cineshots

Waiting

Sometimes it doesn’t matter what someone is waiting for. So long as other people understand that.

We’ve exchanged a few words with Anthony Hett, writer and director of Waiting. Here’s what he’s told us:

If of all your superpowers you could only keep one - which one would it be?
I would keep the ability to swim for long periods of time without getting tired. I compete in long distance open water swimming events and so it’s helpful for that. But it’s also helpful for my filmmaking. I train 4-5 times a week and while I’m swimming, I have time to think about my upcoming projects and work out problems I am having with the script I am writing at the time.

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
Waiting is the second film in a trilogy of short films on the themes of loneliness, old age and dementia. The first film is called ‘letters’ and was made in 2014. It was the first short I ever made. I took on a lot of the work load myself - as is the norm with low budget passion projects - and so it was a very stressful process. However, I remember one particular moment, when I was sat at the feet of the cameraman, my head just beneath the lens. As I sat watching the two talented actors converse with one another, the thought “they’re saying my words” popped into my head. It was a very special moment and a feeling I’m constantly chasing.

Why this film?
‘Waiting’ was inspired by an elderly lady I used to see on an almost daily basis, waiting at a bus stop, while I was walking home from work. While writing ‘waiting’ I had already filmed ‘letters’ and written the script for the third film in the trilogy which is called ‘Scrable’. The main theme in the three films is loneliness, all of the characters in the films are lonely in one way or another. I also wanted to use the films to encourage people to discuss how we treat the old and the vulnerable in our society because I do not believe that we do enough to look after them properly.

You have unlimited budget, green light for your dream project and can cast anyone you want...
I’m a huge fan of Joseph Gilgun. We’re shooting my next short in April next year. There is a small part that I think he would be absolutely perfect for. I’m also a big fan of Sam Rockwell, Giovanni Ribisi, Frances McDormand, Craig Roberts, Adam Goldberg and Kate Winslet. It would be a dream to work with any of these wonderful actors, plus many, many more.

What are your future goals regarding filmmaking?
I’m currently developing a short, a feature and a tv series. The goals are to get these projects funded and completed. I would like to be able to continue to tell my stories and ideally I would get paid and make a career out of doing so.

Any Instagram, Twitter or websites where your future fans can stalk you?
The best place to start is probably my website: www.anthonyhett.com where there is lots of information about me and my films. You will also be able to find links to my social media accounts on there too.

Anthony Hett

Anthony Hett

Waiting, and five other amazing shorts, will be screened at the Streatham Space Project 10.9.2019. Get your tickets HERE or at the door.

The Fourth Trimester

The Third film in our Sisters Of The Silver Screen CineShots is about the greatest power of women - the power to give life. Which can quite often turn into a burden no one really talks about.

ad49db_80c3c6708bf14216a951bfccba34f721~mv2.gif

Phoebe McCaughley is the single mother of this beautiful project. Here’s what she had to say about giving birth to this film:

There is an ad in a newspaper with your photo in it. What does it say?
She likes to move it: Phoebe McCaughley an animation graduate who tells stories through her hands.

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
I believe that Stop Motion; the type of film making I use is pretty high up there on the unpleasant scale. The nature of the medium means I have to be stuck in a dark room for hours on end contorting my body into uncomfortable repetitive positions to bring these puppets to life at a ridiculously slow pace. The puppets I create from their beginnings of wire skeletons then go on to come to life on screen with their own personalities, it is the most magical and satisfying feeling.

Why this film?
The birth of babies is often portrayed on television, but there’s very little about how difficult looking after a new-born can be for many parents. Through interviews and research I found the topic to be taboo, because you’re immediately supposed to have a love for your baby that is incomparable to anything else. This is not always the case. I sought to communicate the reality of the struggle that many new parents face and open a conversation to challenge the mainstream portrayal of childbirth. I thought that the medium of stop motion film would be suited to a subject which requires empathy as the technique requires care and human touch. Though touching on a sensitive and serious topic, elements of humour in the film make it more relatable and uplifting. I often reverse the roles of mother and baby to communicate feelings of vulnerability.

