A PATCH OF FOG NORFOLK BRAND NEW-U DIRECTOR: MICHAEL LENNOX DIRECTOR: MARTIN RADICH DIRECTOR: SIMON PUMMELL

DEPARTURE HOW TO CHANGE GOZO DIRECTOR: ANDREW STEGGALL THE WORLD DIRECTOR: MIRANDA BOWEN DIRECTOR: JERRY ROTHWELL SPACESHIP SECOND COMING DIRECTOR: ALEX TAYLOR WHO’S GONNA LOVE DIRECTOR: DEBBIE TUCKER GREEN ME NOW? THE ONES BELOW DIRECTORS: TOMER HEYMANN, BYPASS DIRECTOR: DAVID FARR BARAK HEYMANN & ALEXANDER BODIN SAPHIR DIRECTOR: DUANE HOPKINS

IONA THE MUSEUM ELECTRICITY DIRECTOR: SCOTT GRAHAM OF INNOCENCE DIRECTOR: BRYN HIGGINS DIRECTOR: GRANT GEE I AM BELFAST THE DUKE OF BURGUNDY DIRECTOR: MARK COUSINS THOMAS QUICK DIRECTOR: PETER STRICKLAND DIRECTOR: BRIAN HILL A SYRIAN LOVE STORY THE SURVIVALIST THE FALLING DIRECTOR: SEAN McALLISTER DIRECTOR: CAROL MORLEY DIRECTOR: STEPHEN FINGLETON THE LOVERS AND BILL THE GOOB THE DESPOT DIRECTOR: RICHARD BRACEWELL DIRECTOR: GUY MYHILL DIRECTORS: ROBERT CANNAN & ROSS ADAM THE LOBSTER ROBOT OVERLORDS DIRECTOR: YORGOS LANTHIMOS DIRECTOR: JON WRIGHT HIGH-RISE DIRECTOR: BEN WHEATLEY 45 YEARS DRUG LORD: DIRECTOR: ANDREW HAIGH THE LEGEND OF SHORTY THE INCIDENT DIRECTOR: ANGUS MACQUEEN DIRECTOR: JANE LINFOOT BROOKLYN DIRECTOR: JOHN CROWLEY X+Y TRESPASS AGAINST US DIRECTOR: MORGAN MATTHEWS DIRECTOR: ADAM SMITH SLOW WEST DIRECTOR: JOHN MACLEAN HYENA LIGHT YEARS LONDON ROAD DIRECTOR: GERARD JOHNSON DIRECTOR: ESTHER MAY CAMPBELL DIRECTOR: RUFUS NORRIS CATCH ME DADDY COUPLE IN A HOLE DARK HORSE DIRECTORS: DANIEL WOLFE & MATTHEW WOLFE DIRECTOR: TOM GEENS DIRECTOR: LOUISE OSMOND REMAINDER SUNSET SONG QUEEN AND COUNTRY DIRECTOR: OMER FAST DIRECTOR: TERENCE DAVIES DIRECTOR: JOHN BOORMAN SUFFRAGETTE TESTAMENT OF YOUTH LOVE IS ALL DIRECTOR: SARAH GAVRON DIRECTOR: JAMES KENT DIRECTOR: KIM LONGINOTTO

BFI.ORG.UK/FILMFUND BFI FILMMAKERS ISSUE 2 | WINTER 2014/15

08 09 04 FIRST FEATURES DIRECTORS STEPHEN FINGLETON, JANE LINFOOT AND ESTHER MAY CAMPBELL 07 BFI NET.WORK INVESTING IN NEW AND EMERGING TALENT ACROSS THE UK 08 CATCH ME DADDY DANIEL AND MATTHEW WOLFE ON FINDING THEIR LEAD, SAMEENA JABEEN AHMED 10 14 09 WHO’S GONNA LOVE ME NOW? PRODUCER/DIRECTOR ALEXANDER BODIN SAPHIR ON HIS NEW DOCUMENTARY 10 45 YEARS WRITER/DIRECTOR ANDREW HAIGH ON HIS SECOND FEATURE 14 X+Y 16 18 DIRECTOR MORGAN MATTHEWS ON MAKING THE LEAP FROM DOCUMENTARIES TO FICTION 16 TESTAMENT OF YOUTH WRITER JULIETTE TOWHIDI TALKS ABOUT ADAPTING A CLASSIC MEMOIR 18 BROOKLYN PRODUCERS FINOLA DWYER AND AMANDA POSEY DISCUSS THEIR LATEST PROJECT 20 22 20 LONDON ROAD DIRECTOR RUFUS NORRIS IN CONVERSATION WITH THE BFI’S BEN ROBERTS 22 BILL BRINGING A FAMILY COMEDY TO THE BIG SCREEN CONTENTS

WELCOME...

Thanks for picking up this, the highly anticipated second issue of BFI FILMMAKERS, which offers a few glimpses at some of the films being made across the UK (and beyond) with our support at the Film Fund.

After a debut described as "promising... some nice production values" we've added more pages, to cover more filmmakers.

The front page features writer and director Andrew Haigh on a follow-up of his own, working alongside the great Charlotte Rampling on the recently completed 45 Years. Andrew drew attention with his docu-drama Greek Pete in 2009, but it was the surprise success of his first dramatic feature, Weekend, in 2011 that marked him out. With 45 Years, starring Rampling with Tom Courtenay as a couple whose steady marriage is struck by an unthinkable crisis, Andrew and his producer Tristan Goligher have swerved the sophomore slump. It's a remarkably mature film which, when viewed alongside his TV work on the HBO series Looking, suggests a filmmaker with a fine ear for honest, intimate and uncomfortable drama, and someone with the confidence to tell his stories at his own speed. As he considers his next steps (he is currently working on the second season of Looking) Andrew has built up a reputation that will help him attract cast and crew, and raise finance. It’s a reputation that will help him get his future films off the ground.

It's satisfying to see a filmmaker's career moving forward and upwards, and a number of strong voices emerged this year which promise the same: Yann Demange (’71), Hong Khaou (Lilting), Destiny Ekaragha (Gone Too Far!), Jane Pollard and Iain Forsyth (20,000 Days On Earth) all made distinctive debuts in 2014, and we look at some of the other upcoming debuts that we're currently supporting over the next few pages.

We’ve also recently celebrated the first birthday of the BFI NET.WORK, a new approach to our pre-first feature talent development which spans the UK.

A sobering statistic from our own research unit shows that, over the last 10 years at least, only 18% of the directors of UK independent films have gone on to make a second. Whilst not accounting for those working in TV or in the US and elsewhere, that’s still 82% who didn’t make a second independent film in the UK.

So we know that we need to put as much time and effort into the follow-up, if we're going to help build film careers that last, and definitely a resolution for the year ahead.

BEN ROBERTS Director of the BFI Film Fund

Powered by Film3Sixty, 45-51 Whitfield Street, London W1T 4HD · Managing Director & Publisher NICK LEESE · Editor JOSEPH WALSH · Creative Director PAUL MARC MITCHELL · Printed by Geoff Neal Litho

All information correct at time of going to press. 360 Publishing gratefully acknowledges permission to use copyright material. Copyright holders are acknowledged on the page containing the individual copyright item. Every effort has been made to trace and contact copyright holders. If there are any inadvertent omissions we apologise to those concerned, and ask that you contact us so that we can correct any oversight as soon as possible. COUNTY ANTRIM Stephen Fingleton on the set of The Survivalist, County Antrim

A vital and dynamic British film industry relies on the presence of a growing body of new, inspiring directors coming forward with their first features.

It is not hard to imagine the complex thoughts and emotions that run through a first-time feature director’s mind. They FIRST weigh up the inherent challenges of the process against their innate desire to tell the stories they deeply care about.

