Lounge trip: a multi platform project to uplift East Midlands filmmakers

For anyone who hasn't come across your work before, how would you describe your journey into filmmaking, and what first made you realise it was something you wanted to pursue professionally? 

Film has always been my purest obsession. The day after my fifth birthday, I started going to an after-school drama club in Beeston called Sprouts. The sessions were run by Helen Goodbarton, who has always inspired me with how committed she is to storytelling and trying new things. She is an incredible entertainer, and taught me the importance of keeping things fun. Five years later, my dream was to be an actor. I got to the final round of auditions for the film A Monster Calls, before quickly realising my love for film was behind the camera. My dad loves to remind me that I spent most of the auditioning slot asking the director about his job, instead of the part I was auditioning for.

Your film Just Like Grandad's has resonated with audiences for its warmth and authenticity. Where did the inspiration for the story come from, and what did you hope people would take away from it?

Funnily enough, it started with an idea about two witches creating a potion to bring their elder wizard back to life. My Grandad was battling cancer at the time, and I had just moved out of home. With this came a lot of different kinds of fear, being away from family and the fear of losing someone. I wanted the audience to feel that in the film, and be able to see their own experience in the story. Although my Grandad thankfully recovered from his illness, I realised it was more crucial to tell the story genuinely as I was feeling it.

You've worked across different creative roles throughout your career. How has your approach to filmmaking evolved over the years, and what aspects of the process excite you most today?

I work mainly as a director, producer, and assistant director. But ever since I was starting out, I’ve always wanted to try it all. You learn so much having a go in other departments – why that camera setup is taking longer than usual or why the production designer needs more budget. It helps to see where the crew are coming from during what are understandably long and challenging days. There is always room to improve, especially in film. You need to be open to the crew having an idea that works better than your own. I learn new things all the time.

The East Midlands has no shortage of talented filmmakers, actors and creatives, but many feel they have to leave the region to build a career. Do you think that's changing, and what do you think the region still needs?

The East Midlands is a great place to produce films. We have a wide variety of exciting locations, easily accessible transport across the region, and several dedicated cultural organisations like the East Midlands Film Office and Broadway Cinema. There are countless filmmakers in the region creating exciting, innovative work. To grow further, the East Midlands needs significant investment. I am currently working closely with the East Midlands Film Office along with several other local filmmakers.

Lounge Trip has become more than just a screening collective. It's starting to feel like a hub for East Midlands creatives. What inspired you to create that community, and what gap were you hoping to fill?

The whole goal with Lounge Trip is to grow a deep culture of creativity in the East Midlands. Initially, it came about after taking part in the BFI Film Academy short course at Broadway Cinema. A few of us didn’t want it to end after spending months as a class, supporting each other on our projects. We decided to turn it into a wider community. I now run the group with Matilda Osbon, Ben Michael and Ruby Phillips, and I’m so thrilled with what we’ve been able to achieve already. We have hosted over twenty screen events, bringing younger generations back to the cinema. We have been able to offer over fifty entry-level filmmakers opportunities to get on set. The film industry can be terrifying when you’re starting out, and it is important to us that a career in film should be accessible to anybody who is truly passionate about it.

You often talk about bringing East Midlands filmmakers together rather than competing with one another. What does that collaboration look like in practice, and why is it so important to you?

The classic filmmaking quote is that it ‘takes a village to make a film,’ and I think that needs to be the case both on and off a shoot. Aspiring filmmakers are often put off by their careers being this solo mission; it doesn’t need to be. I believe that it is a team sport, as high-quality films take a lot of time, money, and hard work. Having the support from those around you is invaluable, and I think as a region we have the power to tell some incredible stories. 

Looking ahead, what are your ambitions both for your own filmmaking and for Lounge Trip? If we were having this conversation again in five years' time, what would you hope had changed for filmmaking in the East Midlands?

There’s no point aiming low when it’s something I care so deeply about. I am going to continue making short films and work towards directing features. I think film is such a unique way of telling stories, and I am so keen to experiment with it and do my bit to push the medium forward. That goal isn’t separate from what we’re building with Lounge Trip. I want to create an environment in the East Midlands where filmmakers are able to produce innovative work, regardless of their background.

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