Signed: Selina Miles

December 19, 2013 / Signed/Unsigned

By The Beak Street Bugle

A young director whose graffiti videos have racked up millions of hits.

This young Aussie director first got behind a camera while hanging out with Sofles – an Antipodean graffiti artist and writer who now spends most of his time travelling around Europe improving on blank walls. Since she made her first video with him she’s worked on a long stream of street art videos for Ironlak, his paint sponsor, combining time-lapse with moving video to create interesting new kinds of film.

She’s an elusive character, so we can’t tell you much more about her background, but she’s evidently received quite an education in filmmaking from her graffiti career and has recently applied it to music videos. Mind’s Eye have snapped her up now, so it’ll be interesting to see where her training in the world of graffiti takes her.

Watch some of her work here:

Directions to Direction: Stu Thomson

December 16, 2013 / Features

By Alex Reeves

Apparently Scottish adrenaline connoisseurs make really good directors.

Extreme sports don’t get their due in the filmmaking world. They’ve moulded the minds and skills of some of the most beloved directors. Since Spike Jonze’s seminal 1991 skateboarding film Video Days, loads of teenage nutters have grown up with a camera in hand and an eye for the screen.

Nowadays, there are a hundred elaborate ways to break bones and worry your parents, and thanks to the technology being so cheap, kids are racking up vast amounts of footage capturing it. It’s only natural that some of these take a liking to the life behind, rather than in front of the camera.

Stu Thomson is one such filmmaker. He didn’t grow up wanting to direct films, but now he’s signed to Mind’s Eye Media and his career as behind the camera is off to an extraordinary start.

Growing up around some pretty inspiring countryside in central Scotland, it’s no surprise he ended up an outdoorsy kind of kid. With a motorbike-crazy father, Stu started competing in motorbike trials when he was very young – “like seven or something” he guesses, but it didn’t take long for him to ditch the motors for man-powered – or rather gravity-powered – mounts.

“The mountain biking really took off in the mid-90s,” he says. “I went with a bunch of friends and did a downhill mountain bike race when I was about 15. I just loved it.”

From then on in, hurtling down hills on two wheels was Stu’s primary aim. Thankfully he was pretty good at it. Within a couple of years he became the under-18 champion, which led to him to spending his late teens and early twenties touring the world competing on the World Cup circuit.

You can imagine the culture he was plunged into. “There was definitely a young vibe. It was when the whole extreme sports thing was really taking off as well,” he remembers, and he admits he fitted in. “At school I was always really into BMXing, skating and the music side of it as well - Beastie Boys and Green Day and all that. I was just into that scene. [The riding was] serious but there’d be a lot of partying and people enjoying the travel and the lifestyle side of it as well. And then over the years as I was competing, it gradually became a bit more professional.”

He continued for seven years, peaking with a respectable World Cup fourth place, seeing the world and generally having a blast. All this riding with his friends was quite photogenic action, so they were naturally chronicling it in both still photography and video, but he wouldn’t describe it as directing. “There wouldn’t even be any editing really,” he says. “We’d just capture it.”

He didn’t know it yet, but he was training for his future career even in his teens. “I’d never considered myself a photographer,” he says, “but at that point it was more the photography. I’ve always believed that, in those sports, people who do it always know how to capture it better.”

Stu continued shooting in the background while he globetrotted with his peers, but his professional riding career wasn’t to last. In 2006 he injured his ankle playing basketball, ironically, considering he’d been careering down hills for years. What started as a sprain became a flesh-eating infection that meant he came close to losing his leg.

Naturally, he was gutted. He could still ride OK, but he didn’t have the movement to compete any longer. It was time to find another career.

Film wasn’t the first thing to spring to mind. “It was still just a fun thing I did with friends, really,” he says, but a family member suggested he put his skills to work. He went full time at the sports facility he’d been part-timing at and in his spare time set up a website and began uploading riding videos to it.

“I was lucky because of the people I competed with,” he admits. “A lot of my friends were very good riders, so it just so happened that everybody wanted to see those guys. I just started making films of all the stuff that I’d been doing previously.”

Fuelled by this star factor, the website grew but Stu was still finding it difficult to make money from it. The answer came when mountain biking brands started commissioning him to make films for them directly. Essentially his first forays into branded content, it paid the bills.

