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After becoming addicted to neo-psychedelic band Tame Impala, I stumbled upon the video for their single Mind Mischief. Being blown away by its fully realised story and rich animation, I could not allow myself to rest until I had spoken to the person responsible. That person is David Wilson.
Bubbling with creativity, David Wilson is an energetic, passionate young director and animator living in London. He has been out of university for just a few years, but has already amassed an impressive CV, having directed vibrant videos for bands as diverse as Arctic Monkeys, David Guetta, Keaton Henson, and the Japanese Popstars. After much schedule clashing, I was finally able to settle down (via Skype) for a chat that ranged from David’s influences, to his ambitions, and to his impending life-transforming move to Los Angeles…
First of all, tell me a little about your background.
I’ve always lived in the UK. I studied Illustration at Brighton University. I did a foundation course in Art & Design at St. Martin’s, which made it very easy for me to move back to London as I had a vague idea of how the city worked after spending eight months there when I was 18. But I grew up in Somerset, so quite a rural upbringing. I miss it!
Do you know Edgar Wright, who also grew up in Somerset?
I grew up in the same town as him. [Wells] I don’t know him personally because he’s a few too many years older than me. But my house is in Hot Fuzz!
Explain your artistic process.
What I aim to do is respond as personally as possible to music. I work mainly with music videos, so it’s mostly about trying to find those right projects where a musician will give me free reign to feel and respond as appropriately as possible to the music. But other times I really enjoy the collaboration with another artist. I usually like to have something I can grasp hold of and shake around – whether that’s a piece of music, a script, a costume I’ve made… I like to have momentum and a deadline.
How much influence do you usually have over the idea behind a music video?
The way it works is that the director will write a script and win the job on the back of that and their reel. I’m represented by a production company called Colonel Blimp, and I work on commission. Whenever a track comes in, I write a response to that track. But you often get a little bit of steering – an artist will go, ‘I don’t want to be in the video, I want it to be animated, I want it to be live action, I’ve come to you because I liked this piece of work you’ve done in the past’.
Out of the videos you’ve directed, who have you had the closest collaboration with so far?
I guess that would be the Maccabees. Orlando [Weeks], the frontman, was in the year above me at Brighton. Although we never hung out, I really admired his work as an artist as well as a musician, and having that background helped because they became the most involved in the process. So much so that they finished the video for me. We ran over schedule by a week – there was a lot of post-production to do with the splitting heads, so they sat in the editing suite and oversaw the final few days of the project because I had to go to Canada and shoot the David Guetta video.
The Maccabees video looks great and seems to have very high production values. Did you have a big budget, or was it filmed innovatively on a small budget?
We were only able to have one shoot day. The art department was amazing. They produced so much work in the space of a week-and-a-half. All those objects that split were physically cut in half – something that seems on paper quite simple, but when you’ve got to see the inside of a clock and its cogs…they had to pull it apart, remember how it all went together, and glue it back. We only managed to shoot about two-thirds of the stuff they produced.
I like working with puppetry and live in-camera effects. I want effects to be as in-camera as possible, rather than defaulting to the CGI route. The aesthetic of The Maccabees was tied into that – I deliberately didn’t use any green screen so it felt very lo-fi and should feel like it was lifted from an early eighties, late nineties TV title sequence. That’s why all the objects are cut out by hand, and why it was shot on a black background.
I noticed in the making-of that there were a few objects that didn’t make an appearance. The making-of videos are brilliant by themselves, they really satisfy the geek in me.
There’s a reason why I started doing making-ofs, back when I directed my first music video for Moray McClaren – We Got Time. I was determined to make my profession work, in that I’d left university the year before and that I wanted to work as hard as possible to ensure that, if ended up working in a shop one year later, I’d know that I’d given it my best shot. I’ve kind of been doing that ever since – ensuring that every project is going to be my best yet. So the making-of was a way of getting people to know who I was, how I worked, that I was a capable human-being. It was important to sell myself as well as my work.
Self-promotion is as important as the work itself.
The Tame Impala – Mind Mischief video is my favourite of all the videos you’ve directed. The way you’ve managed to tell a story in the space of a few minutes is amazing. Tell me how you made it.