You have unlimited budget, green light for your dream project and can cast anyone you want…
I would love to make a comical horror film; I’m very inspired by the work of Lee Hardcastle. In terms of cast, I think I would always like to stick to the miniature lifeless puppet type but if I were to pick voice actors, that would be a privilege as I often have to convince my boyfriend to turn himself into any given character. I think Michaela Coel and David Tennant would be great in a Horror animation.

What are your future goals regarding filmmaking?
I’m not too sure on what specifically I’d like to do yet as I have enjoyed switching between roles of maker, mover and director. I hope that my creativity continues to grow in whatever role I take next. I enjoy telling stories which reflect the details of life that are often overlooked.

Any Instagram, Twitter or websites where your future fans can stalk you?
My Instagram is @phoebestopmotion
My Website is
www.phoebemcc.co.uk

Phoebe McCaughley

Phoebe McCaughley

The Fourth Simester will be screened, along with five other female-made short films, 9.7. at 19.30 at the Streatham Space Project.
Make sure you get your tickets right over HERE.

Bath

Can one word ruin a holiday? Can it ruin a relationship? Or can it build one?
So little words, so many questions!

Bath is written and directed by Meredith Dobbs whom we are more than delighted to host for the second time at CineShots. And she never manages to let us down. Meredith, take it away.

There is an ad in a newspaper with your photo in it. What does it say?
Maybe an interview about a film I've made? But an advertisement? I don't know what it would be for.

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
I just genuinely love working with actors and a team of filmmakers. If I'm going to anything worthwhile worth my time, it will always be this.

Why this film?
I wanted to tell a story about invisible queerness and how hard it can be to stand up and say, "I want this invisible thing to be seen." I was trying to work out how a loving partner could be the antagonist that, to create the central conflict in my film, and I thought about how politics can affect our intimate relationships negatively. So invisible queerness and politics in relationships became the central themes, and I think both are quite topical and relatable.

You have unlimited budget, green light for your dream project and can cast anyone you want...
Casting would depend on the project, but I'd definitely want to work with actors I get along with really well. I think that's especially important for improv, because the method requires the director and actor to ask a lot of each other. As for the unlimited budget, I'd use it to make sure everyone on set was paid fairly, had reasonable working hours, childcare on set, long enough breaks between shifts, etc. And after that we can talk about crane shots and expensive GFX.

What are your future goals regarding filmmaking?
I want to write and direct narrative features. And probably edit them, too. I'd also like to edit features directed by others because I do really love editing.

Meredith Dobbs

Meredith Dobbs

We won’t tell you much about the film but let’s just say there’a a lot at stake here. And you’ll just have to pop down to the ol’ Streatham Space Project on 11.6. at 19.30 to see how it all unrolls.
Tickets right HERE.

"Have You Seen Buster?"

If CineShots was a Scooby Doo cartoon Emmanuel Li and his gang would be a bunch of meddling kids and we, the old guys, would always be angry at them for showing everyone we’re just a bunch of pretenders.
And that’s because the guys behind The Big Tent Films know their ropes pretty well.

We interogated Emmanuel Lie - writer and director of Have You Seen Buster? - in a haunted castle right after his Mistery Machine van broke down.

There is an ad in a newspaper with your photo in it. What does it say?
It'd be a very unflattering photo of me followed by "MISSING: Have You Seen Emmanuel Li? Last Seen in the Walthamstow Marshes."

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
Film is such a unique and fantastic art form in its accessibility and ability to appeal to absolutely everyone. I've always had a passion for stories and to be able to have the creative control and freedom to bring a story to life from script to screen is intensely rewarding. The process is, of course, arduous and often frustrating, be it writer's block or on-set complications, but filmmaking being the ultimate team sport, working with so many talented people, sharing in these ups and downs, solving problems together, all while striving to tell a great story will never cease to spark joy in me. And hopefully, when all is said and done, it will spark joy in the audience as well.

Why this film?
Having just come off making a bleak, gritty drama last summer, with many more dark comedies in the works, I wanted to take a departure and make something sweet and charming without any cynicism. I love dogs but have never had one, so part of the "searching-for-a-dog" plot came from that. The location also played a big part - exploring Walthamstow Village made me think of all the wacky characters that could inhabit such a colourful, vibrant world, a world I desperately wanted to share with audiences. Being a magician, I love twists and I won't spoil it here, but the ending came from something that happened that was really close to me, which was the main inspiration for the film.