Over a couple of years, the website took a backseat while the brand films became more of a mainstay. But Stu was still reluctant to use the D word. “I guess until recently I’d never considered myself a director or a filmmaker,” he says. “At that point it was just going out and making cool films of people I knew riding, showing off the sport that I’d loved so much as best I could.”

Of course, he’d been sharpening his talents for years. “Even when I first picked up a camera, I was thinking about the shots and angles I wanted; how I’m going to show off the action to its best. And then a few years later on I started thinking about the edit or even a narrative if I’m trying to document something.”

Stu’s big break came from trials rider Danny MacAskill, one of his good friends. Danny’s sort of internet-famous these days – a cult hero who makes a living starring in online riding videos. In 2010 Stu directed a film called Industrial Revolutions with him, racking up over 7 million views.

Stu and Danny followed up Industrial Revolutions with another film called Imaginate, made for Red Bull – a highly conceptual trials video set inside Danny’s childhood imagination. This was new ground for the filmmaker – creating rather than capturing.

“It was super hard,” says Stu. “You think a blank canvas is going to be the best thing ever and then once you get it it’s hard to settle on an idea. And then we had to build everything he was going to ride. Creatively, it was a tough challenge for both of us.”

With over 12 million hits to date, its audience was a bit broader than just the mountain bike scene. That was when Mind’s Eye found Stu and pretty soon he was pitching on work far more diverse than bikes and scenery.

That film also earned him his quite impressive first promo job. Commissioner Dan Curwin, who has been behind some corkers, met with Chris Baker at Mind’s Eye. Having seen a short cut of Imaginate in the cinema, he was glad to hear that the production company had just signed Stu and asked if he’d like to pitch on the next Rudimental video, for their single Free, featuring Emeli Sandé. Not a bad first foray into music videos, considering the band’s videography.

With his warped, extreme-sports mind, the first thing Stu thought of when he heard the track was filming someone in a wingsuit jumping off the top of a mountain. The label loved it.

“It worked pretty well,” he says, “because it was the one thing I would have absolutely loved to film anyway. It’s just incredible what [wingsuit pilots] do.”

Shooting someone moving very quickly through an epic landscape was the easy part for him. It was the storytelling that was the challenge. “I really enjoyed the narrative stuff, doing the scenes in London, because it was totally outside my comfort zone,” he says. “I think that’s something I really want to do more of because people engage so much more with it than a lot of the extreme sports videos.”

Having made his first serious steps out of his adrenaline-soaked background, Stu finally accepts the title of director. He’s fought it for years but modesty can only get you so far. He’s eager to take his well-honed filmmaking skills to new grounds, making commercials, documentaries and short films. And if his career so far is anything to go by, he’s going to make it happen.

ACNE Walk With Mandela

December 10, 2013 / Features

By Alex Reeves

ACNE pay a fitting tribute to Nelson Mandela with The Economist.

On the day of his memorial service, ACNE, AMV BBDO and The Economist have launched a unique tribute to the life of Nelson Mandela. 

Directed by ACNE’s Anders Jedenfors, the interesting 90-second interactive film will live on Economist.com with a voiceover is British poet Benjamin Zephaniah who reads a script written by AMV BBDO.

The interactive section of the piece Directed by ACNE’s Interactive Director Gustav Carpner allows users to  click on the individual objects that appear in the interactive film and learn, from a selection of articles taken from The Economist archives, about their significance to a particular time in Mandela’s life.

Watch it here: http://www.mandelaswalk.com/

High Five: December

December 5, 2013 / High Five

By Alex Reeves

It’s baubles-to-the-wall festive antics for most of these brands.

You know that crazy whirlwind of excitement around advertising that America has around the Super Bowl? We reckon Britain is finally building its own version in the bleak midwinter. Christmas is not only the season for goodwill to all men, it’s now also the season of brands making you all emotional with the lovingly-crafted pieces of film that everyone in the business wants to be making.

Brand: Harvey Nichols
Title: Sorry, I Spent it on Myself
Production Company: Outsider
Director: James Rouse
Production Company Producer: Benjamin Howell
Director of Photography: Alex Melman
Ad Agency: adam&eveDDB
Creatives: Richard Brim, Daniel Fisher
Agency Producer: Victoria Keenan
Editing Company: Work
Editor: Bill Smedley
Music Company: Siren
Sound Company: Factory
Post Production Company: MPC

Harvey Nichols – Sorry, I Spent it on Myself

This idea isn’t in the spirit of Christmas, really. Call us old-fashioned, but we still think ‘tis the season for giving. That doesn’t stop this from being an absolutely bloody brilliant ad though. The perfect antidote to all the usual schmaltz, it confirms two things we already knew to be true – that James Rouse is the reigning king of the comedy commercial and that adam&eveDDB don’t half know how to do yuletide joy.