While the experience of creating short films, familiarity with production as well as a good producer will guide their FEATURES decisions, there is nothing comparable to the effort, complexity and excitement of creating a debut feature film. Stephen Fingleton, Jane Linfoot and Esther May Campbell are three such directors making that first leap into feature films, supported in part by the BFI which sees investing in talent as essential for enabling and nurturing new filmmakers across the STEPHEN FINGLETON, JANE LINFOOT AND UK. The BFI’s approach and process has also become more structured in order to ensure new filmmakers can be provided ESTHER MAY CAMPBELL ON THEIR EXPERIENCES with the necessary level of editorial support alongside raising finance. Filmmakers can apply for funding at any time during the year, but projects are assessed at quarterly intervals and follow a process which includes meetings with filmmakers. AS FIRST TIME FEATURE DIRECTORS

When Stephen Fingleton decided he wanted to become With The Survivalist, this changed. New challenges were a director, he made a brave choice. He decided he would presented in tackling a feature-length film, but fortunately make a career outside of the film industry. “I knew early on the script was at an advanced stage. What Fingleton that I didn’t have any connections in the industry that would needed was to show what he could do as a director, so he be able to help me. I made the decision to use the money made a short called SLR, shortly followed by another with I earned working in financial administration, and eventually the support of the BFI, called Magpie. “Making Magpie was THE from a full-time job at the BBC, to make short films to incredibly helpful because if I hadn’t made it, I would never show at festivals,” says Fingleton. have found my cinematographer Damien Elliott. It was also a chance to experiment, and unlike SLR it was a film that The Survivalist is a daring debut. It is sci-fi, set in a world after I made for myself.” SURVIVALIST global economic collapse, and focuses on the title character, played by Martin McCann. When a mother and daughter, Like many first-time directors, Fingleton wrote the material STEPHEN FINGLETON Kathryn (Olwen Foéuré) and Milja (Mia Goth), approach this he was working with. “When you are on set and you have lone survivor for food, their presence brings new problems written the script, it prepares you for when you encounter that threaten the survivalist’s existence. problems, and you can quickly work out rewrites. The intimacy of writing and directing is very powerful because you are able Born in Northern Ireland, Fingleton began his career, to judge an actor’s performance and the material that they like many directors, making short films that he wrote, are delivering.” directed and produced. As he points out, “When you are making a film for a couple of thousand pounds, there When asked what he had learned from making his first aren’t the divisions between directing and producing feature, he said, “To my great surprise I discovered that at that level.” I was a director of actors.”

THE SURVIVALIST DIRECTOR Stephen Fingleton PRODUCERS David Gilbery, Wayne Marc Godfrey, Robert Jones WRITER Stephen Fingleton CAST Martin McCann, Mia Goth, Olwen Fouéré, Barry Ward SHOOT DURATION Five weeks LOCATION County Antrim FILM STOCK Digital PRODUCTION COMPANY The Fyzz Facility PRODUCTION PARTNERS The Fyzz Facility, BFI, Northern Ireland Screen, Goldcrest SALES COMPANY K5 International

04 BFI.ORG.UK THE INCIDENT HUDDERSFIELD DIRECTOR Jane Linfoot PRODUCERS Caroline Cooper Charles, Sarada McDermott WRITER Jane Linfoot CAST Ruta Gedmintas, Tom Hughes, Tasha Connor SHOOT DURATION Four weeks LOCATION Huddersfield FILM STOCK Digital PRODUCTION COMPANIES Square Circle Films, Universal Spirits PRODUCTION PARTNERS BFI, Creativity Capital

“The reality is you often have to create your own For Linfoot, it has always been about creating stories that opportunities when first starting out,” says director Jane “emotionally connect and impact on an audience, and stay Linfoot, who is making her debut with The Incident. Her film with them beyond the end credits.” With The Incident she THE is a psychological drama concerning a young couple, played says, “I truly believed in the essence of the story and felt it by Ruta Gedmintas and Tom Hughes, whose lives are turned was an important time to tell a story like this.” upside down when they cross paths with a troubled and vulnerable young teen played by Tasha Connor. Linfoot explains how writing her own material gave her INCIDENT the time to build characters, and to really connect with While Jane Linfoot had experience working as a line them. “So, when it comes to casting and directing the JANE LINFOOT producer and production manager making commercials, actors, I have a good understanding of what I am looking it was her time spent doing voluntary work for the Karen for, and how best to try to encourage the emotional Hilltribes Trust charity on the Thai/Burmese border that performances that I need from them,” she says. encouraged her to make her first film. “I picked up a video camera and made an observational short film about the Linfoot appreciates just how important the support is from plight of the people; it was that experience that stayed the whole production team, especially on a first feature. with me and inspired me to move into creating my own “The people that come on board are there because they work.” Her experience gave her an understanding of are passionate about the project and have a genuine desire knowing what could be achieved on a low budget, and in to be involved; they aren’t doing it for the money. I was writing The Incident she knew that “a cast of thousands, fortunate to have incredible support from old and new helicopter shots and multiple far-flung locations” would collaborators who really believed in the film.” be out of the question.

Ruta Gedmintas in The Incident, Huddersfield. PHOTO BY ROBERTA RIDOLFI BFI.ORG.UK 05 BRISTOL James Stuckey in Light Years, Bristol

In 2009, Esther May Campbell won the BAFTA® for which is a must when working with a mix of professional Outstanding Short Film. Over the course of her career and non-professional actors. to date she has directed music videos, shorts and LIGHT episodes of Skins for E4 and Wallander for the BBC. Part of Campbell’s ability and freedom to work like this comes from the trust she has with Haillay. She describes Now she embarks on her first feature film, Light Years, him as a “nurturing producer”, and explains that he “really which follows an eight-year-old girl during the course of does try and enable and listen to how a director wants to YEARS one day as she tries to find her mother. do things, to find the right filming structure. We keep in constant conversation and we adapt as we go along.” ESTHER MAY CAMPBELL “There are many things in the script that are personal to Esther: the theme of the loss of someone close to you, of “The politics in the hierarchy of conventional production searching for the reasons but finding that there is no reason. aren’t helpful for play and discovery. Creativity can’t often Then there is the theme of moving on together through flourish in an environment that feels like a test. I’m hardship because of the love one shares with family,” interested in adapting the model of production, as well as says producer Sam Haillay. experimenting with film form and its conventions to make new work. We recorded sounds before we shot a frame of Crafting this story, like many films, had its own challenges. film. Our composer sat in the locations and played music “We had a lot of locations, a lot of material to capture and after the shoot. We changed from a 40 person crew to a we were also working with children, so we had to schedule 5 person crew. This movement calls for a lot of trust, carefully. You have got to figure out how to get these patience and humour,” says Campbell. scenes done during a relatively short shooting period, capturing five or six scenes a day.” Campbell also Ultimately for Campbell, Light Years was about “being recognised the need to allow herself to go with “the willing to wait, listen, nurture until the film came to fruition.” unexpected” and to be “light enough to go with it”, WORDS BY JOSEPH WALSH

LIGHT YEARS DIRECTOR Esther May Campbell PRODUCERS Samm Haillay, Wendy Bevan-Hogg CAST Muhammet Uzuner, Beth Orton, Zamira Fuller, Sophie Burton, James Stuckey SHOOT DURATION Six weeks LOCATION Bristol FILM STOCK 16mm PRODUCTION COMPANY Third Films PRODUCTION PARTNERS BFI, Creative England, Finite Films SALES COMPANY The Match Factory