You have unlimited budget, green light for your dream project and can cast anyone you want...
Wow, what an opportunity! I'd make a darkly comedic Neo-Western crime caper - think Reservoir Dogs with a Coen Brothers twist. It'd be set in harsh, urban LA and then transition to the gorgeous, sunswept backdrop of the Mojave Desert and hell, the Grand Canyon while we're at it! It'd follow a ragtag bunch of criminals who made off with the wrong suitcase containing something seemingly worthless but are now hunted by rival gangs, a corrupt detective with a crossbow, and a female assassin whose preferred method of transport is horseback. It'd star Taron Egerton, Daniel Kaluuya, Dean Norris, Timothee Chalamet, Joaquin Phoenix, and Charlize Theron. It's a crazy, chaotic wild ride and maybe even a bit messy and trashy, but among the madness, I'd love to explore what drives people to commit crime and the complex disparity between generations through the father-sons relationship of the main group.

What are your future goals regarding filmmaking?
My dream would be to continue doing what I love - filmmaking and storytelling - for the rest of my life and be lucky enough to make a living out of it. There's nothing quite like the collective sharing of a story through film, and to be able to provide that experience and create art that makes the drudgery of life that much more bearable would be an honour.

Emmanuel Li

Emmanuel Li

To see if anyone’s seen Buster you’ll have to pop to Streatham Space Project 11.6. at 19.30 and watch the film with five other amazing shorts. Emmanuel will also be there for Q&A and your regular autographs.
Make sure you get your TICKETS.

The Trouble With Retirement

Watching a film about two old buddies tha just got retired doesn’t sound too exciting, really. Knowing one of those guys is a retired assassin, well, we’re stirring things up a bit. Realizing they’re both retired assassins. Now we’re in trouble.

The Trouble with retirement.jpg

An interesting film requires an interesting idea. Surely an interesting idea requires an interesting filmmaker…
Here’s Charlie Lilly:

There is an ad in a newspaper with your photo in it. What does it say?
A young upcoming writer/director, Charlie Lilly, uses his love for genre cinema to talk about his generation in his new feature film.

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
I have often heard directors and producers refer to the filmmaking process as high level problem solving and I couldn’t agree more. No matter how much you plan or prepare for a shoot things will always go wrong, but actually sometimes things going awry on set can be a blessing in disguise; having to think up a quick solution on your feet often leads to a new idea that is better than the original one. Sometimes what you thought was going to be your masterpiece turns into a rough draft so bad it makes you physically ill, and you think all the long hours spent shooting have been a waste. What makes filmmaking magical to me is to then bring creativity and new ideas and turn what at first appears like an irredeemable mess into something you’re not only proud of, but has even exceeded what you’d first imagined.

Why this film?
I’ve always liked the idea of normalising larger than life jobs that people might have. The concept behind this short comes from a simple question; what happens to a hitman when he retires? Does he still get leaving cards, and drinks at the pub? The film starts with a working class hitman retiring and taking his friend for some drinks in the pub before going on holiday with his wife. It’s a comedy-crime that doesn’t want to be a parody – it follows the visual tropes and beats of a crime genre film. Although there’s plenty of humour and over the top violence, the film also has emotional moments – my hope is for the audience to feel like the characters are real, relatable people.

You have unlimited budget, green light for your dream project and can cast anyone you want... 
My dream project would be to make a British hangout movie like Dazed and Confused where the audience gets to know and love the characters, to then bring in an unexpected horror element half way through. Too often characters in horror feel like cannon fodder, eliminating the tension and the drama from the killing – I want the audience to be genuinely terrified because they don’t want to see the characters they’ve grown attached to getting picked off one by one. I envision it as Richard Linklater meets From Dusk Till Dawn but (the threat being something a little more grounded than an army of vampires). I think that would be a truly terrifying experience. I’d like to cast young, British actors such as Will Poulter, John Boyega and Letitia Wright who are naturally likable and charming but have shown extreme flexibility when it comes down to acting, excelling in different genres and styles.