 

Brand: John Lewis
Title: The Bear & the Hare
Production Company: Blinkink
Director: Elliot Dear
Production Company Producers: Kev Harwood, Bart Yates, James Stevenson Bretton, Josephine Gallagher
Director of Photography: Toby Howell
Ad Agency: adam&eveDDB
Creative Directors:  Aidan McClure, Laurent Simon
Agency Producer: Anthony Falco
Editing Company: Speade
Editor: Sam Sneade
Sound Company: Factory
Post Production Company: MPC

John Lewis – The Bear & the Hare

If the John Lewis Christmas ad failed to make it into this list, we’d be asking some serious questions. Thankfully, it didn’t disappoint. You’ve almost certainly heard enough commentary on this Disney-esque fable. It even made it onto Newsnight. Of course, the craft is beautiful. People love that it’s hand-animated, even if they don’t know it; it gives the film a nostalgic flavour that works so well this time of year. It’s sure to warm hearts in living rooms across the country.

 

Brand: mothers2mothers
Title: A World Apart
Production Company: Academy Films
Director: Martin De Thurah
Production Company Producer: Dom Thomas
Director of Photography: Lasse Frank
Ad Agency: BBH
Creative Director: Sir John Hegarty
Creatives: Shelley Smoler, Raphael Basckin
Agency Producer: Michelle Kendrick
Editing Company: Rock Paper Scissors
Editor: Mikkel E. G. Nielsen
Sound Company: GCRS
Post Production Company: The Mill

mothers2mothers – A World Apart

OK, this one’s a bit of a downer for the Christmas party season, but we won’t apologise for going all Bob Geldof on you. The days of impoverished Africans with flies in their eyes are over for the charity ad and this is a brutally effective new approach. Transplanting the issue of access to HIV treatment into a familiar setting hits us like a brick. And rightly so because each day 700 children are still infected with HIV. 90% of these children live in sub-Saharan Africa, and most acquire HIV from their mothers.

Please donate if you can.

 

Brand: Sainsbury’s
Title: Christmas in a Day
Production Company: RSA Films
Director: Kevin MacDonald (represented by Rogue Films)
Production Company Producer: Debbie Garvey
Ad Agency: AMV BBDO
Creative Directors: Tony Strong, Michael Durban
Art Director: Colin Jones
Copywriters: Phil Martin, Mike Hannett
Agency Producer: Suzy MacGregor
Editing Company: tenthree
Editor: Billy Mead
Sound Company: Wave
Post Production Company: The Lab

Sainsbury’s – Christmas in a Day

Here’s something new for a brand like Sainsbury’s. Following from Kevin MacDonald’s excellent feature documentary Life in a Day, Christmas in a Day was edited together from the home-video footage of normal people’s Christmases across the UK. It’s thoroughly British, capturing the frustrations and stresses of Christmas as well as the happiness. And, other than the titles at each end, there’s not a mention of the supermarket. The trailers work perfectly as warm, fuzzy Christmas ads, but there’s much more – a quality piece of long-form content that you can watch online for free.

 

Brand: Tesco
Title: A Family Christmas
Production Company: Tomboy Films
Director: John Crowley
Production Company Producer: Barnaby Spurrier
Director of Photography: Rob Hardy
Ad Agency: Wieden + Kennedy
Creative Directors: Ray Shaughnessy, Dan Norris
Art Director: Dagmar Hoogland
Copywriter: Sophie Bodoh
Agency Producer: James Guy
Editing Company: Final Cut
Editor: Struan Clay
Sound Company: Wave
Post Production Company: MPC

Tesco – A Family Christmas

The guys at Wieden + Kennedy realised that when it comes to Christmas simple is best. So no clever-clogs idea for Tesco – just one family’s Christmas through the years in home videos, artificially aged in post. It will certainly stand out from the rest of the ad break. It has to be said that it’s a pretty similar idea to Sainsbury’s. But they both have their merits. As a commercial, this one brings a lot more film craft.

Two exhibitions side by side: Castiglione and Gifted

December 3, 2013 / Arts and Culture

By Don Grant

From Genoese tantrums to offensive royal gifts.