First of all I’m so glad you said that, because I think it’s also my favourite. It meant a lot to me and was a very ambitious piece to do. To start, the piece of music is out-of-this-world-amazing. Modular People, who represent Tame Impala, are a record company from Australia, and we had been meaning to work together for a while. They’re just super-friendly, passionate, laid-back people. They held a music festival in Croatia at the beginning of June, and that was great – it was a very small event, and almost like being at an office party, but instead with amazing bands on a beach. They had a lot of trust in me…I didn’t feel like I had to win them over.
My main concern was that I wanted to have emotion in an intimate scene combined with animation. Before, my steepest learning curve and the video I made the most mistakes on was Skream – Listenin' To The Records On My Wall. I was satisfied with it at the end, but having distanced myself from it I felt very unhappy with it. I managed to execute it, but not in a very good way.
People have said they like it, but I felt let down with the way I’d directed emotion. So I went on two acting courses, to learn how to work with actors. There’s a saying: 90% of directing is through the casting of your actors. I’ve learnt from experience that it’s so true.
For Mind Mischief, we managed to get Bill Milner to play the schoolboy – he is one of the most professional, most giving actors that I’ve ever worked with. To have him on board meant that I felt the project was going in the right direction. I also had Jonathan Harris as the head of animation; it was the second time I’d worked with him after the Ikea commercial. So I felt like I had two key parts of my crew already, as well as producer Julie Crosbie, who was a massive part of making it happen.
It was an ambitious project, dealing with intimate scenes and love, a difficult subject matter to direct. And then the amount of animation that needed to be produced, as well as the length of the video itself being nearly six minutes, all on a reasonably small budget. It was a lot to chew, and I was worried it would fall apart, but I’m really proud we managed to get it out there.
You pulled it off. I love when you pan out of the back window of the car to see it floating in space.
That was the last shot we filmed! We had to do it so many times, and by then everyone was completely fried. We shot it in the middle of December so we only had about six hours of daylight, all of them used on the car scenes. Every interior shot was faked – we put lamps through the school windows to imitate sun, so by the time we did the final shot, we just had two lamps left. I like the effect it created, making it look like the car was floating in space, rather than being sat in a car park.
The animations are almost like another video. Tell me about your inspiration for that sequence.
The inspiration came from the animated film Heavy Metal, as well the music video Oriental Nightfish for Linda McCartney & Wings, directed by Ian Eames, an amazing animator. If you look at both of them, you see they’re similar to Mind Mischief. In terms of the content, that was more drawn from my brain.
The setting feels like it’s coming from the great film tradition of the British schoolboy in boarding school.
For the look of the school, I referenced the classroom scene from Monty Python’s The Meaning of Lifeand worked with a friend with an amazing knowledge of films; he pointed me in the direction of a film called if… That helped further inspire me with the old-school, boarding school look I wanted.
A lot of my inspiration is drawn from films I’d watched as a child. The transition from animation to live action came from a film called The Water Babies that I grew up watching. It’s not a very good film, but I have a soft spot for it given that I would watch it on repeat, on an old VHS tape that we had when I was five. In my work, there’s a lot of reminiscing into how magical a film was to watch when you were a child, but how when you look back on it now, the effects look terrible. But you remember, as a child, watching it and going to bed dreaming of a very rich, very real world. I tend to dig into that.
You mentioned you like working with physical special effects as opposed to CGI; directors such as Guillermo del Toro feel there is a disconnect onscreen when computer graphics are used as opposed to physical techniques. Do you feel the same way?
Yeah I do, and I think most of the directors I admire do as well. What’s interesting is that puppetry effects have developed just as much as CG effects, so they now merge very closely together – and the best effects you can see on film is a result of compositing physical things.
The amount of work that goes into computer graphics is incredible as well; it’s so labour intensive and so otherworldly. CG has its strong points when you’re wanting to create big, epic landscapes – it’s essentially like the amazing matte paintings of the past, but being able to create a three-dimensional matte painting you can move through. So when you’re dealing with landscapes, the advancement with CG is just the next level. The sort of things Andy Serkis’ The Imaginarium can do with films like Rise of the Planet of the Apes – watching that film, seeing the main hero ape perform, I just couldn’t get over its performance. It’s incredible. That was Andy Serkis dressed up in one of those dotted suits. But even though it’s a film with CG, you’ve always got to relate the effects to a human. I think that’s what the next stage is – working with CG in real time. It maintains a bit of the human soul.
You’ve mentioned a few of your influences – can you name any more artists or filmmakers who have inspired you?