What are your future goals regarding filmmaking?
My future goal regarding filmmaking is to start making features. I want to one day be seen as the director who brought the public’s eye back to Britain and its culture, hopefully starting a new wave of big budget original British storytelling. European and British cinema has an enormous pool of talent for films that too often is relegated to small releases. In the past, films such as Babylon, The Long Good Friday and Alfie brought British culture of their time into the mainstream - but I feel like there’s been a gap since then and my generation has been mostly represented in American films, which while great can’t represent exactly the same experience as my own.

Charlie Lilly

Charlie Lilly

The Trouble Wiht Retirement will be screened in all its’ glory on the Streatham Space Project’s big screen 11.6. at 19.30. Well, that’s when the door opens, the screenings will start at 20.00 so you have a time for a quick pint.
Tickets HERE so you won’t be left standing outside. (They’re also available on the door but they’re a quid cheaper online. Just sayin’)

The Drive

How does one talk about memories when the memory starts dissolving?
There’s films about father-son relationships and there’s films that make you want to call your parents and tell them how much you love them. Guess which one is The Drive.

Adam Thomas Wright is much younger than he should be to create a film such as The Drive and we’re always amazed by the talent and will of the new filmmaking generation.

There is an ad in a newspaper with your photo in it. What does it say?
Adam Thomas Wright: Starring in Mr Potato Head biopic

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
Yeah, filmmaking can be very challenging. Take, for example, the sheer unpredictability of it. On The Drive, the weather really influenced the project in a bad way. When you are on a shoestring budget, you've got to plan properly with stringent time restraints on kit hire etc. And when Mother Nature comes along and throws it awry, it can be hard. But each challenge is an experience to learn from. Everything gets a little easier after each challenge you face. And that's worth it.

Why this film?
I was actually sitting in a car, driving down a country road late at night. I thought about how cool it would be to have a series of shots using the repitition of street lights and road markings. Then I thought about the type of conversations people have late at night on a long journey. I have had experience of dementia in my family, and I thought it was a topic worth discussing and perhaps be able to find some light in such a difficult situation.

You have unlimited budget, green light for your dream project and can cast anyone you want...
Some kind of surreal twist on reality; I love films that take real life and make it even more uncomfortable. I like the idea of making audiences really feel something indescribable. There are so many talented actors out there, but John Malkovich and Paul Dano are personal favourites, and Elsie Fisher was a delight in Eighth Grade this year.

What are your future goals regarding filmmaking?
I am writing a new script at the moment for a new short. It's a bit different in theme, but I've learnt lessons from The Drive. 

Adam Thomas Wright

Adam Thomas Wright

The Drive will be screened 11.6. with Adam as our guest for the Q&A.
Tickets are available HERE and they will open the door for you at 19:30 at the usual Streatham Space Project.

Short Straw

Short films tend to surprise us with a nice twist at the end. Some do it good, some do it better. And some make us think ‘hmm, there might actually be a feature film somewhere in there…’

Ricky J Payne is as South Londoner as one can get. Born and bred in Brixton he is a perfect example of a healthy ‘let’s make some films!’ filmmaker. Here’s how he answered our questions.

There is an ad in a newspaper with your photo in it. What does it say?
Lets play to find the story, and when we have found it, be unrelenting in its detail.

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
Seeing the story come to life;  taking a shape through the love and craft of the cast and crew. Seeing it, sat down beside audiences (especially when they don't know me). Seeing their reactions whatever they are. (Though it made me tear up when the audience in L.A. laughed at my comedy RIGHTSWIPE.  Seeing an audience understand what you're are conveying, is one of the best feelings ever). Then after that, is the understanding what worked and what didn't.Then taking that and pushing my love and craft in story telling further. 

Why this film?
Opportunity combined with pre production planning on a larger project called SEED. 'Short' Version, a test a film for that larger project which has now it's own bigger story which we plan to do separate from SEED.  I was filming with Director of Photography Diogo Atadini and Producer Victor Rios on another shoot, and then after, we were dropping off the equipment at Diogo's old studio.  I was inspired by the industrial elevator leading to it. I said to Victor, "We need to use this before Diogo moves out!" 
So I went away, sat down , thought about the elevator and the type of characters or situations it could give me and at the same time, I remember discussing about mobile film festivals and competitions. Opportunity to kill two birds with one stone.  1. Get my feet back into making scifi which I love and 2, test myself and the others who would join me, on using a mobile phone as the camera. After lots of Jammy Dodgers and Tea and great work from the cast and crew, Short Straw was born. 