The Queen's Gallery

Until 16 March 2014

I completely mis-read the invitation to the press viewing at the Queen’s Gallery as Castiglione: Lost Genius and Gifted. It transpired that there were two exhibitions, side by side, the first featuring the extraordinarily talented, but relatively unknown, Genoese painter Giovanni Benedetto Castiglione; he was born in 1604, making him a contemporary of Anthony van Dyck, who also worked in Genoa, the French painter, Nicholas Poussin, and Rembrandt van Rijn. If Caravaggio was a bit of a bad boy, Castiglione must be regarded as Giacchino the Lad, forever getting into punch-ups and rows with his patrons, at one time throwing a hissy fit and slashing a painting commissioned by the Doge of the Republic of Genoa Giovanni Battista Lomellini to shreds. This was not a good diplomatic move, either in terms of his career, or making friends and influencing people. He subsequently fled his home town for, first of all, Rome, then Florence, Naples, Venice and Mantua. He was, in effect, una gazza ladra, borrowing styles and compositions from other painters, and in the case of his Study of Heads, he clearly ‘liberated’ two figures from Rembrandt’s Ecco Homo. He soon, however, developed not only his own style, but some innovative techniques, from painting in oil paints on paper to monotypes.

The large oil drawings are the colour of sanguine, a reddish-brown pastel favoured by Renaissance painters a hundred year earlier, but the effect has a fluidity and fuzziness achieved when the oil soaks into the unprimed paper, which he would apply spontaneously and directly without drawing first. These are some of the most striking images in the exhibition, including Circe with the companions of Odysseus transformed into animals and Omnia vanitas, but his etchings, particularly his large and small Oriental heads, have a dark, brooding quality, which mark him out as great exponent of the medium, although still not a patch on his Dutch contemporary Rembrandt. As well as facing a dozen lawsuits and shooting a fellow artist during an improvised theatrical event, he is said to have been in brawls, beaten up people and even attempted to throw his own sister off a roof. He suffered badly from gout, which may account for appalling temper, and he died intestate.  

The second exhibition features works on paper by the one hundred Royal Academicians, and given, or rather gifted, to HM The Queen during her Diamond Jubilee year, with the standard ranging from the inspired to the downright dreadful. At the top end, Humphrey Ocean’s Birds of Ngong is a simple, pared-down and charming gouache, while David Remfry once again demonstrates his ability to capture movement in Dancers, Havana. Ken Howard looks as though he may have simply delved into his unsold daubs in his plan-chest and come up with Florentine Farmhousedating from 1959. Lord Foster, still annoyingly referred to as Sir Norman, has the most feeble of drawings - School in Sierra Leone, 2009 - which stands out as being the worst work on paper in the entire two exhibitions, which is quite an achievement in itself.

Runner-up to his lordship is Tracey Emin, who has on offer a monoprint entitled HRH Royal Britania (sic); her appointment as Professor of Drawing at the Royal Academy Schools brings to mind Tom Lehrer’s famous quote about quitting song-writing: ‘Political satire became obsolete when they awarded Henry Kissinger the Nobel Peace Prize.’ Tom Phillips also must have ferreted about in his drawers to come up with a handily apposite Sixteen Appearances of the Union Jack from 1974, while David Hockney is one the few artists to do something specifically for Her Majesty Jubilee, a vivid iPad birthday card.

Some works have a tenuous connection to The Queen, the inclusion of Olwyn Bowey’s charcoal and watercolour drawing of a West Sussex pony, Susie (2007), being justified because she hoped that it would appeal to Her Majesty’s interest in horses. Grayson Perry may have given the excellent Reith Lectures this year on the subject of art, the first entitled ‘Democracy Has Bad Taste’, but his own royal offering is a piss-poor drawing of a motorcyle that he sent the motorbike builder to be custom-made for him. It is ‘the equivalent of the Queen’s glass carriage’, he adds spuriously. It is a mystery how the bike ever got made.

So, gifted? Well, not on the strength of what’s on show from the RA, whereas the exhibition Castiglione could have the descriptor ‘Extremely Gifted'.

 

Originally published in Kensington and Chelsea Today.

www.dongrant.co.uk

Crafty Devils

December 2, 2013 / Features

By Alex Reeves

101’s Mark Elwood considers the lure of craftsmanship in this mass-produced age.

