BFI Film Fund

BFI FILM FUND FILMS 2013/14 20,000 DAYS ON EARTH 45 YEARS ’71 ALAN PARTRIDGE: ALPHA PAPA BELLE BROKEN BROOKLYN BYPASS CATCH 05 ME DADDY CALVARY THE COMEDIAN CUBAN FURY DARK HORSE THE DOUBLE THE DUKE OF BURGUNDY ELECTRICITY EXHIBITION THE FALLING FRANK FOR ISSUE 1 THOSE IN PERIL GET SANTA GONE TOO FAR THE GOOB SPRING/SUMMER 2014 HALF OF A YELLOW SUN HOW I LIVE NOW HYENA 06 04 MIKE LEIGH INREALLIFE THE INVISIBLE WOMAN JIMMY’S HALL THE On Cannes and filmmaking 05 STEPHEN BERESFORD AND LAST DAYS ON MARS THE LAST PASSENGER THE LOUISE OSMOND LOBSTER LE WEEK-END MISTER JOHN MR. TURNER Bringing real life to the big screen ROBOT OVERLORDS A PERVERT’S GUIDE TO IDEOLOGY 06 PETER STRICKLAND On experience, insecurity and PHILOMENA PRIDE QUEEN & COUNTRY REMAINDER THE not knowing 08 RIOT CLUB SECOND COMING THE SELFISH GIANT SHELL 08 DREAM WORLD SLOW WEST SPIKE ISLAND THE SPIRIT OF ’45 A STORY Creating Carol Morley’s The Falling 10 HOME SWEET HOME OF CHILDREN & FILM THE STUART HALL PROJECT Filmmaking outside the big smoke SUFFRAGETTE SUNSET SONG SUNSHINE ON LEITH UNDER THE SKIN WELCOME TO THE PUNCH X PLUS Y 10

CoveR image: CaRol moRley, Photo By Paul maRC mitChell BFI Film Fund Welcome... to the first edition of BFI Film Fund Filmmakers, an up close and personal look at a number of filmmakers who have recently been As the largest public film fund in the UK, the BFI Lottery Film Fund develops, supports and supported by the BFI Film Fund, and films that are just coming into view. invests in exemplary, original UK films and filmmakers. Whilst we can’t cover everything, we hope that the writers, directors and producers in these pages, and in future editions, will demonstrate the breadth of filmmaking talent that we aim to support through Using Lottery funds, we support in the region of 30 feature film productions a year; more our development and production funds. than 100 feature film projects through development; and through our BFI NET.WORK we The current wave of critical and commercial success for UK film seems set to continue, and a standout work across the UK to discover and develop next generation filmmaking talent on the road theme of a number of upcoming films is revolt: stories and filmmakers who turn the world on its head, to their first feature. both onscreen (Mr. Turner, Jimmy’s Hall, Pride, Suffragette, Catch Me Daddy and The Falling), and in the spirit of productions such as The Duke of Burgundy, The Goob, Bypass, The Riot Club (formally Posh) and The Lobster. We encourage bold, original storytelling in any genre, and dedicate considerable funds to Through their insights and inspiration, we hope that BFI Film Fund Filmmakers will offer a rally cry filmmakers (writers, directors, producers) at an early stage of their filmmaking careers, from filmmakers to filmmakers: be bold, take risks, reject the status quo... along with those world-beating filmmakers who operate outside the mainstream but make considerable contributions to the UK’s rich film culture. We are committed to promoting diversity in the filmmakers we support, the stories they tell and the audiences they reach. Ben Roberts: Photo by Ben Duﬀy

www.bfi.org.uk/filmfund Ben Roberts Director of the BFI Film Fund BFI FILM FUND FILMS 2013/14 20,000 DAYS ON EARTH 45 YEARS ’71 ALAN PARTRIDGE: ALPHA PAPA BELLE BROKEN BROOKLYN BYPASS CATCH 05 ME DADDY CALVARY THE COMEDIAN CUBAN FURY DARK HORSE THE DOUBLE THE DUKE OF BURGUNDY ELECTRICITY EXHIBITION THE FALLING FRANK FOR ISSUE 1 THOSE IN PERIL GET SANTA GONE TOO FAR THE GOOB SPRING/SUMMER 2014 HALF OF A YELLOW SUN HOW I LIVE NOW HYENA 06 04 MIKE LEIGH INREALLIFE THE INVISIBLE WOMAN JIMMY’S HALL THE On Cannes and filmmaking 05 STEPHEN BERESFORD AND LAST DAYS ON MARS THE LAST PASSENGER THE LOUISE OSMOND LOBSTER LE WEEK-END MISTER JOHN MR. TURNER Bringing real life to the big screen ROBOT OVERLORDS A PERVERT’S GUIDE TO IDEOLOGY 06 PETER STRICKLAND On experience, insecurity and PHILOMENA PRIDE QUEEN & COUNTRY REMAINDER THE not knowing 08 RIOT CLUB SECOND COMING THE SELFISH GIANT SHELL 08 DREAM WORLD SLOW WEST SPIKE ISLAND THE SPIRIT OF ’45 A STORY Creating Carol Morley’s The Falling 10 HOME SWEET HOME OF CHILDREN & FILM THE STUART HALL PROJECT Filmmaking outside the big smoke SUFFRAGETTE SUNSET SONG SUNSHINE ON LEITH UNDER THE SKIN WELCOME TO THE PUNCH X PLUS Y 10