06 BFI.ORG.UK NET.WORK@LFF event PHOTO BY NELE HECHT

BFI NET.WORK A NEW WAVE: INVESTING IN THE DEVELOPMENT OF UK WRITERS, DIRECTORS AND PRODUCERS

Since 1889, when William Friese-Greene first captured the NET.WORK. The SFTN recently announced Hyde Park on celluloid, pre-dating the Lumière brothers FILM LONDON the appointment of Claudia Yusef as the Talent by six years, the UK has been home to a film industry Development Executive responsible for scouting and that stands tall on the world stage, crafting compelling, London Calling Plus was the new short filmmaking supporting the next generation of Scottish talent who striking and original cinematic stories. Just over the scheme launched this year, under the BFI NET.WORK will follow in the footsteps of acclaimed Scottish past 12 months UK films and talent have won 26 major banner, to champion under-represented voices in the filmmakers such as Lynne Ramsay, David Mackenzie, film awards, giving inspiration to those with real capital. Five short films were awarded £15,000, are Peter Mullan and Paul Wright. ambition to make their films. Our filmmaking talent is already completed and on the path to success. Harry the lifeblood of our industry and the key to the UK film Potter director David Yates selected Sarmad Masud Since its launch in September, the SFTN has supported industry’s reputation for creativity and expertise in a as the winner of the London Calling Plus Award for his a number of emerging writers, directors and producers highly competitive international business. Discovering hilarious and clever Two Dosas. Sarmad is joining Yates to attend talent labs at festivals including Toronto and and helping new and emerging British film writers, on set to shadow him as he directs a major feature film Reykjavik. In conjunction with the launch of the new directors and producers to realise their potential so that in the UK. Two Dosas has been taken on by Shorts SFTN website, guidelines are soon to be published for they can become the next generation of distinctive International and licensed to British Airways. Some the first round of Scottish shorts aimed at new talent filmmaking voices is vital to ensuring we have films that Candid Observations on the Eve of the End of the who have yet to receive their first short film commission. audiences at home and abroad can see and enjoy. World, directed by John Howlett, won the London The deadline for applications will be 5 January 2015, Calling Jury Award, with a £2,000 prize. with the first development workshop taking place at the The BFI NET.WORK marks a new approach towards end of January. This marks the first of many new UK-wide support for talent development backed by an Head of Talent Development & Production Deborah opportunities to come through the SFTN, including a annual budget of £3 million and connecting the UK’s Sathe is looking to support filmmakers in the longer slate of short film commissions for more established film agencies for the first time. Creative Scotland, term, hoping London Calling Plus filmmakers will come talent, professional development opportunities and a Creative England, Ffilm Cymru Wales, Northern Ireland straight back to her team to make a feature through the feature film development programme for individuals Screen and Film London are working together with the BFI and BBC Films supported Film London Microwave. and teams on the verge of making their first feature. BFI, offering experienced development teams and A trail has already been laid for other filmmakers to scottishfilmtalent.com talent centres who can provide tailored support in a follow. Hong Khaou came to Film London with his play joined-up way, fitting the business and creative needs Lilting, and the eventual Microwave funded adaptation of promising UK writers, directors and producers yet to went on to steal the hearts of audiences and critics this NORTHERN IRELAND SCREEN make their first feature film. But it’s not just about what year at Sundance, landing the Cinematography Award the talent can learn from experienced professionals – and a Grand Jury Prize nomination. It also opened the Northern Ireland’s presence as a filmmaking centre may their careers may follow different paths but via the BFI’s FLARE festival and secured three BIFA nominations. feel synonymous with Game of Thrones but Northern NET.WORK there are new opportunities for them to It was Khaou’s first feature, following two shorts Ireland Screen has long invested in the country’s home- learn from each other. produced with Film London. grown talent. Script read-throughs with professional filmlondon.org.uk actors in the presence of potential producers, financiers and collaborators in London is one of the many ways CREATIVE ENGLAND that Northern Ireland Screen uses NET.WORK funding FFILM CYMRU WALES to support filmmakers in developing their projects. One As part of its contribution to the BFI NET.WORK, such script read-through had Martin McCann trudge Creative England has recruited a highly-experienced The awardees of the new NET.WORK supported through a war-torn Ireland whilst a live soundtrack development team to work closely with promising Horizons Fund are also already beginning to see success, played throughout, an enthralling and evocative writers, directors and producers from across England. demonstrating how even a modest funding award can be rendering of the screenplay, and a fantastic showcase Led by Celine Haddad and Paul Ashton, the team offers very beneficial at a crucial point in a filmmaker’s career. for writers, actors and directors. a hands-on approach that is tailored to the needs Writer/director Rungano Nyoni recently picked up the Arte of the project and talent attached. Creative England’s pitching prize of $6,000 at the Locarno Film Festival and The NET.WORKshops also bring together up to 50 new NET.WORK activities are designed to get new the $22,000 Open Doors award for her Horizons funded and emerging filmmakers from Northern Ireland to work filmmakers on to the ladder towards a feature, project I Am Not A Witch. The Ffilm Cymru Wales award with industry experts and independent companies in complementing the successful iFeatures low-budget enabled her to conduct vital research and shoot taster animation, factual and live action spheres. scheme. Its available NET.WORK funding covers feature footage at a refugee witch camp in Ghana before northernirelandscreen.co.uk film development, short films and pilots together with embarking on the screenplay. editorial, mentoring and training support. In its first year, emerging talent have been supported in developing NET.WORK in Wales has also set up Launchpad, a Lizzie Francke, Senior Development & Production more than 40 feature film projects. three-day talent lab combining film finance meetings, Executive at the BFI says, “Ensuring that filmmakers get case studies, directors’ and writers’ labs, script the right kind of support at the right time in their careers The very first short funded, Rachel Tunnard’s Emotional readings, screenings and masterclasses. Experienced sounds simple but is so important if they are going to Fusebox, was selected for the BFI London Film Festival, professionals such as the BAFTA-winning filmmaker develop as the next generation of distinctive and garnered a BIFA nomination and has now led to Rachel’s Kieran Evans, Frank director Lenny Abrahamson, singular voices. The NET.WORK is a new and fresh first feature How To Live Yours going into production. Emmy-winning director Marina Zenovich, writer/producer approach to achieving this kind of support and is all How To Live Yours has generated a pre-sales distribution Peter G Morgan, US producer Dan Lupovitz, and about the partner organisations collaborating and bidding competition, almost unheard of with first-time, Element Pictures’ Ed Guiney, all shared insights and working holistically to support talent.” low-budget, independent films. expertise with the new and emerging Welsh talent. Another ground-breaking programme is Y Labordy, During this first year of the NET.WORK different In partnership with Baby Cow Productions and Big Talk an ambitious bi-lingual/Welsh language TV, film and programmes have brought new and emerging talent Pictures, Creative England will soon announce the theatre scriptwriting training and mentoring programme together with experienced executives and international shortlisted finalists for the Funny Girls programme. This with an international focus supported in partnership with filmmakers, places on courses have been funded and new scheme will offer five filmmaking teams a £10,000 S4C, Creative Skillset Wales and Arts Council Wales. mentors brought on board, plus pilots and shorts have production award towards the production of a comedy ffilmcymruwales.com been funded across the land. In the coming months short film from a female director. The teams also get even more new resources are going live including the industry mentoring through Big Talk and Baby Cow, NET.WORK website which will help filmmakers two giants of UK film and television comedy. SCOTTISH FILM TALENT NETWORK showcase their work to film industry professionals, including agents and talent executives providing New initiatives have also included NET.WORK@ LFF, Funded by Creative Scotland, the BFI and Creative a unique and innovative ‘postcode-free’ route to an intensive series of meetings, screenings and talks Skillset, the Scottish Film Talent Network (SFTN) will be securing development support and funding. designed to show filmmaking in an international context delivered by the Centre for the Moving Image (CMI), This is just the beginning. alongside regional talent development programmes. DigiCult and Hopscotch Films representing Scotland in creativeengland.co.uk WORDS BY BFI NET.WORK CONTRIBUTORS

BFI.ORG.UK 07 YORKSHIRE CATCH ME DADDY DIRECTING AND WRITING DUO THE WOLFE BROTHERS AND PRODUCER MIKE ELLIOTT ON DISCOVERING SAMEENA JABEEN AHMED

“Sameena was immediately different, almost the first assistant and with Mike, they asked him to write script and the vibe that we initially set out looking opposite of what we thought we were looking for. a treatment for Catch Me Daddy. As a first assistant for. But beyond that, there was no real sense of But we kept going back to her audition tape – director, Elliott had enjoyed working with directors connection, nothing deeper that would bring the everything about her was interesting. I couldn’t stop including Michael Winterbottom, Lars von Trier and story, and the world we were creating to life.” watching,” says Daniel Wolfe, reflecting on how rising Jane Campion. Williams had worked alongside Nick Sameena was instantly different – she created a star Sameena Jabeen Ahmed came to be cast in the Broomfield and Mike Leigh, directors with a particular “palpable energy in the room”. lead role in Catch Me Daddy, the Wolfe brothers’ vision. As producers, they saw similar attributes in debut feature. Daniel and Matthew. “They write in the same way In a beautiful and moving scene in the film, Ahmed’s they shoot,” says Williams. “It’s dynamic, visual vibrancy fills the screen when she dances with It was a long and unconventional journey towards and poetic.” McCarron to the Patti Smith song Horses. “There finding the right woman to play the part of Laila, had been several moments along the way where we a young Pakistani teen who goes on the run with Given the intensity of the plot, finding the right person knew Sameena was the girl for the role. She is tough her Scottish boyfriend (Conor McCarron) through the to play Laila was crucial. Adopting an alternative and strong which was key to her character, but the Yorkshire Moors, pursued by a group of men, hired by approach, the Wolfe brothers decided that they would dance scene was really exciting and emotional to her father (Ali Ahmed) and led by her brother Tariq opt for a non-professional actor, finding Laila would watch,” says Matthew Wolfe. “That day was just (Wasim Zakir), to bring her home. Producer Mike require time, effort and resources, as well as an electric,” adds Daniel. Elliott describes the film as a “contemporary western”, understanding and commitment to approaching and was attracted to the project because he knew the shoot in a different way and following through Sameena Jabeen Ahmed’s performance in Catch that the Wolfe brothers would “tackle the story with in supporting the actor. Me Daddy has already earned her an award for integrity and that it would resonate with audiences”. Best British Newcomer at the 2014 BFI London Film Working with non-professional actors was a Festival. When asked what the award meant to the Two to three years ago Daniel was making a name for particularly daring choice for the Wolfe brothers as production, Elliott said, “It was a validation of the himself directing award-winning music videos for debut feature filmmakers, but the decision to street street casting process needed for this story, and Chase & Status, and a video starring Jake Gyllenhaal cast was integral to the entire production. speaks volumes for the professional actors who for The Shoes. Meanwhile, producers Mike Elliott and played alongside her. There is a huge risk in going Hayley Williams were working on a development slate Over the course of some months they saw hundreds down this route, but the result is that there is a at EMU Films - the London and Manchester-based of girls, either in casting sessions or on tape, all of brilliantly controlled collision going on in the film.” film production company set up by Elliott and his which was organised by casting director Lucy Pardee He added, “We are very proud of her; it was a great partners Jim Mooney and Walli Ullah. and Elliott’s producing partner Hayley Williams. moment for the film.” “There were a few girls we liked who on the surface Williams had already worked with Daniel Wolfe as his had a lot in common with Laila’s character in the WORDS BY JOSEPH WALSH

CATCH ME DADDY DIRECTOR Daniel Wolfe, Matthew Wolfe PRODUCERS Mike Elliott, Hayley Williams WRITERS Daniel Wolfe, Matthew Wolfe CAST Sameena Jabeen Ahmed, Conor McCarron, Gary Lewis, Wasim Zakir, Anwar Hussain SHOOT DURATION Five weeks LOCATION Yorkshire FILM STOCK 35mm PRODUCTION COMPANY Emu Films PRODUCTION PARTNERS BFI, Film4, Screen Yorkshire, Lip Sync Productions SALES COMPANY Altitude Film Sales Sameena Jabeen Ahmed in UK DISTRIBUTOR StudioCanal Catch Me Daddy, Yorkshire

08 BFI.ORG.UK LONDON

Alexander Bodin Saphir, October 2014 PHOTO BY PAUL MARC MITCHELL

WHO’S GONNA LOVE ME NOW? PRODUCER AND CO-DIRECTOR ALEXANDER BODIN SAPHIR TALKS ABOUT HIS NEW DOCUMENTARY FILM WHO’S GONNA LOVE ME NOW?

