if something big comes along that I can learn from, then that gives me even more of a reason to write. Unfortunately there's only been one thing on my mind this month (apart from Songbird) and it's not a fun subject, but I do think I have some advice from anyone who's been through similar. So here goes...

   When one first starts making films, it's purely a creative form of expression: you get your friends involved, you shoot & edit it yourself, and you only have yourself to please. When you go to film school, your skill and your films become something to be marked, to be rated, but it's still only a means to an ends, so it doesn't affect your mindset too deeply. But after that, whenever you make a film, you need to release it into the world, and make yourself known to people - and everyone has an opinion,  a criticism, a judgement that can tell you whether or not your latest product will propel your career forward, or send you backwards. And all of this is difficult to adjust to when deep inside you're still just a young artist, trying to express yourself creatively; all you want is to tell a story that you care about.

   Criticism and feedback is important. You don't always have to agree with it, but for the most part it will make your work better and help you to grow, so you come to accept it as a necessary part of your career. However, the thing no one prepares you for, and which may never feel helpful, is negative comments. Personalised attacks. Bitchiness. Trolls.

   Towards the start of this year I received a message (a better description would be an essay) that knocked me for six. Of course I'm not going to mention any names or go into detail, but essentially the words questioned my skills, my methods, and even the merit of my work. It criticised the people I work with, and my ability to work with them. Rather than offering advice as to how I could be a better filmmaker, the message just took the time to say that I am not good at what I do.

   There are lots of people who would've read that message,  shook it off and carried on with their work as if nothing had happened. I am not one of those people. I am somewhat ashamed to say that it broke me. There are thousands of filmmakers out there who aren't skilled enough, who will never be able to achieve there dreams, and I began to question if I was one of those people. I wondered if I was deluded. Eventually, when I started to attend networking events and meetings with other filmmakers again, I tried not to talk about my own work; if it came up, I brushed it aside as if I was ashamed, or even apologetic.

From the relaxation of centre parcs to the mental stimulation of London, I had to travel around England to get my mojo back!

   When February finally came, and I was still in my slump, I realised how pathetic I was being, and I tried to get to the crux of the issue. After all, if I doubted myself as a director, how could I ever expect people to follow my leadership? Everyone working in the industry receives negative comments (look at all the harsh words thrown at Keira Knightley, and even one of my idols,  Kate Bush, received some mixed receptions in her career - but it didn't stop them from doing what they love), so why was I taking it so to heart?

   Do I like my work? Yes. There's things I'd change about every film I've directed or produced, and I know that some things have to be seen as finished rather than perfect, but I love every experience I've had. I'm proud of those films, and even if I didn't like them, looking at their successful festival runs (and particularly Night Owls' recent surge of awards) proves my work must have some merit. Which means the reason for my lack of confidence lies not in my work, but in myself. I decided to sort this out.

   So, what am I doing to improve my mindset and thicken my skin? Well, first I thought about what my emotions were actually like when I received the negative comments. I admit I was weary; I had a heavy workload,  both with Songbird and my corporate career, and I was also ill at the time. The film industry is a manic one, which never really eases up, and you can't control when negativity comes your way. But finding time in your schedule to take breaks - a day off in the week if possible - can of course raise your mood and make you less reactive in the face of destructive comments.

   In spite of the intentions I'd previously declared on this blog, I admit that I don't take many days off. I certainly had no intention of booking a holiday with Songbird so heavily in post-production. But my friend wanted to celebrate her 30th birthday in centre parcs, and she invited me along, so I took the opportunity to switch off (my thoughts and my phone) in the middle of a forest. When I came back, I was rested, I disliked myself a little less, and I felt determined to continue the 'holiday feeling' as I returned to work.  This may mean working at a slightly slower pace, wearing comfy 'weekend clothes' while editing, or trying to recreate the smells of the centre parcs spa in the home office. I haven't tried all of these methods yet, but they sound like potentially good ideas!

One of the many great courses hosted at Raindance (photo from the Raindance website)

   My body and mind relaxed, the next step was to work on my creative working mindset. I was keen to learn new skills as a director, or at least to rebuild my confidence in the skills I already had. So phase two of my recovery was to attend a directing course at Raindance (where I now have a membership). 