In a world where everything is digitised and backed up on ‘the cloud’, where industrial processes have driven the price of manufacturing down to new extremes, something seemingly at odds with all this has been happening. As we’ve become more internet-literate, an appreciation for the handcrafted has grown.

You need only look at the popularity of sites like Etsy, Folksy and Pinterest to realise that the interest for the DIY and the handmade is exploding. In their recent work for Kettle Chips, 101 London have captured this aspect of the zeitgeist. In their most recent ad, directed by Joanna Bailey of Bare Films, they looked to disciples of this new craft movement to create the commercial, hand-crafting everything it takes to throw a ‘craft party’.

Knife makers, blacksmiths, stonemasons, glassblowers, origamists, letter carvers, embroiderers, wire sculptors, wood sculptors and Kettle’ Head Chef, Chris Barnard all brought something to the party, while Joanna shot it all on 16mm film for that extra crafty touch.

We spoke to the campaign’s Creative Director, Mark Elwood, about the spirit of the artisan that has inspired their work for Kettle.

Director: Joanna Bailey 

Production Company: Bare Films

Production Company Producer: Helen Hadfield / Sue Caldwell

Agency: 101
Creative Director: Mark Elwood
Creatives: Tim Donald & Misha Newby
Agency Producer: Natalie Curran
Assistant Producer: Sami Goddard
Agency Accounts: Fiona Stirling
Agency Strategist: Clare Hutchinson

Music: Sesame Street excerpts provided courtesy of Sesame Workshop, New York, New York© 1978 Sesame Workshop. Sesame Street ® and associated characters, trademarks and design elements are owned and licensed by Sesame Workshop.
All Rights Reserved. Written by Jeffrey Moss (ASCAP), Published by Festival Attractions, Inc. (ASCAP)   
Sound: Tom Joyce at Factory Studios
Editor: Adam Marshall at the Whitehouse
Post: Fasa Oyibo at Electric Theatre

Crafts People Featured:
Chef Chris Barnard
Blacksmith Owen Bush
Knife Maker Ben Edmonds
Embroidery by Lou Gardiner
Table by Joc Hare
Origami by Francesca Pole
Benches by Daniel Roker
Stonemason Annet Stirling
Wire Sculpting by Emma Stothard
Glass Blower KT Yun

The Beak Street Bugle: Why do you think so many people are interested in craft these days?

Mark Elwood: It appeals if you don’t want to be part of the Ikea generation. We all walk into each other’s houses and everything’s the same and we all know it’s called Malm. There’s something really interesting in being able to approach craftspeople and get them to make something for you that might be completely original.

This thing is coming back. The internet is making people want to look for new things and have some value about products again. It’s an interesting movement.

BSB: How has the internet helped the craft movement?

ME: The embroideress in the Kettle films, Lou Gardiner, who lives in Manchester, is selling works through the internet in America, and Italy and France and all over the place. People know about her because she’s online. The craft community is something you can find so easily now because of the internet. People can actually make a living out of it easier today than they would have been able to ten years ago.

If you watch Lou’s behind the scenes video for Kettle we did with her earlier this year she talks about going back to a bygone era, rallying against the digital age. When actually, she’s making a living because of the digital age. I wouldn’t have found her without the internet. But me Googling embroiderers, going through an extensive list and picking the right one was how I got to her in the first place. You can’t kid yourself that the digital age hasn’t opened up a whole world of craft.

BSB: So the relationship between real life craft and the digital landscape is a complex one.

ME: They’re symbiotic. You don’t have one without the other because you’ll never get discovered, but it’s certainly making people want to make crafted things again and then display them and be proud of them because they’ve got an audience.

I was at Google HQ, Mountain View, in California a few months ago and I learnt that the most popular thing in the US on Google Hangouts is sewing. You’d expect it to be people who have to get together and video conferences all the time, but it’s people swapping stitches!

You’re not going to bump into someone who’s a glassmaker without being online. That’s why Etsy and Folksy and all those hand-crafty websites are so popular now – you can go and buy something that’s totally original, that might have a bit of wonk in it. We love the fact that there’s a mug that isn’t perfect –there’s something just slightly different and that’s fantastic.

In that world, people are starting to realise that they can make money because of the internet, doing the things they actually love.  With the internet they are in control of their self promotion, they can advertise themselves and hit a lot of people at the same time, which means people will buy even though they may not  be UK based, even if they don’t have stock in shops as they used to have to do.