www.bfi.org.uk/filmfund Ben Roberts Director of the BFI Film Fund mike leigh: Photo by Simon mein / thin man Films ltd

Details Details Title: Mr. Turner Title: Pride Director: Mike Leigh Director: Matthew Warchus Producer: Georgina Lowe Producer: David Livingstone Writer: Mike Leigh Writer: Stephen Beresford Cast: Timothy Spall, Marion Bailey, Dorothy Atkinson, Cast: Ben Schnetzer, George Mackay, Joseph Gilgun, Paul Jesson, Lesley Manville, Martin Savage Paddy Considine, Bill Nighy, Imelda Staunton, Shoot duration: 70 days Andrew Scott, Dominic West Location: UK wide Shoot duration: 44 days Film stock: Digital Location: Wales and London Production partners: Thin Man Films, Film4, Film stock: Digital Focus Features, BFI, LipSync Productions, Production partners: Calamity Films, Xofa Productions, Diaphana Films, Pathé, BBC Films, Ingenious Media, France 3, Amusement Park Films, BFI, Canal+ and Cine Cinema Canal +, Cine + and France Télévisions Sales Company: Pathé Sales Company: Sunray Films UK Distributor: Pathé Pride UK Distributor: Entertainment One

Screenwriter Stephen Beresford and filmmaker Louise Osmond on bringing real-life stories to the big screen