I’m going to go for two. These are massively obvious but they represent two big turning points in my life. The first was being eight-years-old and watching Wallace & Gromit. It was the realisation: the fact that I could go to my bedroom and make that – obviously I couldn’t to the level of Wallace & Gromit, but realising its physicality, thinking ‘that’s plasticine – I know what that is’, and a ‘that’s a camera – I know what that is’, knowing I could combine the two, that I didn’t need anything more than my imagination, a camera, and some plasticine. So I ran to the bedroom with my dad’s camcorder and I started playing. Even though I didn’t pick up animation until twelve years later, when I got my first computer, it was that initial spark that made me unafraid of animating, because I was able to dive straight into it.
The second one was in my first year of university, being shown by my illustration tutor what was nothing to do with artwork or static imagery: when he talked to us about what inspired him, he showed us a whole collection of Michel Gondry films and music videos. Today, saying that, it’s like, ‘well of course, he’s one of the greats’, but I’d never seen his Sugar Water video – one half going forwards, the other going backwards – and it blew my mind. That whole year, I wanted to find out as much as I possibly could about him. This was before YouTube came out, during my second year, so it was all about searching for the right DVDs and talking to people. It was a real eye-opening experience about what music videos really were, about how experimental and artistic they could be.
I still draw a lot of inspiration from Gondry, not in terms of his execution – I guess to a certain extent he likes doing effects in-camera – but more to the imaginative, childlike energy that he puts into his work. That, I constantly find inspiring. It’s about drawing influence from a time that was more innocent, when you’re less hung-up on what the next career move should be, and more concerned with how you’re going to be spending your next two months – because however I’ll be spending them, I’ll be working really hard…I may as well have fun with it. Even if “fun” is going into the deepest, darkest areas of your mind and doing something very serious – you’ve got to get that reward of it being somewhere you want to go. Because then you put the most amount of energy into it, when you feel connected to it.
Have you ever done traditional animation, or have you always been computer-based?
No, I’m terrible at computer-based animation. Whenever I’m working on computer animation, such as the Arctic Monkeys and Tame Impala videos, I work with a team of Flash animators – it’s essentially the same as hand-drawn animation, just that you’re using a tablet and screen rather than a piece of paper. It just means that the sharing of files is a lot easier, the pre-visualisation is a lot easier, and it makes it a lot easier for me to direct. I’m able to dig in and go, ‘move that over there, this here’.
In terms of how I animate when I’m not working on a music video, I get a whole pile of A4 printer paper, which is nice and thin, and I draw straight onto that, burning through a lot of pens and pencils. Things like my advent calendar are all hand drawn, the Moray McClaren animations are hand drawn. I guess it’s because that’s how I started at university and that I never did an animation course, I taught myself. I really enjoy not looking at a computer screen – it’s very cathartic to be able to escape into a piece of paper. The risk is not having a pre-visualisation, and having a whole day thinking ‘well…I think this is gonna work’… until you get the payoff at the end of the day when you scan it in, go ‘yes, it works!’, have a little celebration in your head, and then you go and have dinner. So I really enjoy that process of having something tactile to work with.
I just bought a tablet, the Wacom Cintiq, where you draw straight on the tablet so that means I’m going to be doing a lot more on PhotoShop and things like that. I storyboarded the whole of Arctic Monkeys on it, it’s literally transformed my life. Because instead of drawing onto a piece of paper and then scanning that in, adjusting the levels on PhotoShop, then sending it onto someone – and having to redraw that image five times because you’ve drawn it wrong each time, and redraw a background every time you want to redraw the frame to show something else happening – now I’m working straight into PhotoShop, I can just whip out frames like nobody’s business. I storyboarded the whole of Arctic Monkeys in three days.
How long would it have taken you without the tablet?
Well, it would’ve taken me the same amount of time because that’s all I had available, but I was able to get my thinking process into a lot speedier way of working, and create images that are of a lot higher professional standard. Which is great, because now instead of writing treatments I’m able to get sketches out in five minutes that look polished enough to sit in the treatment. So I’m really happy about that.
Michel Gondry, as well as directors like David Fincher and Gore Verbinski, all started in music videos. Can you foresee a progression to directing a feature-length film? Will we see your name on the big screen?
Uhhhhhm…. that’s very far off. Mainly because that was never my intention; I always wanted to make music videos and be the best at making music videos. I’ve come to a decision that I want to continue making them, and I know I’m not at the top of the tree yet. I want to keep making the work that I make for bigger and bigger artists but it’s tough because I want to achieve ambitious things and I also want to be able to pay my rent. That’s all I want to do. I want to achieve what’s in my head and do a bigger thing than I’ve done before; it’s difficult because as years have gone by, the budgets have got smaller even though I’m working with bigger artists.