“I come from a fiction background, and I found it asked if he would be interested in a new project as a Saar’s story kept evolving. Effectively we couldn’t put very difficult at first to just let the story unfold. cameraman. Bodin picks up the story. “Tomer asked if the camera down.” But eventually I learnt that that’s when the magic I could give him an hour to come and meet this guy. happens.” This is how the Danish-British born He told me that it would only be a couple of days Spending such a prolonged period charting Saar’s Alexander Bodin Saphir describes his latest film, shooting. I went to meet Saar, and our hour meeting story allowed Bodin Saphir the chance to consider the documentary Who’s Gonna Love Me Now? turned into two or three. We had this great chat, and, how the camera’s presence influenced Saar’s life. a co-production with the Israeli award-winning as Tomer promised, I fell in love with Saar's story. “If you follow someone around for two-and-a-half filmmakers, the Heymann Brothers. years you end up becoming his or her shadow. “From my first meeting with Saar it was obvious that I deeply care for Saar and his family and recently we The film follows the life of Saar, a man who left his he’s an extremely charismatic, intelligent and drove together to Sde Eliyahu, which I hadn’t been conservative and religious family in Israel 19 years ago engaging person. Then as I learned more about his to for 16 years; to go back there with Saar – that when he confessed two life-changing facts – firstly struggles and his incredibly intense relationship with was a very special moment.” that he was gay and, more shockingly for his family, his family I just wanted to know more, to be a fly on that he had become an atheist. Leaving the Levant, his wall – to see how his story would unfold.” Initially With a story that is as deeply personal as this, there Saar came to London where he joined the London Bodin Saphir came onto the project as a cameraman comes a sense of privilege, which Bodin Saphir was Gay Men’s Chorus; it was at this time that he also was but became more and more involved and eventually keenly aware of. “There were days when you would diagnosed with HIV. Despite these life-changing was co-directing. “Although documentary film was just stop and take stock of what has happened. Being events, Saar remained determined to build a new life relatively new to me, I think my background in writing allowed to witness this story is a privilege, and there and begin the process of reconciliation with his family. and fiction direction made for a natural progression are a lot of personal moments that we have captured. to co-directing this project.” It takes a special and courageous individual to allow This story has personal connotations for Bodin Saphir. us in to film for just one day, let alone two and a half WHO’S GONNA During his gap year he worked in Sde Eliyahu, a As well as being a filmmaker, Bodin Saphir is also years. Given the pressures on him Saar was LOVE ME NOW? kibbutz located in Beit She’an, the valley close to the a playwright and the ‘author in residence’ at Great remarkable throughout the shoot. And with that DIRECTORS Tomer Heymann, Barak Heymann Sea of Galilee. This was the same community in which Ormond Street Hospital. Whilst these other privilege comes a great deal of responsibility.” & Alexander Bodin Saphir Saar was raised with his family. However, the two commitments were important, Saar’s story captivated PRODUCERS Alexander Bodin Saphir, Ashley Luke never met prior to beginning production on this film Bodin Saphir. After agreeing to work on the project, he When he looks back on what the film has meant for DOCUMENTARY WRITER Alexander Bodin Saphir as Saar was doing his national service with the found that he and the Heymann brothers couldn’t stop him as a filmmaker, Bodin Saphir admits, “I have LOCATIONS London, Bexhill, Winchester, Israel Israeli army. filming. “The two days’ filming went well, so it was learned so much from Who’s Gonna Love Me Now? FILM STOCK Digital extended, and we decided to do a few more. This and working with the Heymann Brothers. It’s PRODUCTION COMPANY Breaking Productions The renowned Heymann Brothers brought Bodin onto turned into a couple of months, and we extended it to completely changed my working practice and how PRODUCTION PARTNERS BFI, AVICHAI & the project two-and-a-half years ago. Bodin Saphir Pesach. That was six months of filming, which turned I write and direct, both fiction and non-fiction.” Gesher Foundation, Makor Film Fund, first met Tomer Heymann when he was being into a year, and now we are two years on. The reason Heymann Brothers honoured at a Human Rights Awards dinner. Tomer that the Heymann Brothers and I kept filming was that WORDS BY JOSEPH WALSH

BFI.ORG.UK 09 45 YEARS DIRECTOR Andrew Haigh PRODUCER Tristan Goligher WRITERS David Constantine (Short Story), Andrew Haigh CAST Charlotte Rampling, Tom Courtenay SHOOT DURATION Six weeks LOCATION Norfolk FILM STOCK 35mm PRODUCTION COMPANY The Bureau Film Company PRODUCTION PARTNERS BFI, Film4, Creative England SALES COMPANY The Match Factory UK DISTRIBUTOR Curzon Film World

10 BFI.ORG.UK NORFOLK

45 YEARS DIRECTOR AND WRITER ANDREW HAIGH ON HIS SECOND FEATURE 45 YEARS AND WORKING IN PARTNERSHIP WITH PRODUCER TRISTAN GOLIGHER

“There is a thread that goes through all of my work. our working relationship, especially during body of his first lover has been discovered frozen Thematically the same things interest me, and they production, is a constant discussion on how this in a glacier in the Swiss Alps. As the days pass, it are in everything I do,” is how director Andrew Haigh will impact on the story.” becomes apparent that there might not be a describes his films. marriage left to celebrate. Haigh has based his forthcoming feature film Haigh’s work is laced with the themes of love and 45 Years on a short story by David Constantine, Arguably 45 Years may be considered a partner-piece choice – potent subject matters in his hands, as originally titled In Another Country. “I first read the to Weekend, following similar themes and evolving shown with his 2011 breakout feature Weekend, short story about six years ago and I was instantly Haigh’s voice as an artist set at the other end of the which pushed the boundaries of the potential for drawn to it. It is about love, both romantic and age spectrum. “On a creative level, we [Andrew and I] LGBT cinema. The story, which was written, directed otherwise, but it is also a story about choices. look at 45 Years as a thematic sequel to Weekend,” and edited by Haigh, is a compelling examination of It is about how these choices shape a life; shape says Goligher. Both titles examine relationships facing modern love that follows two young gay men who the meaning of life,” says Haigh. tough choices. Haigh’s passion for exploring such find that their one-night stand blossoms into territory is what drives him: “I am interested in why something much more significant. Haigh considers 45 Years was seen to be a more attractive prospect people make certain choices, what guides them, Weekend a career-defining moment. “After the to investors because of the success that Haigh what stops them, what scares them about making release of the film my career changed dramatically. and Goligher had with Weekend. Goligher reflects, choices at all. It is very hard having the ability to It meant that people were interested in developing “Thinking back to when we were taking Weekend choose and to take control of your life. It is both my projects, which was a nice change, and it also out to people, showing it to funders, no-one was exhilarating and at the same time is enough to make led to working on the HBO comedy Looking, of interested. I think that was for a number of reasons you hide under your bed and never come out.” which I am currently directing the second season.” including the obvious questions around Andrew and myself. As a young producer it made it very difficult When asked how he feels about his developing Prior to Weekend, Haigh made a low-budget to finance a film like that until you’ve done it once voice as director, Haigh says, “I don’t think that docu-drama entitled Greek Pete. It was made for and it works. I can answer that until I have some hindsight. You less than £5,000 and was a turning point in Haigh’s try different things, you experiment, and you push career as a director. “I finally felt that I could call “In the UK we have a very big blind spot in our forward certain ideas that interest you as a myself a filmmaker, which was a first for me. cinema culture when it comes to independent dramas filmmaker. You become more confident about Whether or not the film was totally realised or about middle-class people dealing with emotional certain decisions and less about others. You stop successful, it gave people some confidence that issues and existential questions. It goes two ways in making old mistakes but add a whole list of new I could make a feature.” the UK, where at the higher end it is romantic and ones. You certainly become more confident to the sentimental, at the other it is gritty. I don’t think as a point that you can at least pretend you know what Along his filmmaking journey, Haigh has had the cinematic nation we are very good at the place in you are doing.” support of his long-standing producer Tristan between.” However, Weekend and 45 Years are both Goligher who has been with Haigh since his first film. films that occupy that space. “We both just stopped Ultimately for Haigh and Goligher the films they make This relationship began when they worked together waiting for permission to make the films we wanted are about how the stories resonate with audiences on the short film Five Miles Out. Haigh explains, to make. Weekend was a huge success at SXSW and comment on how we live our lives. Goligher “Tristan is a creative producer in the very best winning the Audience Award; I don’t think we could echoes the spirit of these sentiments. “I’m interested sense. He cares first and foremost about the have opened at a better festival and in some ways in stories that contribute something to the discussion creative side of the project. He is always the first that festival has been a huge source of inspiration of how we live our lives, politically, philosophically, person to see any draft of an outline or version of a for us,” concludes Goligher. and ultimately personally. 45 Years is all of those. script or any kind of cut. His advice is always valid Crucially it’s a story about people I feel are rarely because we have the same goal – to make the 45 Years focuses on Kate Mercer (Charlotte portrayed honestly on screen. If we do that, then we project the best it can be.” Goligher’s reasons for Rampling) a week before her wedding anniversary have a chance to make a deep, intimate connection working with Haigh compliments this ethos. He says, with her husband (Tom Courtenay) as they are with people. What more can we aspire to?” “Andrew has a rare ability to be confident about his planning a party to celebrate their years of marriage intentions, whilst simultaneously questioning and together. Unsettling these happy tidings is the arrival challenging his own ideas. This means that part of of a letter for her husband, informing him that the WORDS BY JOSEPH WALSH