Directed by matthew Warchus from manipulate events to make them more In filtering so many stories, how do a script by first-time screenwriter dramatic or funnier. i said, “if that you decide what to sacrifice? Stephen Beresford, Pride has been bothers you in any way, i will take you SB: you hear great stories and you want selected to close this year’s Directors’ out altogether.” But all of them said yes. them to put them all in the film but you Fortnight. the film is set in 1984, at the one woman even said, “oh, make me can’t. the language matthew Warchus height of the miners’ strike instigated up completely darling!” and i used was that it was like a chord: by margaret thatcher’s policies, and you needed to see six little moments tells the true story of a small group of Louise, you’re not having to throughout the story for each gay and lesbian activists who take fictionalise but you’re still character and that all becomes part themselves, and their support, into the editorialising. Are there similarities of the big symphony. heart of a Welsh mining community, with Stephen’s experience? LO: People quickly identified breaking down barriers as a result. LO: it’s almost the mirror of what themselves during the casting process. Director Mike Leigh talks to Amy Dark Horse, directed by louise osmond Stephen’s doing because you’re also it does tend to come down to the people and currently in production, is a looking for the beats that will make for whom it meant the most. you have a Raphael about his Cannes experiences documentary recounting the rags- an immersive narrative. there were sense that this particular story changed to-riches tale of champion racehorse some discussions when we were first their lives in some way so you’re drawn Dream alliance and members of the pitching about, “Would these people to them. We were thinking of it slightly ike leigh, 71, knows what it's Cannes from the working-class Welsh syndicate who bred be honest enough about their own as a caper film, a lavender hill mob like to be both judged and a inside out. her. Besides the Welsh connection, both lives to give you the kind of personal where the heist they’re going to execute M judge at Cannes. Five of his the routine was to roll out Pride projects were developed and made story you would expect to see in a is this sort of ridiculous attempt to break films – Naked (1993); Secrets & Lies of bed very early, take the free with support from the BFi Film Fund. written script?” into the sport of kings with their foal (1996); All or Nothing (2002); Another magazines left outside the hotel bred on a slag heap. then you find Year (2010) and Mr. Turner (this year) – door into the toilet and sit there reading Tell us the origins of your stories. Did it take time to find that? reasons to go sideways into people’s STEPHEN BERESFORD: i was first told LO: it did. We did one series of long lives and characters. have been nominated for the Palme d'or. ahead of the 8.30am screening. Sure the true story when i was 20. i didn’t interviews with each of the main the year after Secrets & Lies won the enough, i'd read about a few films that believe it at first, that this group of characters, and then went back for Did issues arise regarding the Palme d'or, leigh sat on the jury were bound to be Palme d'or winners – gay people had supported this a second round. it was an interesting responsibility you felt to the people alongside isabelle adjani, Paul auster, films we'd rejected out of hand. i'd also mining village with such passion and peeling away of layers. whose stories you were telling? michael ondaatje, tim Burton, gong li heard the jury was knobbled. the truth Broadway theatres and he jumped up bed with a taxi outside commitment that the miners had SB: i found that the trouble with stories SB: i have a split personality in that and Nanni moretti. this will be, therefore, is we were unimpeachable. Nobody with excitement when i talked about our house in north london. they finally supported them in return, but it was like this is that memory has turned them respect. there’s the humanist who’s his sixth official visit to Cannes in just influenced us and we made the decisions my film – subsequently, when we phoned up and said, 'get in the car!' a story that was always in the back all to gold. it’s difficult to get the other concerned about people’s privacy and over two decades – not bad going for on the last day. as a point of interest, the made Topsy-Turvy he was extremely it's quite a trek to heathrow. halfway of my imagination. When i pitched stuff. i’d say, “a minibus of early 20s gay then there’s the writer, a ruthless, the gP's boy from Salford. only film that divided the jury down the enthusiastic about it. i went for a there we got a phone call telling us to to my producer and he got it straight and lesbian people arrive at the miner’s cold-blooded killer who just goes, away, i then had to go out and find Welfare hall — what happened?” and “i want the story”. i always knew that middle was michael haneke's Funny pee at some point during the lunch turn back. on instinct i decided to keep the people involved! people would say, “oh, we applauded the ruthless, cold-blooded killer would leigh is a formidable character in the Games. Some of us thought it was a and there was Coppola giving a full going. When we arrived at heathrow LOUISE OSMOND: i wanted to make a them!” they had expunged any win but luckily for me, there was an world of cinema. he is one of the very brilliant piece of filmmaking and others rendition of “i am the very model of there was another call telling us to documentary with a horse as its centre negativity from their mind. i had to be extraordinary honesty from the best visual storytellers, able to explore said it was a fascist film. a modern major-general” from The get on a flight. it turned out, of course, and came across this group, which persistent and slowly stories started to people involved. love, passion, betrayal, family and art with Pirates of Penzance. that i'd won Best Director and David immediately leapt out as a fantastic come out but no one was coming LO: i recognise what Stephen’s a fluency, depth and consistency that few And of course the perception of what's thewlis Best actor. story. at the time, an american forward to say, “yes, i’m a bigot”. saying. When you’re in the edit, your other filmmakers manage to achieve. in going on, compared to the reality, all Although it attracts the Hollywood company had optioned the rights to i characterised the bigotry by creating greed for the story is insatiable. my Mr. Turner he has excelled even himself, feeds into the mythology of Cannes. ‘greats’, do you like the fact that Cannes Was it equally thrilling on the last day make a feature film but 16 months later, a character in the village and putting all exec producer said i should be able allowing us into the private world of the that's true, but i consider myself to be is beyond the reach of Hollywood? of jury service? they got in touch and we were able to the words of 1980s homophobia into to sit on a sofa beside those people, pioneering British artist JmW turner. lucky and privileged in the sense that of course. increasingly, however, yes! the jury's decision is made on the move forward. Just my luck, it her mouth. watch the film and feel that i could