Even though it seems like my budgets have got bigger because I’m doing more ambitious things, it actually goes to show how much love there is for music videos – because people are really into those bands. When I did Metronomy, people gave so much to that video because they loved the band. People just throw everything behind a project because they really believe in the artist and I think that’s one of the most extraordinary things about working in music videos – in the smallest way possible, you’re connected with music that can touch peoples’ lives. Going to a concert and seeing a crowd respond to a song that you’ve worked on is so special. It feels like you’re a part of that crowd’s response. And also just feeling so proud to be associated with a band that’s able to create music like that.
I went to see Tame Impala twice in June, and being able to see the crowd’s response to their music, I felt so blessed to be able to work with such talented people. And it’s those kind of responses that, sometimes you've just got to make a project come together, come hell or high water, and, as long as I can pay my bills, I can go to extreme lengths to make that happen.
There are a lot of directors who respond to music primarily, building up their films around music: they imagine scenes set to music, so you never know…
You never know! But it would be a big undertaking. I tear my hair out if I’m working on a project longer than three months. When you’re doing a feature film, the shortest amount of time is three years. So I’m not at that stage yet, but I’m hoping to be making my first proper substantial short by the end of the year, which is really exciting.
Can you give anything away?
Not even the title?
We’re hoping to shoot by the end of the year; whether it’ll see the light of day by the end of the year, I don’t know. I’ve finished the first draft, so that’s good. Now we can start showing it around for funding.
I’ll keep my eye out for it. What advice would you give to a student in university who’s aspiring to be a filmmaker like yourself?
Well, the best advice I could give to any person going into any kind of field where you’re creating work as an artist, whether that’s music, or video, or illustration, or painting, or sculpture – never go into it for money. The passion, how you want to fill your days, and the process – the process more than the end result, because the process is how you’re going to spend your life, every single day, what you’re getting out of bed for – if you’re absolutely in love with that process, everything else follows. I try my best to stick to that as much as possible; I surrendered myself to the gods a few years ago by going, ‘you know what? I’m just going to do what I’m excited about and hope that in some way I’ll be looked after, and won’t end up on the street’.
The best advice I could give to any person going into any kind of field where you’re creating work as an artist – is never go into it for money.
It’s scary when you start out like that but you’ve got to stick with it, otherwise you’re going to create work that isn’t as rich and vibrant and impactful as someone else who is throwing everything at it. It goes against every instinct in your body; all you want to do is please people, but in a weird way, what people want to see from you is you being happy and creating work that you want to make.
That fits with everything; it fits with having a distinctive voice, because if you’re starting to create work that emulates your heroes, or the people you admire, those people are going to be five steps ahead of you anyway. If you go ‘argh, I’ve seen a music video and I want to do a video just like that’, the person that created that video is already way beyond that aesthetic because they don’t concern themselves with aesthetics, they concern themselves with responding to music and keeping things fresh. So you just go with your own angle and hope that people pick up on that.
You mentioned you’re moving to LA – have you been before?
Yeah, I went last year and it’s the best; I’m a massive fan of the people.
I’ve heard the British do well there because Americans tend to be more openly enthusiastic and encouraging than people back in the UK; it’s a more open environment.
Very much so, it’s very positive, it’s very ambitious, no-one squashes your dreams; it’s like anything’s possible. You go and have very serious meetings, and people respond to with a smile saying ‘yes’ – even if nothing happens, you leave a meeting going, ‘I can take on the world’. And that’s very good for your soul… combined with constant sunshine and palm trees, despite how much driving I’ll need to get used to doing.
Can you drive already?
Badly. I drove on the wrong side of the road four times when I went there, so thankfully none of those were on a freeway. It’s going to be a lot to get used to.
But I’ve lived in London for six years now and I’m ready to shake things up. I realised at the beginning of this year that the thing that scared me the most was moving from London, moving from my comfort zone – it took me a long time to realise that it’s something I should do, because next year is going to be even harder, the year after that is going to become even harder – and then I think by the time I’m 30, if I hadn’t moved to LA now; in two, three years time I’ll have almost felt like I’ll have missed the boat because I’d have become too scared. So I’m moving, even though it’s the scariest thing I could possibly do to myself, and I feel like it could destroy everything I’ve worked towards in the past six years. I’m doing it because even thought it’s scary now, it will be scarier in the future, and I want to scare myself.