You have unlimited budget, green light for your dream project and can cast anyone you want...
One of my dream projects is an anthology scifi stories in the vein of  X-Files / The Expanse / Night Flyers , Men in Black and Cloverfield.  Using not just narrative, but also dance, music, paint, stop motion and practical effects. Practical Effects is a major thing or next step for me. I want to do a scifi film with majority of effects in camera, and three of the first major projects in that anthology has been drafted, however, funding is required to make them work. 

What are your future goals regarding filmmaking?
I have five immediate goals  which are scheduled throughout this year. SEED, STALKER,  Faye Ray VMA Dance Season 2, SNAKES (Working Title) and RIGHTSWIPE. SEED is one of the official scifi stories of the anthology mentioned above. SEED requires a built set , a studio to film in and moments of stop motion. I don't want to do it run and gun, that  wouldn't work for the vision I have for it.  Where SHORTSTRAW shows what we can do run and gun,  SEED's purpose is a next step to show what I can do with modest funding on a 'scifi' short film within a studio format, and give an idea of the the production value / style I want to achieve for the rest of the  scifi stories that will follow that.  STALKER I cannot discuss at the moment, however more news will follow once we begin festival submissions next month .  Faye Ray VMA Season 2 is a series of dance videos in collaboration with Faye Reader, who is dancer, choreographer and poet. Our first season ,  A Time to Play, which is really us getting to know each other in reccee sessions is out now on Vimeo, Youtube and Instagram.  Snakes (Working Title) is a Cyber Punk short film I'm developing and will be working with actor / fellow filmmaker Billie Vee. Rightswipe is a non-romantic comedy of the challenges with online dating, and shows my love for directing awkward / dark comedy.  Currently touring Festivals, and thanks to an amazing cast & crew,  has achieved Best International Film LA Short Film Festival and Best Comedy at London Independent Awards. I want to expand on it with Writers and Producers Max Warrick and Carina Birrell and we're currently in talks to do so. Scifi , Fantasy and Arkward / Dark Comedy is my love and direction for the next 10 years.

10269118_10154217050495094_8382380001345614404_o.jpg

So come on down to Streatham Space Project this Tuesday, 14.5. at 19.30 and watch Short Straw among five other shorts and have a chat with Ricky!
Tickets here!

RUCK IT!

What starts out like a sports commercials, gets you to tears three minutes later and ends up making you feel all warm and hopeful?

RuckItPoster.jpg

Ruck it is one of those films one simply can’t and shouldn’t ignore. On the top of it being very well made.
Kelvin DeSena, the director, answered our series of questions.

There is an ad in a newspaper with your photo in it. What does it say?
‘’If he can make films. Anyone can! Look at that melonhead!’’

When it comes to complexity and difficulty of producing an art work, filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
I’m no tortured artist nor do I see filmmaking as special. Yes it’s hard, but so is anything worth doing. I think we should spend less time talking about how hard it is and more time talking about how easy it is. Filmmaking has never been so accessible. More people should be doing it! It’s so much fun!

Why this film?
Honest answer is, I was approached to make it by a guy at Mencap. He had been to a private screening of a short documentary telling the story of a swimming club called Swim Dem Crew. He wanted to do something similar as they have some incredible stories to tell and we were lucky enough to be approached to make it! I thought it was an amazing opportunity and threw myself into it. Plus, I'm a big rugby fan as well!

You have unlimited budget, green light for your dream project and can cast anyone you want…
I would make an awful big budget film. It would probably have giant laser beams in the sky with Arnold Schwarzenegger lifting large heavy objects whilst delivering terrible one liners...actually that sounds pretty cool!!!
I think I would use the money to make five low budget films, casting new and exciting actors that can add a new voice. Would also be nice to have Riz Ahmed on board as well. I would love to see British Asians represented more in film as I think we have something to contribute.  

What are your future goals regarding filmmaking?
To make more and to get better, whilst making new friends and having a laugh, and if I can continue to pay my rent as well, then that would be a bonus.