Dark Horse Dark happened to be the first year that if defend it with my hand on my heart. Newspaper headlines are already putting every single time i've been to Cannes hollywood very much represent final day, after all the films have been you wanted to apply for BFi funding Was it also challenging for you, Louise, that’s a good rule of thumb. leigh up against his old colleague Ken it's been for a reason and so i've had themselves there. there are hollywood seen. We were taken to a small chateau for a feature documentary, you had to to get past rose-tinted recollections? SB: louise, have you any advice for loach, who is also in competition this a schedule and been looked after. hoardings everywhere. that's great, but on the outskirts of Cannes under police do a public pitch in front of 400 people. LO: it’s a phenomenon of our times that me on the day when my contributors year at Cannes, but in doing so they are Whereas i know there are an endless what they can't do, so far as i've always escort. We all had our mobiles people are much more aware of their will see the film? perhaps missing the point: Mr. Turner isn't number of people who go and hang out, understood it, is to actually bully their confiscated. gilles Jacob sat quietly What are the challenges of portraying story and the way it will play. But these LO: alcohol or drugs, basically. the just a great British film, it's a great film. hustle, try to blag tickets and try to get way in. they certainly can't influence in the room, only taking part in the real people and their lives on screen? people weren’t really interested in last time, i remember i was sitting in to meet people. i'd hate that. it's not what the jury. When i was on the jury, harvey discussion if there was a point of order. SB: it’s the first time i’d ever attempted romanticising their story. Sometimes my car in the car park beforehand, What do you remember of your first turns me on about movies. But some Weinstein had in competition a particular as soon as there was a decision he'd a true story so i was flying blind, but my it crept towards that when they were literally groaning in pain and fear. it visit to Cannes, in 1993, with Naked? people love it because it's part of the film which we pretty much rejected. go out with the only mobile on the policy was to tell everyone the absolute discussing the horse but they would SB: at least you’ve told me the truth. i had no idea what to expect. it was buzz of the movies. he was furious. But it's very fair. very premises and communicate that truth from the beginning: that i was quickly come back to the reality of how going to have to fictionalise the story people in the village would diss it the shown, as Mr. Turner will be, early on in healthily, it's the epicentre of the decision to the outside world. and amalgamate characters and minute it lost a race and call it a donkey. iNteRvieW By matt muelleR the festival. immediately, the buzz on The year you were on the jury was also international film world of which the Croisette was Naked/Palme d'or. the 50th anniversary of Cannes. A lunch hollywood is merely a part, rather Now you are back to being judged: the buzz continued all weekend. the for all the surviving Palme d'Or winners than being the actual epicentre as I'd be amazed if the sublime Mr. Turner prediction boxes in variety, Screen was held and you were sandwiched manifest in the oscars®. doesn't win something. My money's international and the hollywood between Martin Scorsese and Francis on the Palme d'Or. Reporter simply heightened the buzz by Ford Coppola: how was that? Weinstein was disappointed that year, you can say what you like. i'm saying Naked/Palme d'or. and then it got i also sat facing the President of France, but Kathy Burke won Best Actress philosophical about it all now. to monday, tuesday and the buzz was giscard d'estaing, who was flanked by for Nil by Mouth. Whatever happens, the film is being shifting slowly from Naked/Palme d'or to Chen Kaige and gong li. We all had a lot and famously, she could not be located. launched into the world in this amazing Details The Piano/Palme d'or and then Farewell to drink and i ended up telling Scorsese Finally, somebody tracked her down to packed press screening at 8.30am Title: Dark Horse My Concubine/Palme d'or. in fact, The that i was planning a film about gilbert Sainsbury's at the angel in islington. She attended by journalists from all over Director: Louise Osmond Piano and Concubine shared the prize and Sullivan. he said he'd been trying to was flown out to Cannes in a small private the world. it's really good news Producer: Judith Dawson and we got Best Director and actor. make a film about the gershwin brothers plane and arrived looking stunned. i knew however you look at it. Writer: Louise Osmond for ages. Seventeen years later he still exactly how she felt. When Naked was Cast: n/a – documentary It must have been intriguing to then hasn't made that film, which is a shame. nominated for a Palme d'or, i was still amy RaPhael iS the authoR oF Shoot duration: tbc spend time on the jury and to witness Coppola's father was an mD around with alison Steadman and we sat on the MIKE LEIGH ON MIKE LEIGH (FaBeR & FaBeR) Location: Wales Film stock: digital Production partners: World’s End Pictures, Film4, Channel 4, BFI, Film Agency for Wales, DSP, Picturehouse Entertainment Sales Company: Protagonist 04 bfi.org.uk UK Distributor: Picturehouse

Dark Horse mike leigh: Photo by Simon mein / thin man Films ltd

Screenwriter Stephen Beresford and filmmaker Louise Osmond on bringing real-life stories to the big screen

Dark Horse The Duke of Burgundy Emerging from the chrysalis

Peter Strickland on the art of letting go The Duke of Burgundy with more experience, ‘‘ one feels less insecure Peter Strickland on set

Strickland works closely with his Strickland’s career to date about not actors, learning all the time from them. demonstrates a willingess in how “it’s hard for me because i had no best to bring his work to life. For formal training and up to now i have him, the joy of filmmaking is found knowing always written my own scripts. there in creating “an unfamiliar world, is a beautiful intimacy to directing your yet within that i try and bring in own material, but the disadvantage is something that people can recognise PETER STRICKLAND that i can be too connected to it.” within their own lives. all three films Because of this, Strickland now puts don’t conform to realism, and no himself in his actors’ shoes, and whilst matter how distant the worlds tough, he unpicks the characters he has created might be from a viewer’s written for his players. “the more i work life, i hope that the core beliefs, with actors, the more i realise that you dilemmas and emotions of the are constantly on your toes in terms of characters still resonate.” finding what works for them.” ’’ WoRDS By JoSePh WalSh