As the sign-writer we used in the first film we made for Kettle, Mick Pollard, said, "you’re never going to be a millionaire out of this. You make a half-decent living but the whole thing's great - a way of life." I think hopefully, because people are selling this stuff, it will become a bit less niche. There will be more people learning these crafts.There will be more people learning these crafts.

BSB: How does all this apply to Kettle Chips?

ME: The root of it is Kettle Chips are still hand cooked. They don’t sit there and make sure they’re all the same size and the same shape and colour. So we wanted our advert to be totally authentic and hand-made too, whether that’s sign writing or embroidery or glass blowers, knife makers or anyone else that touches it, and we’d just be able to get out the way and let them create in their own environment. The point is to celebrate the wonky in life, because that’s what Kettle do and these craftspeople, and it’s much more personal.

The noises we’ve been getting back from Kettle internally are great. ‘We understand what this campaign is doing. That’s exactly how we feel, like we are crafts people, and this is a craft brand.’ It’s the perfect reactions us to get from the business. They’re not going to deny they’re a big brand at all, but they are still craftspeople and they celebrate that. These people there don’t see themselves as factory workers.

There were clients on this shoot and they were so happy to be there watching people making stuff, seeing that great parallel to their brand.

BSB: How did you go about putting the film together?

ME: When we first got to the platform of ‘lovingly crafted’ with Kettle it was really interesting. We wanted craftspeople to make the advertising because it should be pure. We didn’t want to be saying ‘you make the basis and then we’ll just retouch it.’

We’re surrounded by amazing craftspeople in our business. You’ve only got to go online and look at amazing illustration agencies. But we realised pretty quickly that commercial artists wasn’t the right way forward for this campaign.

We wanted to find undiscovered people, who did this for a living. The first person we used – Mick – is an incredible exponent of sign writing. He’s one of the last 300 sign writers left in the country. He’s not going to sit there and say ‘you advertising lovies, we’re going to rip you off by charging you 30 grand for this.’ It just wasn’t the case. He had to write three signs and he charged us for three signs.

Bare films did a brilliant job on the casting. My self and Joanna Bailey, the director, were all about the casting. We saw probably 50 people. They had to be an interesting person. They had to look right, have the right kind of attitude towards it.

BSB: What was the day shooting the film like?

ME: It was all done on that day. Everything from the table through to the glasses was made on set that day. We wanted to get blacksmiths to do surprising things. They made these flower arrangements. We wanted to subvert what craft is all about. We showed that two guys that normally would make big steel gates or whatever could make something that’s delicate and beautiful in a day with metal.

The person that made the glasses all day, KT, just sat and made glasses all day. It was incredible. The heat, the smell, the whole thing on set. There wasn’t a bit where we went ‘here’s one we made earlier’ and that’s something to be proud of, I think.

We wanted to get a real vibe by doing it in one room and shooting it on a long lens, so the cameras were nowhere near anybody really. Once they were working they forgot about the cameras and started wandering about and chatting to each other and really enjoying the day.

They were all in the same boat. There was no rivalry in the room. They all got on and built the whole table, the benches, the glasses, the table runner, the table decoration, the lampshades, everything was going to be made that day. Chris, the Kettle chef made some brilliant food as well. And the end shot came together very organically. So what was captured in the advert is exactly as it happened, and a genuine excitement at pulling the day together for one big meal at the end.

Unsigned: Oscar Hudson

December 2, 2013 / Signed/Unsigned

By Alex Reeves

Branching out from skate videos has been pretty mind-expanding for this young director.

Oscar Hudson’s passion for filmmaking sprung from growing up in the London skateboarding scene. He and his friends would spend their spare time almost killing themselves on the city streets trying to film tricks for skate videos they’d never finish.

He eventually left London to train as an anthropologist after school, but never fully put the camera down during his studies. Anthropology fascinated him, but once he had his degree he was determined to become a full-time filmmaker.

Since then he’s been directing films for a range of online magazines (i-D, Dazed, GQ, Kinfolk), music videos and some shorts too, three of which went out on television as part of Channel 4's Random Acts series.

For the past year he’s been experimenting with all sorts of filmmaking techniques, one-shot films, flying-cameras, iPhones strapped to the back of SLR cameras and sheer road-mileage (for This Way Up he drove 2,500 miles in 7 days).

Watch some of his work here: