Last year Hannah Lou Clark’s solo debut EP Silent Type introduced her to a whole new audience. 2015 has seen her on tour promoting the new sound and honing her showmanship. She played at Green Man in the Walled Garden while the sun was shining and we caught up with her on a rare break. She shared her thoughts with us on …
A gaming novice, I approached Brendan Walker’s Oscillate ‘ride’ and Karen Palmer’s Syncself 2 neurogame with trepidation, but came away a convert
With her first feature, They Are All Dead, Beatriz Sanchis filmed in her home town of Madrid. She talks about her love of film and the lessons she learned on set. Continue reading
Andrew Hulme director of Snow in Paradise, his debut feature, took some time out from work in LA to answer some of my questions. Continue reading
Stephanie Joalland, originally from France, has made her debut feature here in the UK, The Quiet Hour is an intimate take on the alien invasion genre and was one of the gala films at Raindance 2014. She talks to us about her working life. Continue reading
I was able to prise the director away from his current project in an LA hotel to chat about Frank out this week on DVD.
How did you get involved with Frank?
4 years ago I got sent a script by my agent, it was a strange project, impossible to categorise and I thought “Am I really going to film this?” Continue reading
Documentary filmmaker Maureen Judge hails from Canada and has an industry CV that spans over 20 years. Working in TV and film she here shares her expertise and talks of the new challenges she faced with her latest project Living Dolls. Continue reading
Debs Paterson fairly burst onto the film scene in 2010 with her acclaimed feature debut Africa United. Since then she has been beavering away writing and developing multiple projects for TV and film. She took some time out of her hectic schedule to impart some words of wisdom. Continue reading
Anna Kazejak’s 3rd feature The Word had its UK premier at Raindance 2014; here the Polish filmmaker shares her experiences of working at home and in Denmark. Continue reading
I spoke to Dietrich Bruggemann who directed one of this year’s more controversial and artistic offerings, Stations of the Cross.
Apart from 3 scenes the camera is static – why did you choose this way to shoot and what problems did it create for you? How much preparation was involved?
Back in 2005, I had shot my first feature in that same fashion. That was a comedy, and I was fascinated how well that extreme reduction worked, both for the drama and for the fun. Continue reading