hen i started out there was the work with as few preconceptions on paper that turned this fear of inexperience, as possible. however, he has let it be out completely flat on “ and you don’t want to let known that he is embracing a new screen and vice versa. you Wanything go,” was how Peter Strickland genre; melodrama. “i am a fan of soon learn to accept these described the experience of making his melodrama. it allows you to go to things and cut out what first feature film, the striking thriller, emotional places that would otherwise doesn’t work.” Katalin Varga (2009). be frowned upon. it’s a risky genre as it can descend into sentimentality, Strickland’s unique visual approach three years later, he stunned audiences or worse, irony.” to avoid these took him to the vFX studio Jellyfish, with his tribute to giallo horror, pitfalls, he believes, “it is better to which has created the moths in the Berberian Sound Studio (2012), write openly and freely, and then Duke of Burgundy. inspired by Mothlight starring toby Jones, and he is set you see if you’ve gone too far or (1963), a short by Stan Brakhage, moths to return with his latest feature, not when you read it again the are used to “provide a texture to the The Duke of Burgundy. next morning.” film” and “convey a sense of mind. “the same attention to detail that “i now realise that you have to loosen For Strickland, well known for his he applies to crafting his plot up and then things work better.” this unique visual aesthetic and gift of and characters was applied to was evident in the lead-up to this latest creating immersive atmospheres, this element of the movie. i picked feature, which was shot in hungary it is about, “the excitement of finding four species and gave london-based and looks at the intense relationship a genre in which to frame a particular visual effects company Jellyfish as between two women, one of whom story or mood,” adding, “i have always many references as possible for is a lepidopterist, a moth or butterfly enjoyed writing to, or against, the rules modelling and animation. they collector. as things were changing right of the genre.” ultimately though, he would check with us at various up to the last minute, this free approach needs there to be “a core truth to stages of pre-visualisation regarding to the script allowed the film to ignite the script, otherwise it’s genre size, wing movement, speed, and organically “mutate”. the reason for genre's sake.” leg position when flying. When behind this shift in attitude to how he i saw the first moth that they approaches each film stems from the Despite this adherence to the rules, his created, i couldn’t tell it apart from fact that “with more experience, one ability to write in this way comes from the real thing – the level of detail Details feels less insecure about not knowing.” the fact that he still manages to retain was astonishing.” Whilst the moths are Title: The Duke of Burgundy Strickland now embraces the creative freedom. he openly admits an important element of the feature, Director: Peter Strickland “unpredictable nature” of making films. that, “we kept this one low budget,” Strickland stressed, “i tried to Producer: Andy Starke so he would be able to create the film be sparing in their use, otherwise

Writer: Peter Strickland Peter Strickland: Photo by Rob entwistle Few details have been released the way he wanted to, allowing the it weighs too heavily in the direction Cast: Sidse Babett Knudsen about The Duke of Burgundy, because script to develop. “on this ﬁlm, i have of symbolism, which is something Strickland wants audiences to approach had scenes that i thought were brilliant that i’m not crazy about.” Chiara D’Anna Shoot duration: 4 weeks Location: Hungary Film stock: Digital Production partners: Rook Films, Film4, BFI, Ingenious Media / Ripken Productions Sales Company: Protagonist Pictures 06 bfi.org.uk The Duke of Burgundy The Duke of Burgundy Emerging from the chrysalis

Peter Strickland on the art of letting go The Duke of Burgundy with more experience, ‘‘ one feels less insecure Peter Strickland on set