This is one of the reasons I think people are successful; because they push themselves to take risks. I hope things work out for you.
Thanks! Otherwise I’ll be doing dog food commercials.
Well, Orson Welles finished his career doing voiceovers for frozen pea adverts. So you could always think about that if there isn’t anything else.
I mean there is that thing of there being a fall-back, of maybe being able to do commercials just for the money; at least I feel like I have enough production experience.
There isn’t a lack of pride; if you come up with something that people are going to remember and respond to…
Yeah, I want to be as strong a commercial director as I possibly can – that’s exactly what I’m aiming for. Things like Cancer Research, Ikea, and my Nokia commercials have been very fortunate in that in each of those three I was able to really push my personality through and so I’m very much looking forward to creating more of that work. Because they felt like making music videos, I was employed on all three of those because they wanted a music video for their commercial, which was great. So more of that would be wonderful.
Are there any videos you wish you could have directed yourself?
There are a few I’ve seen where I’m kicking myself that I didn’t come up with because they’re such wonderful concepts. Because I’ve been hanging out with Daniels this week, I’m thinking about their Battles video for My Machines, with the guy constantly falling down the escalator – that idea is genius. So wonderful. It’s one of those very simple concepts that you’re able to push further and further and further.
Dougle Wilson’s Benny Benassi Satisfaction video is amazing – you could see how I would take a lot of joy out of the video, with sexy ladies working with power drills. There’s this new guy called Ian Robertson who’s just signed to Colonel Blimp, who did this brilliant video for Duke Dumont – again, the videos I really admire are those that take one really simple idea and pushing it as far as possible. This idea, just talking about it is pure joy, because there’s this guy who’s got a tape recorder stuck in his stomach that’s playing Duke Dumont on repeat – his life is a misery, not because he’s got a square stomach that looks weird, but because he can’t have a normal day without people dancing around him. Like, he’s stuck at the bus stop and people are dancing around him; he goes to the supermarket and people can’t control themselves; even when he manages to go to the doctor and he’s gone in for surgery, he can’t have it removed because the surgeon are like, ‘fuck surgery! Let’s dance!’ It’s wonderful, it’s got such a strong structure to it and such a strong sense of fun. I think Ian’s going to blow up this year. He’s such a nice guy, really amazing imagination, a real passion for what he does. He’s just moved to London from Glasgow – he’s going to really well. I’m really excited about Ian.
You say there’s the simple idea that becomes the basis of the video – what was the seed of the idea for Mind Mischief?
That all came from the bum, moving to the guitar line. All I could think of was the video for Look by Sébastien Tellier where it’s a bum that walks for the whole video. So I was like, well I can’t do that, but no matter how I tried to shake it, that was still in my head. That inspiration was my starting point, and as I’d just come back from LA it meant that London and England felt very fresh – usually I’d try to shoot in studios that were more American, that could be more generic. With this one, I was like, you know what? We have some amazing locations on our doorstep and they’re not tower blocks, and they’re not embracing Englishness as being gritty, like East London tower block gangs – because I can never relate to that. So I wanted to do something with Englishness, that no other country has, you know, playing fields, and rugby posts…
Do you ever get feedback from the artists whose songs you make into videos? Have you heard anything back from Tame Impala?
I met up with Kevin Parker – the band had disappeared at some point – but I met Kevin in Croatia, and we hung out in the airport, which was fun. He was just really into the whole trip of the video. He’s a man who is very comfortable living in his own brain. What’s nice is how he’s working this year: constant touring, but he’s not being wrapped up in the stress of that, he’s just like, ‘I will play wherever I am told to play’, and is very much enjoying the new stimuluses and the new experiences that he’s being led to. He really enjoyed me doing my thing. He never gave me any response during the making of the video, he was just like, ‘yep, looks great, carry on’. And his main excitement was this…
[David moves from the Skype camera to get something]
…this newspaper from the town: “Sex with staff? Smoking? That’s not our school…” It’s front-page news of how we managed to shoot in this school. Even though we said it was a film about an affair between a teacher and a pupil, they didn’t ask to see the treatment. I mean, we didn’t really chase it, we didn’t go, ‘we definitely need to show you the treatment’, we were like, well! If you don’t want to see it that means we can shoot?’ ‘Yep, I’m sure it’s fine’. But the whole article is really sugar-red, as though the school was like, ‘we didn’t know they were having full-blown sex, we didn’t realise there were drugs’… But then it’s a really double-sided story, and at the end it’s like, ‘this outrageous video…which you can watch here, and it’s really great!’ It was quite sad! But it’s fine. It’s almost like the story was done to cover their backs, the school is for 16 to 18-year-olds, it’s not for small kids. The teacher also said, ‘I feel like the pupils at our school are sensible enough to realise the film is a film and it isn’t something we’d encourage.’