   With my low self esteem still firmly in place, it took me a while to settle in - I felt shaky when I had to introduce myself, and again I dismissed my achievements when asked about them. But the course taught me that my stresses, my doubts, are the same ones every director goes through at some point. It taught me that, if you love your work, you should protect it like an iron shield in the face of naysayers, not agree with them. And, at times when you are in a slump, you could always treat each new stage and project like it's the first days of your career; not to make mistakes, but to tackle everything like it's a fresh start. It is for that reason Joss Whedon went back to basics and did a Shakespeare adaptation with his friends, at his own home, after making the biggest, most 'studio' film of his career,  Avengers Assemble

   I learnt lots of other things on this course,  but those I will save for another time. The main thing is that, as well as learning new tricks (as expected) I also discovered that there's a lot of things I am doing right, and I was able to walk away with more confidence for that reason. For the first time in months, I felt excited to get back to work. I had a new energy.

   My mindset is still going to take some work. I've always had confidence issues, and I don't invest enough time in myself. In this bitchy, cliquey industry, where everyone seems to be watching your work in the hope that you'll fail, negative comments will always come - particularly in the age of social media. If I learn the trick to not caring what people say, I will tell you. But for now I can say that I do believe in my work and my collaborations, and I believe in myself enough to carry on doing what I'm doing. When criticism isn't there to help you, have faith in your own choices - that is what I will be doing by the next time I direct a film. I can promise you that.

Ending this post with some wise, true words from Sylvia Plath

Monday, 9 January 2017

My Life in Cinemas

The cinema that started it all. Just look at that 90s line-up!

   I've been thinking about cinemas lately (well, more so than usual!). It's a well-known fact that the increased popularity of Netflix and other on-demand services over the last few years has caused the cinema industry to struggle, but I don't think they'll ever disappear completely. Cinemas offer something that television and films watched at home cannot offer: the experience. People still go to cinemas for dates, for parties, even educational trips - or, for a lot of people, it's just a place to escape everyday life.

   Having my films played in cinemas is still the main goal for me. It will take a lot to beat the feeling of seeing Night Owls shown on the big screen at London Short Film Festival this time last year, and the brief cinema run of Stop/Eject (the fantasy drama I produced between 2012-2013) is still one of the highlights of my career.

  But interestingly, looking back at the main stages of my life, it feels as though there was a different cinema there, every step of the way. I bet a lot of filmmakers and film fans feel the same. So, in celebration of the silver screen, just because I feel like expressing some love for them, here are the cinemas that made me who I am today (along with the dates when they were most meaningful to me):

The first cinema - UCI Derby (now Odeon)
1992 - 2007

   Growing up, this was the only cinema in my area - and it was still a fair drive away. My earliest cinema memory was when I was around three years old, watching The Jungle Book on a re-release. I got such a buzz from being there - I still remember being fascinated by the strings of lights along the aisle, marking the way to our seats, and the way Dad used to wear his light-up watch in the cinema to check what time it was. The UCI was also the first place where I experienced that 'coming out into the daylight after sitting in the dark' feeling. I had birthday parties there, and I went there with my family until the early noughties, but continued to go with my friends in my teen years (mostly to watch Tim Burton films). The cinema still stands today, but as it's no longer my local, I haven't been in years.

Farnham Maltings, near my old university campus in Surrey

The university cinema (and my first independent cinema) - Farnham Maltings
2007 - 2010

   During my Film Production degree, my class watched films on a daily basis, and there was a multiplex in a neighboring city I visited with my uni mates. But the cinema I remember most fondly from my university days was Farnham Maltings. I was quite antisocial during my time at university; I was frequently homesick, and I chose to stay in my room and study, paint or write rather than going to parties. Farnham Maltings was the first cinema I chose to go to on my own, on the days when I needed a bit more quiet time to myself, and I discovered that I liked watching films this way (not all the time, but sometimes). I remember the cinema had a nice little bar and fold out seats, and it was more of an art centre than a cinema, but I definitely watched The Edge of Love and The Lovely Bones there, on my own. Sounds of a crowd in the Maltings (on one of the busier days) were also featured in my graduation film, The Opening Night, because the film's sound designer worked there.

The cinema I worked at - Showcase Cinema de Lux, Derby
2012 - 2014

   Two years after graduating, I handled my first attempt to go freelance badly. I gained lots of experience, but I ran out of money, so I had to get a part time job. The Showcase Cinema de Lux in Derby was fairly new at the time, and when I visited as a customer, it was the biggest, most impressive cinema I'd ever seen. Working behind-the-scenes ruined that illusion for me a little bit (I certainly got fed up of the smell of popcorn!) but it actually taught me more about the business of film - and the way audience members choose which films to watch - more than anywhere else, and I'll always be grateful for that. I also made some really good friends amongst my colleagues, some of who were filmmakers that I have worked with since.