lizzie Francke and Carol morley

arol morley never ran around with LF: With documentary you can pick up LF: The Falling, a super 8 Camera as a child. She the camera and then interview people. being set in an all girl’s Ccame to filmmaking following a i have talked to filmmakers, in particular grammar school in the different path. the BFi Film Fund’s lizzie a documentary filmmaker who grew up late sixties really continues Francke first met morley following her in circumstances where there weren’t this exploration of the female first first feature The Alcohol Years, a film film people about, and he just got experience. What strikes me is the With a film that morley describes as “a documentary hold of a camera and started boldness of greta Scacchi – it is a very that was seemingly about me, but that interviewing people. unadorned performance along with the became much more about other people”. CM: When i was studying Fine art Film other teachers at the school who are all looks at young we literally dug out bits of 16mm film middle-aged. and what amazed me on LIZZIE FRANCKE: i have never really from bins in Soho and cut them the set was that it was almost an entirely asked you this but what was the film that adding soundtracks. By working female crew and cast. made you want to become a director? with pre-existing material you get CM: as the middle-aged head mistress in female sexuality CAROL MORLEY: it never occurred to me to understand rhythm without the film says, “this generation thinks they that it was something that i could do, shooting anything. are so misunderstood! if they had any ‘‘ i never believed in the possibility of idea of what it is to be a woman they you wonder if becoming a director but i watched the LF: i came to you, as many people did, would know what misunderstood meant!” work of Douglas Sirk when i studied through The Alcohol Years – was that With a film that looks at young female for my film a-level and began to fall film for you a defining moment? sexuality you wonder if there was a big in love with films about women. i then Cm: yes. i became very aware of how guy with a beard behind the camera there was a big ended up going to Central Saint martin’s constructed documentary was – and whether they would have been as able to and experimental film seemed more wanted to foreground that in the be so relaxed in front of the camera. you possible. the art world had women that work that i did. have to protect the cast’s world.” you had heard of and were making guy with a beard significant contributions. LF: Were you thinking about Dreams LF: What’s your process for bringing the of a life at that time? characters in your films to life? LF: Did you feel that you needed to CM: When it came to Dreams of a life, CM: i feel that i know the characters with behind the camera give yourself permission to become a i wanted to open possibilities and allow The Falling and that they are real. When director? audiences to involve themselves in the i started writing them i used real CM: i think that filmmaking is different film. it was very important to me to not photographs of people that i found, and for everyone. Sometimes i think that exploit Joyce’s memory and to be put them up on my wall. i would interview whether they everyone who makes films wishes that conscious of the fact that it is a very them in my head and get to know them they were a painter, so you could take delicate thing to do and that the really well. the themes of the film would some paint, a brush and canvas and get audience could have an affinity with develop through the characters. would have an instantaneous result. i also think that Joyce and not just see her as an filmmaking is as much about when you anthropological documentary device. LF: is it about emotion and having a aren’t making the film as when you are – relationship with the characters you have to give yourself permission not it took a long time to make that film, that you want to believe in? to give up - that is the hardest thing. i around five years in total, but i always CM: that is it for me. you can

been as able lizzie Francke and Carol morley: Photo by Paul marc mitchell always remember michael Winterbottom said that even if it took 25 years it give audiences that saying that “most filmmakers are always doesn’t matter because it was important. experience and for me that Details sitting on their arses,” meaning they are it was a film that had to exist and it found is the reward. i don’t think to be free. stuck in development hell, and it is about a global reach because people could find that i will make that many Title: The Falling how you propel yourself out of that, no their own lives through hers. films because i want to Director: Carol Morley matter how difficult. research them and, Producer: Cairo Cannon CAROL MORLEY LF: how do you react if people ask are ultimately, when i Writer: Carol Morley the meeting of commerce and art in film you a feminist filmmaker? embark on a project Cast: Maisie Williams, Maxine Peake makes you realise that filmmaking won’t Cm: i always wanted to make films, and i have to be Anna Burnett, Rose Caton, Joe Cole be easy, especially if you want to say tell stories about the female experience. comfortable with Location: Oxfordshire something that has never been said Some female directors say, “i am not a the idea that it will Film stock: Digital before, or tell something in a way that has woman director,” whereas i think, i am take, five, 10, 20 years Production partners: Cannon and Morley never been told before. and i don’t think a a woman and i am a director and i am not to make. i am ok Productions, BBC Films, BFI, LipSync ’’ film comes alive until the audience sees it. ashamed of my experiences. with that.” Productions, Independent, Boudica Red Sales Company: Independent 08 bfi.org.uk Carol morley on set The Falling Dreaming stories Director Carol Morley and BFI Film Fund’s Lizzie Francke discuss women in film

lizzie Francke and Carol morley

been as able lizzie Francke and Carol morley: Photo by Paul marc mitchell always remember michael Winterbottom said that even if it took 25 years it give audiences that saying that “most filmmakers are always doesn’t matter because it was important. experience and for me that Details sitting on their arses,” meaning they are it was a film that had to exist and it found is the reward. i don’t think to be free. stuck in development hell, and it is about a global reach because people could find that i will make that many Title: The Falling how you propel yourself out of that, no their own lives through hers. films because i want to Director: Carol Morley matter how difficult. research them and, Producer: Cairo Cannon CAROL MORLEY LF: how do you react if people ask are ultimately, when i Writer: Carol Morley the meeting of commerce and art in film you a feminist filmmaker? embark on a project Cast: Maisie Williams, Maxine Peake makes you realise that filmmaking won’t Cm: i always wanted to make films, and i have to be Anna Burnett, Rose Caton, Joe Cole be easy, especially if you want to say tell stories about the female experience. comfortable with Location: Oxfordshire something that has never been said Some female directors say, “i am not a the idea that it will Film stock: Digital before, or tell something in a way that has woman director,” whereas i think, i am take, five, 10, 20 years Production partners: Cannon and Morley never been told before. and i don’t think a a woman and i am a director and i am not to make. i am ok Productions, BBC Films, BFI, LipSync ’’ film comes alive until the audience sees it. ashamed of my experiences. with that.” Productions, Independent, Boudica Red Sales Company: Independent 08 bfi.org.uk Carol morley on set The Goob Driven to succeed First-time feature director Guy Myhill, and producers Lee Groombridge and Mike Elliott discuss making The Goob