But yeah, I tend to get responses from most artists that I work with, and we tend to hang out, which is nice, but the one person I’ve never got a response from – this video’s just had two-hundred million views [on YouTube] – the David Guetta one. I never met him, we never hung out, so I don’t know if likes it. I think he likes it! The response to it has been mental. The biggest budget I’ve ever worked with.
You didn’t have any direction from David Guetta?
Nope! Completely my idea. Their brief was, ‘we want to do a David Guetta video that doesn’t feel like a David Guetta video’. Up to then they had only been doing: David Guetta, the featuring artist, always in it. David would be there on the decks, the lady or man vocals would be dancing in front of the camera – it would always need to orient around a performance.
I wrote a very different script before submitting this one, I wrote this script about two toddlers in a supermarket, battling it out, one being a superhero and the other one being a supervillain – one was Titanium, and the other was plutonium, and they battle it out! Because the record label said ‘do whatever you want’, and so in the first call I had with the label, I was like, ‘what about this idea?’; they’re like, ‘no that’s terrible!’ And I went, ‘good! Thank you for telling me something, because I had no idea what you wanted at all’, so they said they wanted a heartfelt short story – that’s how it evolved into that, but you can still see that acorn of the idea of a kid having superpowers.
If you could give yourself advice while you were at university, what would advice that be?
It’s really difficult, because everything you learn as you go along shapes how you are, and there are certain things that you can’t be told; you only have to live through it.
But the main thing I would say is: don’t work yourself up, don’t get so uptight and concerned about things. But a massive part of who I am now is because I went through that process of getting very uptight and concerned, and having sleepless nights, and sweating over work, and crying, like, physically crying, over worrying about not being able to deliver things. But the only way to get over that it go, ‘there’s no need to be doing this to myself, just chill the fuck out and keep doing the work’.
‘Work hard, be nice to people’ – it’s the way through life in general. The more you put in, the more you get out; don’t expect anything for free.
But I guess the main thing I was taught was actually from my dad, which is the well known motto of just working hard and being nice to people, and that’s always the way forward. Nobody told me that at university, but I guess that would be the main thing I would say, is ‘work hard, be nice to people’ – it’s the way through life in general, because the more you put in, the more you get out; don’t expect anything for free. You’re not owed anything, and it’s worth bearing that in mind. Not in a negative way; just that nothing’s going to be handed to you on a plate.
And also I think the main piece of advice I was told very early on was that, even if you’re signed with an agency, nobody’s going to promote with as much passion, or understand you with as much passion, as yourself. So as soon as you’re signed, don’t sit back and think that you’ve made it – just know that you’ve got a helping hand in order to go further. I think that’s the main tripping point I’ve seen with a lot of people, is that as soon as they’re signed with a production company, they’re like, ‘right! Other people can do the work of promotion for me. I’ll wait for the great tracks to come in, and I’ll keep doing the same work I’ve been doing for the past year, because that’s what I’ve been signed on.’ And that’s not the case: you get signed because of your passion towards work and the potential of what you can achieve. And usually you’re signed because you’ve been doing everything yourself. That’s what production companies want you to keep doing; that work, yourself, and that momentum that comes from yourself. A production company will act as a megaphone rather than your speaker.
It goes back to the process; you’ve got to love working with your process. I’ve just had a week off because I was doing the OMG! Cameras Everywhere children’s camp, thrown by Daniels; that was the most inspiring, amazing week of the year that I’ve had, because for the previous two months beforehand – I mean this year I’ve written so many treatments, and I’d felt like my life had become writing PDFs rather than creating work, and that process is not what I got into that industry for.
I got into this for making work, not writing about what I could do. You still need to plough forward with that work. It’s about finding a way to make life work for you. Changing direction, if it’s not working – that’s the scariest thing.
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An exclusive interview with former press secretary of Margaret Thatcher. Sarah Charman talks about the nature of her role in the civil service, her greatest achievements and most difficult moments.
