THE SPIRITUALIST (2016)
By using various camera techniques I was keen to enable the audience to experience delusions and paranoia first hand, as much as possible. This would bring the viewer closer to understanding Laura's emotional journey. To achieve this I avoided close ups and framed 90% of the film on a wide shot. In addition, I employed the technique of misdirection to unsettle the audience. To achieve this I introduced ambiguous timelines, long continuous camera sequences and camera trickery.
THE ADORED (2012)
My direction techniques make the viewer question every scene, forcing them into making assumptions. A scene may only be understood once latter scenes play out which creates suspense and highlights my ability to force the viewer to watch the film actively. Overlapping timelines and mysteries test the viewers in their search for the truth of the house’s mysterious past and the characters motivations. The Adored showcases how I create tension from the emotional fragilities of the lead characters leaving the viewers feeling unsettled. I’m eager to demonstrate the fine line between love and insanity in its honest rawest form.
THE COST OF LOVE (2011)
I wrote, directed, and produced The Cost of Love this film demonstrates my ability to direct delicate subject matters in a dramatic context. Love is universal so I wanted this film to connect to everyone regardless of their sexuality it was important for me this film equally enters dialogue with a gay audience in a realistic setting. I wanted to hold up a mirror to a community in SE London reflecting real time social issues giving authentic insights into diverse characters and their lifestyles connecting everyone through the various guises of love.
Bereavement deals with one woman’s loss as she candidly talks to camera in this heartfelt document. My directing approach was focused on making the viewer connect to loss of any kind. Loss affects us all differently and makes us act unpredictably. My approach was to make this film in the style of a documentary making the viewers believe this is in fact a real life testimony coming from the heart not a script, so much so you see and hear the crew members, but a knock at the door changes everything and makes the viewer see a whole different side to Jane and her bereavement. Jane Merrow won best actress for her portrayal in bereavement at the 2008 end of the pier international film festival and was also screened at Cannes short film corner.
My direction highlights to the viewers how our senses can be manipulated to the greater good of others. Edward who is afraid of the dark is suddenly forced to face his worst fear when he becomes blind. I wanted to explore his emotional state and visualise his mind’s eye allowing the viewer to see Edwards imagination and the reality that presented itself on a daily bases. I wanted to explore and push the envelope around love being blind forcing the viewers to question everyone’s motivations around Edward in both his quest for love and him seeking the truth from his past.
Working with Goldon Globe nominee Jane Merrow was a delight and getting her to play variable ages was a devise executed to reflect the passing of time.
My approach when directing this film was to work with a strong leading lady who came in the guise of Marianne Morley. I knew it was going to be a performance led film about an aging actress who has paid the price for fame. I was inspired by 'What ever happened to baby Jane'
Marianne’s performance had to be both melodramatic in places and very heartfelt in and humble in others forcing the viewers to question where does the act begin and end.
I had to be delicate and sensitive in my approach as a director as the subject matter explored needed executing with most impact and delicacy. I wanted viewers to question choices made in their own lives and the consequences.
I wanted to create a theatrical experience as this film is about two actresses and is set in two locations, the theatre and Miss Bermans drawing room. I rehearsed the film as a whole as if I making a piece of theatre. I wanted to capture the truth of the moment and find a few surprises on route. In damsel I make people look at acting as a devise we all use at times to manipulate a situation or to protect ourselves and others.
A New Hopeless (2007)
My approach when directing this film was to make a fan film with great special effects minimal dialogue and light comedy to capture the spirit of the film an the imagination of the fans
MY BEAUTY (2007)
My approach when directing this film was to play voyer to someone in a personal sacred space, this film had to be literally be a reflection of a intimate moment where an individual could be the person they where meant to be away from ridicule and judgment which was prevalent in this time . the film won best music video at the end of the pier international film festival
MY BEAUTY (2007)
My approach when directing this film was to play voyer to someone in a personal sacred space, this film had to be literally be a reflection of a intimate moment where an individual could be the person they where meant to be, away from ridicule and judgment which was prevalent in this time . the film was selected at the super 8mm competition and screened at the curzon cinema
INDIAN DIARY'S (2006)
This film shares my experience of India , the people the places and the animals, i wanted to show the places that tourest dont frequent as well as the tourest hotspots , i set to capture the true colours of india embracing the hearts and minds of the people i met long the way.
COLOURS OF INDIA (2006)
On a trip to India i was inspired to write poetry i shot this footage to give a visualization of one of my poems "colours of India"
FISH AND CHIPS (2007)
This fan film is a tribute to my favorite childhood duo. i wanted this film to have an authentic visual ascetic and obscure slapstick comedy just like the old Laurel and Hardy films.