an you make this?” was the she decides to let the bullish “ question first-time feature film- Womack (played by Sean harris, who Cmaker guy myhill faced time and previously collaborated with myhill on time again when setting about making The Bilsons in 2001 and Two Half Times his first feature-length film. his To Hell) live with them, goob finds response? Simply, “yes. We can.” himself sidelined. things start looking up for him with the arrival of eva over the past decade, myhill has (pop star-turned-actress hannah worked with every major British Spearritt), who works on the local broadcaster, in theatre and in media beet farm, and becomes a welcome education. Now, though, he tackles a distraction from the troubles at home. very different beast: directing his first feature, the sun-drenched, coming- the concept for the feature was written of-age drama The Goob. whilst on holiday. as the director admits, “things like Stockcar racing liam Springs in The Goob Staying away from the ‘tired old city’ of haven’t really been featured in British london, which is so often the default cinema.” the narrative came together setting for British-based dramas, myhill remarkably quickly. “i wrote quite a lot stuntmen – normally i wouldn’t bother. film was very much made with looked closer to home for inspiration. in my old camper van. most summers in one scene, there is a group of lads that spirit in mind.” “many of my stories are rooted in i go away with my family. We got on doing a car chase, and the producers Norfolk because i know it and i have a boat at Portsmouth to Bilbao, and were insistent on playing it by the book. Working on a tight budget, with a connection with it. For me, it is a on the way i knew that i had to crack there are lads up there that would put a quick shoot is no mean feat. fascinating landscape up there, it’s a on, i must have written the bulk of it money in a hat and roll a car for fun on But when myhill was asked what guy myhil on set land full of secrets, there are bodies in about 12 hours.” a Sunday afternoon!” his secret was, his response was buried there, it’s just an odd place.” typically generous. “We had a myhill was keener still to stay away once the script had been developed, myhill’s love of the area is obvious, very strong team ethic, so when from the stereotypical view of the myhill addressed the question of how giving him the creative freedom to tell challenges did come in, we were fenlands portrayed in the handful of to get the film made. “We treated it like stories in his own way. he was keen to strong enough to cope.” he added, other films made there. “People use the Fa Cup: you have to go through acknowledge the support that he and “i think it is about being humble. the beaches for costume dramas … stages, like 32, 16, 8. at every stage we producer lee groombridge received it’s really important that you there are too few films about the had a lot of support and goodwill — from the Norfolk locals. “the level of always have that in mind. there real people of Norfolk.” even if we were going to loose 1:0, we goodwill we got from people was can be a sense of entitlement always felt good about the project. We amazing, some of them only charging in the industry that i think is The Goob is exactly that: a story about never thought, ‘we’ve got to make this £20 a day for locations, and were just wrong, and there’s a hierarchy real people, in a region of england or we are going to kill ourselves’.” happy to do it. i remember lee was too, which is also wrong. it is rarely explored in cinema. taking place scrambling for some change to give to great to smash that away over one sweltering summer amidst the the shoot was quick, only four weeks, the extras, just to give them something, and have this shared spirit. grungy world of Stockcar racing, which myhill described as the team’s it is honesty that you need.” myhill’s everyone on set should the plot follows goob (newcomer “biggest challenge”. as a first-time down-to-earth integrity extended to have a good time.” We treated it liam Springs), a 16-year-old director, myhill’s approach to the his choice of cast. “the boy who is who has spent his young production was remarkably level- the lead was on the dole when i met WoRDS By JoSePh WalSh life helping his mum headed. “it is just about being realistic. him; then there is hannah, who at her transport it’s also about being creative with was in S Club 7, who lived in great like the FA Cup: café. When locations. the last thing that you want yarmouth. We could throw them all in to be doing is moving around.” “What and no one said a thing… i would have Details did lose me time,” myhill grinned, loved to have got tim from the you have to go Title: The Goob “was insisting on things like chip shop in it. the Director: Guy Myhill ‘‘ Producers: Mike Elliott and Lee Groombridge through stages Writer: Guy Myhill Cast: Liam Springs, Sean Harris, Sienna Guillory, Hannah Spearritt, GUY MYHILL Oliver Kennedy, Rosa French, Joey Copsey Shoot duration: 4 weeks Location: Norfolk Film stock: Digital Production partners: Emu Films, iFeatures, 10 bfi.org.uk ’’ Creative England, BBC Films, BFI The Goob Driven to succeed First-time feature director Guy Myhill, and producers Lee Groombridge and Mike Elliott discuss making The Goob

an you make this?” was the she decides to let the bullish “ question first-time feature film- Womack (played by Sean harris, who Cmaker guy myhill faced time and previously collaborated with myhill on time again when setting about making The Bilsons in 2001 and Two Half Times his first feature-length film. his To Hell) live with them, goob finds response? Simply, “yes. We can.” himself sidelined. things start looking up for him with the arrival of eva over the past decade, myhill has (pop star-turned-actress hannah worked with every major British Spearritt), who works on the local broadcaster, in theatre and in media beet farm, and becomes a welcome education. Now, though, he tackles a distraction from the troubles at home. very different beast: directing his first feature, the sun-drenched, coming- the concept for the feature was written of-age drama The Goob. whilst on holiday. as the director admits, “things like Stockcar racing liam Springs in The Goob Staying away from the ‘tired old city’ of haven’t really been featured in British london, which is so often the default cinema.” the narrative came together setting for British-based dramas, myhill remarkably quickly. “i wrote quite a lot stuntmen – normally i wouldn’t bother. film was very much made with looked closer to home for inspiration. in my old camper van. most summers in one scene, there is a group of lads that spirit in mind.” “many of my stories are rooted in i go away with my family. We got on doing a car chase, and the producers Norfolk because i know it and i have a boat at Portsmouth to Bilbao, and were insistent on playing it by the book. Working on a tight budget, with a connection with it. For me, it is a on the way i knew that i had to crack there are lads up there that would put a quick shoot is no mean feat. fascinating landscape up there, it’s a on, i must have written the bulk of it money in a hat and roll a car for fun on But when myhill was asked what guy myhil on set land full of secrets, there are bodies in about 12 hours.” a Sunday afternoon!” his secret was, his response was buried there, it’s just an odd place.” typically generous. “We had a myhill was keener still to stay away once the script had been developed, myhill’s love of the area is obvious, very strong team ethic, so when from the stereotypical view of the myhill addressed the question of how giving him the creative freedom to tell challenges did come in, we were fenlands portrayed in the handful of to get the film made. “We treated it like stories in his own way. he was keen to strong enough to cope.” he added, other films made there. “People use the Fa Cup: you have to go through acknowledge the support that he and “i think it is about being humble. the beaches for costume dramas … stages, like 32, 16, 8. at every stage we producer lee groombridge received it’s really important that you there are too few films about the had a lot of support and goodwill — from the Norfolk locals. “the level of always have that in mind. there real people of Norfolk.” even if we were going to loose 1:0, we goodwill we got from people was can be a sense of entitlement always felt good about the project. We amazing, some of them only charging in the industry that i think is The Goob is exactly that: a story about never thought, ‘we’ve got to make this £20 a day for locations, and were just wrong, and there’s a hierarchy real people, in a region of england or we are going to kill ourselves’.” happy to do it. i remember lee was too, which is also wrong. it is rarely explored in cinema. taking place scrambling for some change to give to great to smash that away over one sweltering summer amidst the the shoot was quick, only four weeks, the extras, just to give them something, and have this shared spirit. grungy world of Stockcar racing, which myhill described as the team’s it is honesty that you need.” myhill’s everyone on set should the plot follows goob (newcomer “biggest challenge”. as a first-time down-to-earth integrity extended to have a good time.” We treated it liam Springs), a 16-year-old director, myhill’s approach to the his choice of cast. “the boy who is who has spent his young production was remarkably level- the lead was on the dole when i met WoRDS By JoSePh WalSh life helping his mum headed. “it is just about being realistic. him; then there is hannah, who at her transport it’s also about being creative with was in S Club 7, who lived in great like the FA Cup: café. When locations. the last thing that you want yarmouth. We could throw them all in to be doing is moving around.” “What and no one said a thing… i would have Details did lose me time,” myhill grinned, loved to have got tim from the you have to go Title: The Goob “was insisting on things like chip shop in it. the Director: Guy Myhill ‘‘ Producers: Mike Elliott and Lee Groombridge through stages Writer: Guy Myhill Cast: Liam Springs, Sean Harris, Sienna Guillory, Hannah Spearritt, GUY MYHILL Oliver Kennedy, Rosa French, Joey Copsey Shoot duration: 4 weeks Location: Norfolk Film stock: Digital Production partners: Emu Films, iFeatures, 10 bfi.org.uk ’’ Creative England, BBC Films, BFI films can make connections, ask questions, challenge received opinions … films can ‘‘ give value to the experience of ordinary people. It is through the drama of everyday life, its conflicts, struggles and joys, that we may glimpse the possibilities for the future Ken Loach’’