Introducing The Jebs - Bedford's hottest indie five piece. Lily gets to know the lads a little better.
John caught up with guitarist Dave from The Dreams Of Ridiculous Men to talk about the band's new EP, the London music scene, and songs they wish they'd written.
Here's a treat for our last edition before the summer break: an interview with a real-life film person. Pete has played with John Williams, Hans Zimmer, Howard Shore, and more. Read on for a fascinating account of how music is made for film.
LEGO. Lord of the Rings. Two great flavours in one fine package? Dave gets a specialist consultant in to deliver the final verdict on this ambitious addition to Traveller's Tales' library.
Heard of Dan Bettridge? You will soon. Intuition's Charlotte Final cornered the up and coming sing-songwriter and refused to let him go until he granted us an interview. This is what they came up with.
Whilst most other girls aged 18 are struggling to keep on top of school work, this was not enough for Emma Goodson, who decided there was no time like the present to launch her own fashion label 'Grace Face'.
Jessica interviews performance poet Martin Powell to ask him a little bit about his growing genre and what it can bring to the arts table.
We had a few questions for Truckers of Husk and luckily for us drummer Rhodri Thomas had some great answers.
A repeat of the exceptionally popular poetry special with Jack Dean.
A repeat of the incredibly popular and exclusive interview with acclaimed Poet and academic, Luke Kennard.
Owen Chambers chats with the rock and rock resurrection veterans.
This month's poetry special featuring interviews with five of the UK poetry scene's movers and shakers. Next up is promoter, poet and officially one of the most influential people in UK literature as the founder of Aisle16, Luke Wright.
This month's poetry special featuring interviews with five of the UK poetry scene's movers and shakers. This time it's the turn of The fifteenth Bard of Bath, Jennifer Walters.
This months poetry special featuring interviews with five of the UK poetry scene's movers and shakers. This time it's the turn of the poetry student Jack Dean.
Nick Langston with an exclusive interview with Radio 2’s Jazz Vocalist of the Year.
Josh chats to the part-time landscape gardener from Aldershot, who also happens to make folk music and will soon be playing Green Man festival alongside The Flaming Lips and Joanna Newsom.
Amy Zachariah chats with indie darlings New Young Pony Club, following the release of their new album 'The Optimist' this month.
WHY?'s lyrically limber lead man Yoni Wolf dishes the dirt on touring, MF Doom, and the opposite sex
Tim Butcher has a chat with the best darn purveyors of acoustic chamber-pop that Brighton has to offer.
Is rock the devil's music? Former front man of indie rock band Pedro the Lion and current solo artist, David Bazan, speaks about his new album that deals with his loss of faith
Skip Curtis caught up with the pop punkers on the Cardiff leg of their recent tour with Paramore
Richard Kerr talks to living legend of jazz, Pee Wee Ellis.
Amy Zachariah talks to the bard of Salford himself.
The up and coming Scottish band talk tours, Dr. Dre, Afroman...and jetpacks.
Tim Butcher sits down with Reverend Jon McClure to discuss the state of things
A hilarious interview with Kingsley Chapman who speaks his mind about La Roux, X Factor, Robbie Williams (and more...), pulling no punches in the process.
Tom Hydes and Example sit down for a quick rap.
Possibly one of the most controversial and anticipated releases of the coming year, at least amongst those who've heard of it. Simon Burn gets a chance to talk to the men behind the vision.
Small talk with Jonas Bjerre of mind-mutilating Mew
Amy Zachariah caught up with Maccabees guitarist Hugo White to talk tours, production and music downloading.
Luke Morgan Britton is casually dressed & deep in conversation with Ryan Richards from Funeral For a Friend.
David shines a light on those smaller releases which may have gone unnoticed last year, each one fully deserving of your gaming hours.
Last month, Chris tried his hand at predicting the Oscar winners. How did he do?
Love 'em or hate 'em, it's impossible to deny the power and reach of the Academy Awards. Chris Bone attempts the hazardous task of picking the winners out of the 2012 nominations in this especially unpredictable year. Wish him luck.
In the final instalment of his epic retrospective review of the Evil Dead trilogy, David examines the final in the trilogy, and gives us a rundown of Sam Raimi's unorthodox career.
Here's a treat for our last edition before the summer break: an interview with a real-life film person. Pete has played with John Williams, Hans Zimmer, Howard Shore, and more. Read on for a fascinating account of how music is made for film.