Introducing one of many films at Five Lamps Films in Derby Quad

The cinema that has supported my career - Quad, Derby
2011 - present

   Quad was built around the same time as the Showcase, but it was much smaller in scale, and functioned as an arts and community centre as well as a cinema - similar to Farnham Maltings. I was introduced to the Quad's 'open mic night' for films, Five Lamps Films, about a year after I graduated, and it gave me the opportunity to not only show my films but also to network with local filmmakers (I'd left the majority of my contacts down South after I graduated, and was in desperate need of some local collaborators). Since then, the Quad has been a huge asset to me. They allowed director Neil Oseman to do a talk there when we were trying to raise funds for Stop/Eject; they allowed my team to film a scene of Songbird within their walls; and their great bar has provided an ideal meeting spot on many occasions over the years. They show a great range of films from different eras, favouring great indie films rather than blockbusters, and it's always a comfy cinema experience.

The coolest/most in-demand cinema - The Ritz, Belper
2007 - present

   The Ritz cinema was restored during my final year of high school, having been left abandoned behind a Bingo hall for about 50 years. When it was purchased by the present owners, they maintained all of its art deco charm; it has just the one screen, on a little stage, and it was the first cinema I went to where I could take a cup of coffee in and sit on a sofa (before then, I'd mostly been to multiplexes). I actually applied for a job there twice - once before uni, and once after - but the staff love it there so much that there rarely seems to be any openings. Equally popular are the tickets - the memberships are highly sought after, and you have to book in advance if you want to get in. But if you do manage to get a seat, it's one of my favourite date venues, and the local community atmosphere is buzzing amongst the audience. The Ritz has also supported my films over the years; they've put my Kickstarter/Crowdfunder flyers in their window, and they were one of the cinemas to screen Stop/Eject during its cinema run.

The Ashes premiere at the Lexi Cinema. Photo credit: Lawrence de Gruchy

The first premiere cinema - The Lexi Cinema, London

   When I directed the short film Ashes between 2012-2013, it was the first time I'd directed a professional crew (outside of university) and I wanted to do a 'proper' premiere. The cinema we used was recommended by male lead Adam Lannon, who had connections with the owners, and it was perfect for us; small enough to suit an indie production, but grand enough to make the event feel special (partly because of the beautiful feature lighting in the main screening room). I hired a presenter and a photographer, and Adam even managed to get top casting agent Amy Hubbard to join the audience as a VIP guest, sat alongside some representatives of War on Rape and Wan2Talk, who were supporting the film due to its subject nature. Although I haven't been back since, due to the distance, I still remember this cinema fondly as being the setting for such a special occasion.

The many-premieres cinema - Broadway, Nottingham
2014 - present

   The more local filmmakers I collaborated with, the more premieres I got invited to. And at least 90% of those have been at Nottingham's Broadway cinema. They're incredibly supportive of local filmmakers, so much so that I held the Night Owls premiere there as well. Similar to Derby Quad, they also show more indie films than blockbusters, and their bar has also proved to be a great meeting spot. They even have some underground studio rooms which you can rent out; these proved very useful when I had to hold auditions and rehearsals for Songbird. Two of the main networking events for Nottingham filmmakers - Shooters and Short Stack - have recently found their homes within Broadway too, so I expect to be visiting this cinema more in the future.

Wirksworth's Northern Light Cinema - isn't it adorable?

And finally - the cinema I want to try, but haven't yet! - The Northern Light Cinema, Wirksworth

   Hidden in the heart of Wirksworth is a cinema with a similar screening ethos to Quad and Broadway, but it's similar in size to The Ritz. One of the factors that really excites me are the chairs; all of them are covered in colourful printed fabric, and none of them match! I haven't been to Wirksworth since my drama rehearsals in 2006, but I've heard good things about this cinema, so I must head over there at some point. 

   I hope you all enjoyed my list. As I've attended many film festivals over the years, I couldn't include every cinema I've been to, but these are the main ones from key parts of my life. One that didn't make the list, which I went to for the first time recently, is Nottingham's Savoy Cinema, and I definitely recommend it for a traditional cinema experience. There's also lots of great 'hidden gem' cinemas around the UK which I haven't tried yet - including some great ones I've heard about in London - so I'm happy to hear some recommendations.

   My next cinema trip? Derby Quad again, to see La La Land with my filmmaking partner-in-crime, Tommy Draper. I'm really looking forward to it - because the excitement of those lights going down and the screen turning on never goes away!