Make Your Mind Up

It has been a mad past few weeks!!!

Around 4 MONTHS since my last blog so thought I'd best update it whilst I've got some breathing room. Plenty to talk about, the return of R-Rated films with 'Deadpool' outselling the last 'Star Wars' for crying out loud - "GET THE MESSAGE YET, HOLLYWOOD?"

DiCaprio finally got his Oscar over his many roles. A few people asked me, "don't you want one, some day, Dan?" - Personally, I couldn't give a shit. If I was already loaded whilst doing what I do for a living then why would I care? Those who know me better may recall that I was never in it for fame & fortune - Just to make a nice living with a nice enough apartment, jeep (not car... Have you seen how much equipment finds its way onto one of my sets?) and a holiday or two per year with something left over to take up a martial art, go back into my skydiving, try out some of these exotic places my friends keep posting on social media, I'll be happy but for now - I've been busting my ass on more work, which has finally led to the completion of many projects, including; 'Last Light' & the much delayed 'Echo Screen.'


After seeing a few students that took an interest in me and demonstrated proof in their ambitions, producing their first indie 'Mallard' on some shit equipment and going through the same shit BA course as I (with the worst lecturer on Earth), knowing that they had done it without a grade to play for was proof enough to me that it may be worth taking these guys under my wing and so whilst a couple aided me on a couple of productions I was involved in after some training (you wouldn't believe the stuff I can teach in under 3 hours, compared to the years I've spent in workshops etc), I returned a favour for them as cinematographer for their most recent production, 'Flirt.' They call themselves Shelbourne Productions.


Its so nice to work with organised people, who can do it with a smile. I've said to their faces they're far better than some MA students I've worked with in the past (YES. AGAIN - "especially" the one's asking about each others 'grades!' - *sighing & rolling of eyes moment*). But the 'Shelbourne' lot - They're still green but I'll quote
"The right kind of beginners."

One event I experienced for the first time was the London 'BV Expo' at the excel centre. Reunited with my film buddies Tom Smith & Murad Ali I got to see pretty much every type of camera, drone, lighting system, audio devices and editing packages you could ever wish to see. If you're an indie filmmaker looking to feel like you haven't even scraped the surface of resources or envy you're not rich then this will certainly not disappoint. It wasn't long before this I finally got to see the fruits of Gillian Tully's labours at 'Film Expo South.' I aided Gilly in every way I could to put this together! It took place early February and I was dashing from one talk to another. Some mates and contacts of my own were there. For a 1st time event it was a damn good effort and the 2nd one for next year is already falling into place. Gilly has earned an incredible reputation in the South West and I'm crossing my fingers that this will only grow and expand.


There's so many things I've put forward that other events don't have, such as 'Screencraft' & 'Shore Scripts' funding, additional drone operators, script talks. There's so many ways it can grow. Until the day I leave the UK, its the Southern Coast where I've made my home now and if we get something that shapes up to be something of similar awesomeness to Chris Jones' London Screenwriters Festival one day - That would be... Well, I've already said it - Awesome!

Speaking of 'Shore Scripts' - it wasn't long ago I found out that a script I had reported on 'Life Expectancy' (formerly known as 'X') won at the judge of Lucy V Hay. Another victory I claimed was reaching semi-finalist with my adventure feature script 'Realm' at 'Nashville Film Festival' and have recently had 2 short scripts (the one's I posted up in my August blog), selected by 'London Screenwriters Festival.' If this wasn't enough, 'Survivor' also managed to get a 4 page feature in 'Digital Filmmaker Magazine' in its latest issue (34).



Oh and I also have my 13th IMDB writing credit alone alongside a brand new showreel I went out my way with choosing the right clips, the music choice and its edit to extend it by the invisible minute you never noticed, the order, the choice of cast and locations within, the grading, export - sodding everything!


Despite what most people seem to think, I continue to struggle to find work with most cheeky f*****s 'still' asking me to work for free. Even recently, I only just had a friend ask for my feedback on his short script treatment. I wasn't nasty in my response, in fact I never am and that part of my inability to laugh and telling them to piss off amazes me sometimes - I said I'd try and get round to it later in the week, he responds something like "was hoping asap as have to start casting next week." I crafted a more polite response but my initial feeling was the same as when I find myself working with students. PLEASE understand the amount of money, time and DAMN hard work that goes into this filmmaking life of mine;


Here's a few examples to consider - Enjoy:

* Almost £30,000 of student loans + the original £16,000 with Ealing Studios Met Film School

* Living out of bedsits, where I had to do my washing up in a shower and didn't even own a kitchen

* My attending of functions, festivals, workshops and seminars over the years

* My annual competition and festival submission costs

* What it takes behind my nominations, screenings and awards

* 9 years worth of struggle in the profession to stay alive and competitive and losing my mind along the way for falling at final stage interviews for well paid jobs with people like Volvo, Team 17, Microsoft and BBC to name a few due to some odd statement.

GOOGLE ME > what did you find?

Get the picture? I even just caught an email this morning asking for almost 3 months of professional commitment for a poxy £150 or so - I'm not even kidding!

Like it or not (+ you'll all remember what I KEEP on telling student filmmakers obsessed with those bloody meaningless grades). DEGREES DON'T MEAN SHIT!

"Fancy seeing a magic trick, how I can predict the future?"

Do a job hunt in film 'right now' - You're a writer, producer, director, cinematographer, editor or a combination of things, go on:
Use whatever engine you wish - Give yourself a few minutes, a few days, weeks or even months if you like.