Andrew Haigh and Tristan Goligher on the set of 45 Years, Norfolk. PHOTO BY AGATHA NITECKA Charlotte Rampling and Andrew Haigh on the set of 45 Years, Norfolk. PHOTO BY AGATHA NITECKA

X+Y DIRECTOR Morgan Matthews PRODUCERS David Thompson, Laura Hastings-Smith WRITER James Graham CAST Asa Butterfield, Rafe Spall, Sally Hawkins, Jo Yang, Eddie Marsan SHOOT DURATION Six weeks LOCATIONS Sheffield, Cambridge, Taiwan FILM STOCK Digital PRODUCTION COMPANIES Origin Pictures, Minnow Films PRODUCTION PARTNERS BBC Films, BFI, Head Gear Films & Metrol Technology, Screen Yorkshire and LipSync SALES COMPANY Bankside Films UK DISTRIBUTOR Koch Media

X+Y DOCUMENTARY FILMMAKER TURNED FEATURE DIRECTOR MORGAN MATTHEWS ON HIS DEBUT DRAMA X+Y

Morgan Matthews is already a recognised filmmaker whilst watching this documentary I realised that I cared film as “an experimental hybrid of drama and whose television documentaries including The Fallen, deeply for Edward Johnson and his family, and I came documentary shot on black and white 16mm where Beautiful Young Minds and Scenes from a Teenage away knowing that the death penalty was wrong. So if I the viewer wasn’t sure who was ‘real’ and who Killing have garnered awards from BAFTA, the Royal wanted to make people care about an issue, I had to was an actor.” Television Society, the Grierson Trust and also the make them [the audience] care about the people who Sheffield Documentary Festival. X+Y is his first fiction were affected by that issue first.” Whilst still studying at the LCP, Matthews found unpaid feature film, which premiered at the 2014 BFI London work experience with Diverse Productions at the age of Film Festival. Matthews became a father when he was 15 years old, 20, starting as a researcher on an episode of Secret an experience that contributed to what he hopes is “a Lives about Jeremy Thorpe (the former politician who From an early age, Morgan Matthews was interested in non-judgmental approach when it comes to telling the was forced to resign as the Liberal Party leader in 1976 and cared about stories concerning ordinary people stories of people who might otherwise be seen in a after he was accused of having a homosexual affair). who were often in dramatic, or difficult, situations. one-dimensional or stereotypical way.” His interest in From here, Matthews moved on to working on Channel Growing up in the Midlands and subsequently moving photography was also beginning to take root, a passion 4’s Cutting Edge. It was also a period that coincided to Bristol, Matthews was brought up in a home where that was the first step on his journey to becoming a with the birth of the docu-soap, an arena in which he he says he “became very aware of politics and social filmmaker. He began experimenting by capturing the would thrive. “My first paid job in TV was working on a issues”, through his mother who was a community local characters of Bristol on his stills camera but soon pilot for Paddington Green for Lion Television, which worker, and his stepfather who worked with children knew that he wanted to marry his passion for was eventually commissioned for 30-episodes, playing who’d been excluded from school. photography with his love of storytelling. at 9pm on BBC1.” Only a year after leaving college, he was directing, shooting and cutting episodes of this Paul Hamann’s 1988 documentary 14 Days In May, “I wanted to move to London and study film. I was very popular series. which focused on the final days in the lead-up to the naive and didn’t think I could get onto a film course, but execution of Edward Johnson, who was convicted of I turned in my portfolio of photographs and some Through independent documentary company Century murder, but insisted that he was innocent, had a ideas.” This portfolio earned him a place at what was Films, Morgan made the 90-minute documentary Care profound effect on Matthews as a boy. “I could not then the London College of Printing (LCP) and it was House about a care home for people with learning believe that he was being put to death in the modern here that he was able to begin working with the moving disabilities and challenging behaviour. “Although it world. It just seemed utterly inhuman. Fundamentally, image and find his form. He described his graduation wasn’t my first stand-alone piece, it was the first film 14 BFI.ORG.UK SHEFFIELD

Morgan Matthews and Asa Butterfield on the set of X+Y, Sheffield

that I felt was made in the style I wanted to make it, and the UK having experienced great success with This it had a profound effect on me,” reflects Matthews. “I fell House at the National Theatre. He has recently worked in love with this place full of amazing characters, warmth with Harvey Weinstein on adapting Finding Neverland and incredible stories, and found myself practically living as a Broadway musical and is set to work with Paul there – filming over Christmas. Again, I felt that if I cared Greengrass on his feature 1984. about the people in my film, then an audience could too.” “I love making documentaries, but fiction is a new In 2007, he set up his own production company, Minnow and exciting chapter for me, “ says Matthews. “The Films, essentially giving him more control over the films beauty of documentary is that you don’t necessarily that he was making. “It got to the point where people know exactly what is going to happen. Whereas with were asking me what I wanted to make a film about fiction there is more freedom with the story and more next,” Matthews says he wanted to use this situation control, allowing you to take the story wherever you wisely. “I realised I was in a privileged position and want it to go”. therefore I should be using it to tackle bigger, socially important issues.” For Matthews the transition has been relatively smooth thanks to his filmmaking experience. With X+Y, This drive and passion came through with his highly Matthews has brought together an impressive cast of acclaimed work The Fallen, a three-hour documentary British talent that includes Rafe Spall, Sally Hawkins, which showed on BBC2 shortly after Remembrance Day Eddie Marsan and rising star Asa Butterfield. “The in 2008, it chronicled every single British service person parallels with documentary and fiction are many, but to die in Iraq and Afghanistan. Later he turned his particularly when it comes to casting. As much as good camera towards street violence, with Scenes From casting is imperative in fiction, it is also essential in A Teenage Killing, a two-hour documentary exploring documentary – whether you are interested in a particular the tragic stories of every teenager who was murdered subject and speak to hundreds of people in order to cast in the UK in 2009. a documentary or whether you come across an amazing character with an amazing story. It’s all about the casting. His debut feature, X+Y, is inspired by Beautiful Young Documentary is as much about character and narrative Minds, a feature-length documentary he made in 2007, as fiction. Making small stories into big ones is really which followed a group of teenagers through the training important to me, but I’m also interested, as I was in and selection process of the International Mathematical documentary, in finding the heart and soul in big stories Olympiad. Matthews knew the writer James Graham and bringing them to an audience in a fashion that (then a young talent emerging in theatre), having been I hope will make them care.” impressed by his early plays such as The Whiskey Taster. Now James is one of the most sought after writers in WORDS BY JOSEPH WALSH Morgan Matthews, October 2014 PHOTO BY PAUL MARC MITCHELL TESTAMENT OF YOUTH SCREENWRITER JULIETTE TOWHIDI ON HER ADAPTATION OF VERA BRITTAIN’S TESTAMENT OF YOUTH

“I think that something was broken forever,” is how In 2012, she began to work on a literary adaptation of screenwriter Juliette Towhidi reflects on the aftermath a different sort, Testament Of Youth. The challenges of of World War I. For Towhidi, the war is a subject with tackling Brittain’s memoir were numerous. Published in which she has become intimately familiar. For the past 1933, this personal account of the earliest days of the two years, she has been researching and writing the 20th century conveys the rage of a post-World War I screenplay for an adaptation of Vera Brittain’s Testament generation, and the women left to pick up the pieces Of Youth, an evocative, personal account of Britain following the devastation at home and abroad. The in the lead-up to and following the war. book spans two-and-half decades, and Towhidi was tasked with condensing the rich prose of the author into Towhidi spent part of her childhood in Iran before moving a feature-length film. “First of all you have to let it fix in to England. Like Vera Brittain, Towhidi attended Oxford your gut and get that passionate desire inside of you. University where she read English Literature. After Then you try and backtrack and work out why it speaks graduating, Towhidi became a Reuters journalist for a to you.” For Towhidi, screenwriting is always about short while. Finding that this wasn’t the career for her, she ”hitting the crest of the waves”. subsequently worked as a script editor, where she had the opportunity to work with Roman Polanski, amongst Towhidi was cautious not to fall into a trap that can others. Although she ultimately left journalism, Towhidi plague writers. “Your temptation is always to go to the confesses, “because of my journalistic background most dramatic event, which in this case is the war.” I always do a lot of research if it is available”. In fact, Towhidi avoids the gore of war, preferring to use the screen time for developing the characters, In what she refers to as her ‘unformed’ years, she was allowing the audience to get to know these three or four able to learn the mechanics of the industry. “Living life is young men, and somehow make their lives resonate for one thing, but working in the film business is another.” the millions who died. Working in development, Towhidi was able to learn “what it is like on the other side, and why they won’t pick up a For Towhidi, the real "hair-standing-up moment” came script”. However, she found the experience of seeing while reading Testament Of Youth. She heard “her people "becoming commodities” and the brutality of [Vera’s] voice and her fury as a young woman”. This aspects of the industry “chilling”. anger at the senseless waste, “felt so modern”, and it was precisely her connection with “this brilliant mind” In 2003, she received her first scriptwriting commission, that made Towhidi want to adapt the book. Calendar Girls, which was directed by Nigel Cole and starred Dame Helen Mirren. From here, Towhidi went Once Shirley Williams, Vera’s daughter, provided on to adapt Death Comes To Pemberley from the permission for the adaptation to go ahead there best-selling P.D. James novel for the BBC. This drama was, of course, an added pressure. The figures in was a sequel to Jane Austen’s Pride and Prejudice, set six Brittain’s book lived, fought and died. Testament Of years into Elizabeth and Darcy’s marriage. Preparing for Youth would debut at the BFI London Film Festival in the estate’s annual ball, they become entangled in a the centenary year of the war. When asked about murder mystery. Both the heartfelt comedy and the what is was like to write about these once living, loving BBC drama were met with critical praise. and breathing men and women, Towhidi says, “It is haunting, but it is also a satisfying feeling that you get For Towhidi, who has primarily worked in film, the to connect with the past for a moment and carry the transition between TV and cinema is not a concern. flame a few yards in your own way. I have to say that “I think that it is the same process because you it was an honour to have the responsibility to work on immerse yourself in a world. The variation between the this film, but it didn’t stop me thinking, ‘God, I’ve two is fantastic, although when you work in TV you have a really got to get this right’.” longer timeframe to work with compared to film.” WORDS BY JOSEPH WALSH

Juliette Towhidi, October 2014 PHOTO BY PAUL MARC MITCHELL

16 BFI.ORG.UK YORKSHIRE

TESTAMENT OF YOUTH DIRECTOR James Kent PRODUCERS David Heyman, Rosie Alison WRITERS Vera Brittain (Autobiography), Juliette Towhidi CAST Alicia Vikander, Kit Harington, Dominic West, Hayley Atwell, Emily Watson, Miranda Richardson SHOOT DURATION Seven weeks LOCATIONS Oxfordshire, Yorkshire, London FILM STOCK Digital PRODUCTION COMPANY Heyday Films PRODUCTION PARTNERS Heyday Films, BBC Films, BFI, Screen Yorkshire, Nordisk Film Production, Lipsync Productions and Ingenious SALES COMPANY Protagonist Pictures Taron Egerton, Alicia Vikander, Kit Harington and Colin Morgan in Testament of Youth, Yorkshire UK DISTRIBUTOR Lionsgate ENNISCORTHY

BROOKLYN GIRLS ON FILM: OSCAR® AND BAFTA AWARD-NOMINATED PRODUCERS FINOLA DYWER AND AMANDA POSEY ON THEIR LATEST FILM, AN ADAPTATION OF COLM TÓIBÍN’S BROOKLYN

It’s five years since Finola Dwyer and Amanda Posey’s readers, but there were real challenges to making Princeton University, and the two hit it off. Seizing the first joint production An Education was released, a cinematic adaptation and raising the finance. moment, Dwyer asked whether he’d consider her bringing success and acclaim in the US and optioning the book, and despite the fact that the rights internationally as well as at home. Directed by Lone “First of all, it was a period piece set across two were being pursued by a number of other parties, Scherfig and adapted by prize-winning author Nick continents. From the off we knew that recreating both Tóibín gave Dwyer his blessing. Hornby, from British journalist Lynn Barber’s memoir of worlds set in the early 1950s comes at a price. Added the same name the film starred Carey Mulligan in a to this, its leading female role in many ways seems Posey and Dwyer have had a long-standing career-launching and BAFTA-winning performance, and to be passive. I knew this would be a challenge to collaboration with the writer Nick Hornby, which has brought a host of nominations, including a Best Picture dramatise and the nature of the material meant that we proven to be incredibly fruitful. Posey worked with Oscar® nomination for Amanda and Finola. wouldn’t be able to cast big names.” All of these Hornby on two adaptations of Fever Pitch, the first factors meant that the film could be a tough sell in starring Colin Firth, the second directed by the Farrelly Although An Education was a stand-out success, it terms of financing. There still remains an industry brothers and starring Drew Barrymore and Jimmy hasn’t been a flash in the pan: between them Dwyer attitude that female-led stories don’t make money or Fallon. More recently, Dwyer and Posey produced an and Posey have produced a number of successful and at least not as much as stories about men. Despite adaptation of Hornby’s comic tragedy, A Long Way distinctive films, both separately and together. These initial concerns, Dwyer felt convinced that there was Down, directed by Pascal Chameuil and adapted by include Dustin Hoffman’s directorial debut Quartet, a wonderful film there. Jack Thorne. When Brooklyn came into view, Hornby starring Maggie Smith; Iain Softley’s debut Backbeat, was a natural first port of call for Dwyer and Posey. both produced by Dwyer; and Fever Pitch starring Colin This was all happening in the wake of the success of Firth, also adapted by Hornby and produced by Posey. An Education. “We had been on the circuit with An Tóibín’s subtle and understated style is not inherently Now, via their joint production company Wildgaze Education right after the Oscars®, and I needed a bit of cinematic, yet both producers felt that Hornby’s tender Films, the duo are working on Brooklyn, an adaptation a reboot, so I thought I would go to New York,” says touch would help to fully realise the story. The writer of Colm Tóibín’s long-listed Booker Prize novel. Dwyer. On the journey she continued to think about the immediately saw the ‘inherent drama’ of Tóibín’s book. possibilities of adapting Brooklyn, and decided to “Nick knew exactly what he wanted to do with it”, Dwyer read Tóibín’s book and found that she couldn’t check if the rights were still available. A chance meeting recalls Posey. “It seemed very clear to him right from get it out of her mind. She was fully aware of Tóibín’s in New York with a friend led to her being introduced to the off.” Dwyer points to one of Hornby’s first comments. reputation and that the book was much beloved by Tóibín, who was at a rare book fair on behalf of “He talked about the passivity in her [the leading role’s]

18 BFI.ORG.UK BROOKLYN DIRECTOR John Crowley PRODUCERS Finola Dwyer, Amanda Posey WRITERS Nick Hornby (Screenplay), Colm Tóibín (Novel) CAST Saoirse Ronan, Domhnall Gleeson, Emily Bett Rickards, Julie Walters, Jim Broadbent, Michael Zegen SHOOT DURATION Seven weeks LOCATIONS Enniscorthy Ireland, Canada FILM STOCK Digital PRODUCTION COMPANY Wildgaze Films / Finola Dwyer Productions CO-PRODUCERS Parallel Films, Item 7 PRODUCTION PARTNERS BBC Films, Telefilm Canada, Ingenious, Bord Scannán na hÉireann / the Irish Film Board, BFI, SODEC, BAI, RTE SALES COMPANY HanWay Films UK DISTRIBUTOR Lionsgate

Domhnall Gleeson and Saoirse Ronan on the set of Brooklyn

character, and conversely her strength, where she is like continues, “Montreal was more challenging. Firstly a flower unfolding, gradually taking control. We know it because it is more expensive than Toronto, and is a delicate story, but we know from test screenings secondly because they speak French, though creatively that audiences really embrace it and go with it.” it was a no-brainer for the wonderful locations it offered.” The language barrier, of course, made it Brooklyn needed a director who would also be able to necessary to have a crew who could speak both appreciate the subtlety of the material, and yet bring it English and French. to screen with real power. John Crowley had long been a fan of the book, and became available just as Dwyer “It was clear that we were going to have to piece and Posey were seeking their director. They admired together the financing from a range of sources and his outstanding stage work as well as his films which incentives, and when looking for the right locations, included Boy A, which launched Andrew Garfield, and this was also a critical factor,” says Dwyer. “I made up Intermission. Irish-born, and with a fantastic track a ‘look book’ of key locations early last year and sent it record with performance, Crowley was a strong fit to out to film offices around the world to see what they direct Brooklyn. He, like Posey and Dwyer, recognised could offer.” This ‘look book’ is a collection of photo the distinctiveness of the story. As Dwyer says, “When references which convey the requirements of the John came on board he said that there are countless project including the period, types of buildings, streets Irish immigration stories, however he had never come and larger locations.“You still have to go and look, across a story like this, told from the perspective of a but it narrows it right down.” young woman.” What could have been seen as a weakness, namely the challenge of getting finance for a When asked what they felt was the biggest challenge female-led story, would actually prove to be a factor in to overcome, Dwyer says, “We had as many as 11 what makes Brooklyn fresh and original. different financing entities and they all had to be knitted together into an official three-way co-production. It was With the director and a great script in place, the like a Rubik’s cube of a project.” Posey adds, “Making biggest test was yet to come in the form of tackling a the financial needs and the creative needs come production across two continents on a challenging together at the same time is an art.” budget. The production began in Ireland before moving to Montreal, which would stand in for period New York. Fortunately, whilst it was a complex project for Dwyer In Ireland, the team ended up choosing to film in and Posey, it is clear that the story always drives Enniscorthy, where the book is actually set: “We looked them, making them want to craft films with love and all over Ireland, but Enniscorthy offered us a lot care. And, thanks to their wealth of knowledge in creatively, and an array of authentic locations; we even the industry, they have the tools to realise those opened up a dance hall that had been condemned,” stories on the big screen. Amanda Posey and Finola Dwyer on the set of Brooklyn says Dwyer. Discussing shooting in Canada, Dwyer WORDS BY JOSEPH WALSH LONDON ROAD DIRECTOR Rufus Norris PRODUCERS Dixie Linder, Nick Marston, Tally Garner, David Sabel WRITER Alecky Blythe CAST Olivia Colman, Clare Burt, Anita Dobson, Kate Fleetwood, Linzi Hateley, Nick Holder, Eloise Laurence, Claire Moore, Nicola Sloane, Paul Thornley, Howard Ward, Duncan Wiseby and Tom Hardy SHOOT DURATION Six weeks LOCATION Kent FILM STOCK Digital PRODUCTION COMPANIES Cuba Pictures, National Theatre PRODUCTION PARTNERS BBC Films, BFI, Arts Council England, LipSync SALES COMPANY Protagonist Pictures UK DISTRIBUTOR National Theatre

LONDON ROAD BEN ROBERTS, DIRECTOR OF THE BFI FILM FUND, IN CONVERSATION WITH RUFUS NORRIS, INCOMING DIRECTOR OF THE NATIONAL THEATRE

Rufus Norris is best known as a theatre director with people who were in the area at the time of the few locations. It was a very tight company, not just and is currently incoming Director of the National events. It is also a musical. Ben Roberts, Director the actors, but everyone who was involved. We Theatre. He first came to prominence being named of the BFI Film Fund, met with Rufus to reflect on took everyone out on performing afternoons and just the Evening Standard’s Most Promising Newcomer translating the play to the cinema screen. did it. That raised as many questions as it answered. with Afore Night Come at the Young Vic and has since Some things worked; other things didn’t. But the gone on to direct a string of award-winning stage I wanted to talk about the decision to revisit one idea wouldn’t go away, and it felt like the beginning productions including Festen, the Broadway of your productions and to turn it into a film, of the process. production of Les Liaisons Dangereuses, and rather than beaming into cinemas like NT Live. London Road which won the Critics’ Circle Award The first conversation that we had about turning it With hindsight are you glad that you had the for Best Musical. In 2012 he landed in the film world into a film was with David Sabel, who is the brain opportunity to make another film first with with his debut feature, Broken, an adaptation of behind NT Live. He has really driven the idea of this Broken and then come back to London Road? Daniel Clay’s much-praised novel. The BFI Film as a film and it has been an incredible journey. I have probably done 60–70 shows, and there isn’t a Fund and BBC Films backed Norris’s directorial Usually, NT Live is planned well in advance, but stage in the world that I would be afraid of – there is feature debut which premiered in the Critics’ when London Road opened at the National Theatre, the notion that once you have work in a profession Week at Cannes and went on to be nominated for I think we knew what we had got. David and I sat for 10,000 hours, you have learned your craft. But numerous awards including nine BIFAs and named down and asked whether we wanted to do an NT whilst I have my 10,000 hours in theatre, I haven’t Best British Independent Film. Live, and I said that I didn’t think so, and he was in done that in film. So, any hours that I can spend in agreement. Instead, we wanted to start knocking film are only just the beginning of understanding Earlier this year, Norris embarked on his second film, about ideas of exploring whether this piece could how what I do in theatre relates to what I do in film. London Road, a feature adaptation of Alecky Blythe have a further evolution. and Adam Cork’s play, which opened at the I am very glad that I had a go at something that was Cottesloe Theatre under the direction of Norris when Had you completed Broken at this stage and less complex. I loved what I did with Broken, but in he was an Associate Director at the National. were you looking for another film project? We many ways it is a straightforward drama. It is nowhere A daring project, the story is based on the 2006 hadn’t started shooting Broken. Initially, I thought near as complex as London Road, for which there Ipswich murders, where five women, who worked as that the way to do London Road was almost to do it is no blueprint. Yes, it is a musical, and there is a prostitutes, were tragically killed. Unique to this in-house, and do it very sim ply. However, because challenge of recording the audio live, and dealing with Rufus Norris on the production was that the script was taken verbatim we had the cast here, we thought we would try it choreography, and whilst it isn’t a massive scale film, set of London Road from a series of interviews conducted by Blythe out, grab a camera, do a couple of days and get a it needed organising in a very different way.

20 BFI.ORG.UK KENT

Olivia Colman in London Road, Bexley, Kent

What about the process of adapting with Alecky We k n e w t h a t t h e c h o r u s s t u ff c o u l d n ’t b e i n s i t u , d o i n g o n s t a g e w i l l g e t t h e a u d i e n c e t o l o o k w h e re Blythe and Adam Cork? Did anything unexpected but around almost all of the solo material is from set. I want them to look, that is just craft. When making arise shifting from a play to a film? Our sound engineer, John Midgeley is absolutely a film the camera does that for you, so there is a Part of the deal with London Road being at the fantastic. There were vetoes on the set, where John, whole layer of nuance and decisions that I have yet National Theatre was that they would have a hand and David [Shrubsole, musical director], could say to fully appreciate the delicacy of. in deciding who would direct the play. I wanted to t o m e t h a t w e w e re g o i n g t o h a v e t o s h o o t i t a g a i n , take everyone who was involved in the theatre a n d t h e y d i d n ’t h a v e t o t e l l m e w h y. We k n e w t h a t i f But there is an alchemy in theatre between the production including the choreographer and w e d i d n ’t w o r k t h a t w a y w e w o u l d n ’t h a v e a f i l m a n d audience and the stage, whereas with cinema production designer, but we needed to support it was great to empower everyone. If we were doing you are locked off. this with people who really know what they are it on stage, this would be normal practice. I am I am good at creating a room in the theatre where doing in film, and we would need very experienced fortunate enough to have some excellent people feel empowered and happy, and I can then heads of department. relationships with one or two superb sound p u t a c t o r s t h rou g h i t a t t h e l a s t m i n u t e . You c a n ’t d o designers in theatre, and it is a case of ‘what that with film, but what is exciting with film is getting I worked with Alecky and Adam, who had cooked they say goes’. Danny, our DOP, was great at everything planned and then keeping that little up the idea long before I got involved, and we adapting to this. window open for what the promise is now. There reshaped it. I said to Adam and Alecky that I was was this one scene that we needed to be sunny, going to push them this way and that, but the deal Did any of your stage company have to unlearn and it was pouring with rain, and it felt like God was was that they would be able to veto certain anything to make it work on screen? t e l l i n g m e t o g i v e u p , a n d s c r a p i t . We d i d c o n t i n u e decisions – I knew that if I saw both of them walking Yes, they had to pull it right down. There was some to shoot, and it is a lovely moment in the film – towards me, I was for the high jump. Once we sadness to it all, because obviously before Olivia we even got a few rays of sunlight. There is started on the film, this dynamic changed. Colman was cast, there was someone else playing something that cinema and theatre share, in that t h a t p a r t , a n d i t w a s t h e s a m e w i t h Tom H a rd y. I t you get everything set up so that you can respond The first thing that we had to do was to make the was a sad reality of the project. That said, everyone at the moment. script work for cinema. That meant either that we who was in the show had a good crack of the whip, would have had to get someone in to do it, or we do and sometimes you have to make those decisions Lots of filmmakers prefer being in the edit than it with Alecky and she turned around immediately for the right reasons. For example Kate Fleetwood, on set, where they can work it all out. and said that this was a once in a lifetime who played Julie in the stage version, is brilliant in I have very much enjoyed the editing process on the opportunity to learn how these things are done. t h e f i l m a s o n e o f t h e p ro s t i t u t e s . We h a d d o n e t h e limited amount of filming that I have done. In the end From my point of view that was the perfect scenario show twice, changing the cast, so we were lucky to I love working with actors, and those moments because it is hers and when you are dealing with have 13 people who had done it on stage to the w h e re y o u g e t s o m e t h i n g y o u d i d n ’t e x p e c t . subject matter like that of London Road it is l e v e l t h a t t h e y w e re re a l l y e m b e d d e d i n t h e s t o r y. important. There are 90 minutes of interviews used In terms of you moving into the NT role, in the film taken from probably around 80 hours of There is something interesting in the comparison and the time it will take, do you still have m a t e r i a l t h a t A l e c k y c o l l e c t e d , s o s h e k n e w w h e re t o of stage and screen. How would you filmmaking ambitions? look for specific pieces and she could go and chat characterise the difference in roles as a director? You h a v e t o b e p re t t y b i p o l a r, a n d t h e s a d d e s t again with the subjects. T h e re a re h u g e c ro s s o v e r s , b u t I j u s t d o n ’t k n o w thing for me is that I have taken on this huge role anywhere enough about film to answer the question that is a huge privilege and quite a complicated Also, all the material is direct address, it is one properly. I am hugely critical of my theatre work. change in my life. The saddest thing is that after all person turning to another person asking them how I think learning just how a camera works, or how the this time I finally manage to find my way in film and they are feeling, or observing someone witnessing camera and an actor relate was new for me. I am enjoy it and then I had to make this decision to something else. I was worried that it would be very v e r y u s e d t o t e l l i n g t h e a u d i e n c e w h e re t o l o o k i n a walk away for the time being. My contract is for restrictive, so we had to find clever ways to play. Take, for instance, the play I am working on at f i v e y e a r s , s o f o r t h e t i m e b e i n g I c o u l d n ’t m a k e construct the scenes and to work as a film. t h e m o m e n t w h e re t h e re a re 2 3 p e o p l e o n s t a g e f o r a film because if you are going to do it, you have the majority of the time. The stage is absolute to do it properly. In terms of your ambition of capturing the vocals chaos, and it has to be like that because it is set in a on set, did you have to pick up a lot on ADR? slum in India. Now, I know that what the actors are WORDS BY JOSEPH WALSH BILL DIRECTOR Richard Bracewell PRODUCERS Charles Steel, Alasdair Flind, Tony Bracewell WRITERS Laurence Rickard, Ben Willbond CAST Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, Ben Willbond, Helen McCrory, Damian Lewis SHOOT DURATION Seven weeks LOCATIONS Yorkshire, London FILM STOCK Digital PRODUCTION COMPANIES Cowboy Films, Punk Cinema PRODUCTION PARTNERS BFI, BBC Films, Lip Sync, Screen Yorkshire SALES COMPANY Independent Film Sales UK DISTRIBUTOR Koch Media

22 BFI.ORG.UK On the set of Bill, London LONDON

BILL PRODUCER TONY BRACEWELL ON BILL, A FAMILY COMEDY ABOUT WILLIAM SHAKESPEARE

With the UK family audience regularly bombarded his daughter. Bracewell was surprised to spy Ben going to be ambitious and say, we believe this can with US films both animated and live action, finding Willbond, with whom he’d worked several times, work for seven-to-fourteen-year-olds, and their a space for British family film has long been an including directing him in the 2006 feature The parents? Are we going to do 90 minutes of bum interesting challenge. Producer David Heyman, Gigolos, and had a Eureka moment. Bill producer gags, or 90 minutes of ‘some’ bum gags, or 90 with Harry Potter, proved that with the right source Tony Bracewell, brother of Richard, says “We got in minutes of mud, and funny jokes about leprosy and material, it’s possible to take a British character in a touch right away and said, ‘You guys have got to people’s arms falling off, which is great – and then British setting with a wholly British cast and compete make a feature film’.” some heart and some warmth and relationships.” at the top level globally. Working Title, with Nanny McPhee, found an audience both here and abroad, Willbond, Horrible Histories chief writer Larry Rickard As the scale of the film became apparent, BBC Films and so has Aardman with its feature films, defiantly, and principal fellow cast members – Matthew encouraged the team to bring on board another wonderfully, quirkily British. Baynton, Martha Howe-Douglas, Jim Howick and producer, which arrived in the form of Cowboy Films’ Simon Farnaby – had, it turned out, also been Charles Steel and Alasdair Flind. At production Debbie Isitt and backers eOne, with their Nativity thinking about a feature film, infused with the spirit of stage, the BFI came on, alongside other investors, franchise, have a highly functional model that is not Horrible Histories, but absent its branding. Explains with Koch taking on distribution for the UK, Germany dependent on export value, delivering a huge UK Tony Bracewell, “Horrible Histories is a sketch show and Scandinavia. audience via characters that are commendably about facts, and creatively the writers didn’t want relatable. Diary of a Wimpy Kid is all very well, those constraints when creating a narrative feature. Given the historical setting, caper-ish tone, small- but we can all agree that it’s important for British They far preferred the Python movie approach of screen connection and the fact that multiple roles children to see their own lives reflected on the being set ‘in history’, but embroidering and working are played by the six lead actors, comparisons with big screen. around facts to create an original story – what we did the Python films are inevitable. However, adds Tony with Shakespeare. Bracewell, “Shaun of the Dead and Hot Fuzz are in a While British family films have tended to form a way even closer than the Pythons to what they’ve steady trickle over recent years, current activity “Larry said very early on: the really interesting thing done: taking Spaced as a TV brand, and then suggests something of a resurgence. Nativity 3, for a comedy writer is the lost years, and the fact creating something new based around the Paddington and the BFI-backed Get Santa are all that he disappears from 1585 to 1593, and then all of performances.” The BFI’s Natascha Wharton, who competing for audiences this Christmas. The BFI is a sudden he’s a playwright in London. So from Larry when she was at Working Title was executive also involved in teen sci-fi Robot Overlords, which and Ben’s perspective, that is for us a comedy gift. producer on both those Edgar Wright films, is the premiered at the BFI London Film Festival ahead The alternative tale of how Bill, in our version of organisation’s lead executive for Bill. of a 2015 release. Stephen Daldry’s adventure Trash, history, ends up being William. Larry would be the about street kids in a Rio De Janeiro favela, will be first person to say, with Bill, we’re making it up. “One of the things the BFI’s been really keen to do hoping to snag families as a significant portion of its We’re embellishing history with things that we think and helped us with is the tone of the film, they have audience when it arrives late January. And later in are funny, which is quite apt, as Shakespeare was really helped us push this: we can be a family the spring sees Bill, a comedy about William the first person to do it.” comedy rather than a kids’ comedy. Articulating Shakespeare from the writers and stars of what to the outside world might seem a tiny point, CBeebies ratings hit Horrible Histories and Sky Developing the screenplay with BBC Films, the but everyone involved in the industry knows is One’s Yonderland. creative team had to make important creative actually a huge point. One of the things that came decisions about the target audience. “You have this out through working with the BFI is: there’s a warm Bill came about after the film’s director, Richard choice,” explains Tony Bracewell, “are we going to heart to this film.” Bracewell, was shown a Horrible Histories musical go down a very focused route with a film that is sketch – Charles II, King of Bling – on YouTube by going to work for nine-to-ten-year-olds, or are you WORDS BY CHARLES GANT LIFE AT 25 FPS “ For each ecstatic instant – we must an anguish pay. For every minute on the red carpet – read ten years of hard work. Film making is the toughest, most demanding of all professions and the most precarious. A film from the moment of its first script to the final print is a nightmare of forces (some supportive, some hostile) to alter everything. It can feel like being under siege without the prospect of relief. Yet, despite all of that, when it comes together in the final show print – OH WHAT JOY IT GIVES! ” TERENCE DAVIES

Agyness Deyn and Terence Davies on the set of Sunset Song