Kelvin DeSena

Kelvin DeSena

Ruck it! will be screened on our May CineShots and we will have Kelvin DeSena there to talk to so get your questions ready, get your tickets here and we’ll see you Tuesday, 14.5. at 19.30!

Where is Europe?

The last few years have been very strongly marked by migrating crisis all over the world. Some resulting in dividing countries, some in people’s lives being lost.
Where is Europe went on board a rescue vessel that was right in the middle of it all.

Valentina Signorelli, the director, answered the CineShots questionnaire.

There is an ad in a newspaper with your photo in it. What does it say?
Valentina Signorelli (PhD Film) is a professional writer and producer based in London, UK. In 2016 she co-founded Daitona production in Italy, recently awarded as the most innovative young production company of the country. 

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
The idea that what you first had in mind can potentially reach millions of people and make a positive impact on their lives. 

Why this film?
This film is set on board the NGO migrant rescue vessel Aquarius, the same kept stuck at sea in 2018 for over a week and with 629 refugees onboard. Where is Europe? explores one of the most tragic humanitarian crisis through the eyes of the humanitarian operators in their everyday life on board the rescue vessel.

You have unlimited budget, green light for your dream project and can cast anyone you want...
I would love to produce a series out of this short exploring who are the people of Europe today and what is the impact of the EU on their everyday life. Each episode would follow the life of a group of Europeans living in a strategical, geographical, political or cultural area in the hope to promote awareness and call for cooperation. 

What are your future goals regarding filmmaking?
With another couple of colleagues, I run a small production company based in Italy, Daitona. In the near future, I would like to expand our network and co-produce other projects with new partners around the world.

Valentina Signorelli

Valentina Signorelli

The amazing short Where is Europe will be screened 145.2019 at Streatham Space Project.
Click for tickets.

Jo and Jade

Teenage love is a serious thing.
Seriously.
Especially if told through an amazing story directed by an even more amazing teenage director (we demand an ID as we don’t really believe he’s that young) Ethan Ross.

We’ve had a quick e-chat with Ethan and threw our usual set of questions at him. Here’s what we got back:

There is an ad in a newspaper with your photo in it. What does it say?
I think were it a photo of me, it'd be something like “A young director from north london making waves in indie film community" or something like that - nothing too show-offy!
Were it for Jo and Jade (the short film), it'd be "fresh and subversive lgbt romcom makes a splash, despite its young team". I'd be  much keener to promote the film than myself!

When it comes to complexity and difficulty of producing an art work filmmaking is very close to the top. What makes the whole journey, often unpleasant, worthwhile for you?
Although it's a difficult process, I really couldn't stand not creating - it's like my sustenance, and at this point I find it boring to relax... I prefer to be working on a script, or fine tuning some cutting! I absolutely love the feeling of having made something I really feel is my own, that I'm proud of, and that I'm happy to show to people. Along with the camaraderie of the shoot, that feeling really makes it worth it.

Why this film?
In terms of modern cinema, i feel the simple teen movie is a bit underrepresented in the mainstream, as opposed to the 80s where you had people like John Hughes making those amazing films we all love. I wanted to make something honest, in the way it presented characters and situations, and in the way that, well, those classic films tend to have very idealistic happy endings, and I felt that wasn't really very truthful to actual teenage life.

You have unlimited budget, green light for your dream project and can cast anyone you want...
I'd really love to make a musical, so probably that - but definitely set in London, I feel like there aren't enough musicals properly set here. I'd want to cast Saoirse Ronan and John Goodman because they're both amazing and would have pretty great chemistry. I'm tearing up just at the idea.

What are your future goals regarding filmmaking?
Ultimately, I'd like to make films full-time, with nothing else on the side, preferably as a director, but if not, probably as an editor. In the shorter term, I'd like to get my work into some festivals where people can really see my work, but that's not the most important thing. The dream for me is just to improve as much as possible, and to make something I'm unfalteringly proud of. That'd be great.

Ethan Ross

Ethan Ross

Jo and Jade will be screened at May’s CineShots on 14.5.2019.
Tickets available HERE and don’t forget to bring everyone you know.