"Are you done?"

Right, I see maybe 2 dozen lots of unpaid, payment on deferred basis, low/no pay, expenses only positions, closely followed by another dozen statements 'must have worked in a previous agency / production house, had broadcast production credits / be based in London, have solid experience as both a filmmaker and VFX / animator, with maybe only 1 or 2 out of the other 50 you went through actually giving two shits about what degree you have - in other words, they don't even ask for one?

"How close was I?" - "Yep, told you - I'm psychic, aren't I?"

(p.s: I would've had some images for you here but a screenshot only grabs so much bullshit!)

My adept filmmaking mates also roll their eyes as I do on this one and we're agreed the problem is two fold:

1) Universities are doing a shit job at getting people ready, despite the bullshit on their prospectus. They will dance on you and drag you over the pages of their promotion material if you stick it out long enough to get somewhere so they can leer the next one's in though. Not to mention getting clients in to have their next campaign run on a free market enterprise level, whilst getting students to sign 'non-disclosure forms' so that they cannot even use it for showreels etc. Even during my undergraduate time, a PR / Marketing course was in the same building (rightfully so) as media production but not ONCE was there a part in either course where they were told to work together, when this is one of the primary sources of income for both disciplines later on - Madness, insane and stupid!

2) Employers are getting more clueless but nevertheless more demanding, asking for experience no-one has yet because no-one's giving them a chance. They're asking for filmmakers who are adept in animation, which is crazy the other way round too. Even 'if' you get it, they rarely offer a decent rate for one job let alone the 3 or more they're asking, which they tactfully address positions as 'Video Producer', 'Digital Creative' to get away with it. In fact don't take my word for it; an article written by Lucy Kellaway (@lucykellaway) ... and its not even the same fucking industry! It's called 'Don't blame The Millennials If You Can't Hang Onto Them!'

Things are at last settling for now whilst I piece together the road ahead for the next couple of months at least. Its funny I should mention 'Psychic' talent. I finally got round to writing up my treatment for my TV series pilot 'Psychics' I mentioned back in August 2014. I was guided by the brilliantly weaved infographics of Edwina Tyrrell (@ETyrrellMedia), John August and of course (the non bullshitter, straight talking) Lucy V Hay (@Bang2write).

AGAIN, the previous crap we were both taught at Bournemouth University was to write pages of stuff that 'any' producer, commissioner will never bother going through for a non-represented writer. If that place had any pride or sense for the craft, they'd turf out some of the worthless cast with prehistoric IMDB credits and put someone like Phil Peel or even Lucy herself in there; someone who gets people to roll up their sleeves, ditches the mollycoddling and delivers on a reputation... Plus she even beat cancer for fuck sake. Close the book! Although, I heard they've now at least got Kay Stonham in there but as far as 'my' experience was concerned - Not good enough guys!

Anyway, I've got myself a bargain for a paid insight into what I've written up so far by her this Friday so I'm looking forward to that and then its onto writing up the pilot. And GOD, I'd love to try and fit in a rewrite for 'Realm', 'Inertia' and a brand new feature drama if I get the time before the end of this year.

Right so, thats me caught up I think for now. A potential lead for BBC has come up, meaning I'm helping cover the Welsh elections next month on camera (odd position but there you go). "Which AGAIN students" - The guy didn't ask for a single bloody grade or degree on. He looked at my showreel and website and even asked about my childhood, my favourite TV show and even my fucking music preference without so much as a whisper of enquiry over my education - How much clearer can I be?

Anyway, another shit load of applications out the door with the new showreel you've seen above so hope you've enjoyed another dose of smiling, head-banging, rant and rave. Endure & Survive filmmaking tribe!

Some People Are Born Filmmakers - Others... Geez... Well...

There's been a wide variety of people I've met over the years in my filmmaking ventures. I tell you what, it's SO great being amongst people who know how to write and analyse scripts and provide great feedback, others who can pick up a camera and fit lenses, white and black balance without batting an eyelid, then you meet competent editors who can talk about the software they use and why, taking pride in their ability to help construct the narrative with precision, followed closely by the visual effects artists who offer their input on more things than you could imagine to add that extra cinematic flair.

There are directors out there who know exactly how to target an emotion and relay it to their actors so that they get there naturally and realistically. I've met dozens of actors by now that come along with the script burnt into their memory, that intelligently question the character's backstory in order to give a convincing performance and bring in something extra. Not to mention having met some great music composers out there that always come back with more than you asked for.

Then again there are those out there who don't seem to have the first clue!

The experience usually start with a crap script! Then ooh boy, it can get worse!

Crap script / writer = Non-sensical story, characters, improperly formatted, over explanatory dialogue and an overall rushed looking piece with more ego than efforts of proof reading.

Crap producers and production managers = People who are afraid to look at more than setting a film using their own house again and again and again. If you want people to take you seriously then go start procuring bars, night clubs, schools, hospitals, offices otherwise what is it you're looking to take credit for and impress people with?

Crap cinematographers = People with egos who 'seriously' believe it's their way or the highway on set. You've got skills, you may even have your own kit and more often than not you'll know more jargon with the technical side of the production's shooting with your light meters if you're a professional. Equally if you're a beginner who just rushes straight in and wide shots are the only thing you understand then keep well away - These guys can waste so much time at either end further exacerbated by disregard for manners and communication at times.

Crap editors = Those afraid of too much video to audio syncing or to even mix them around to invent some new ideas and the ones who don't take advantage of the best shots and have every excuse under the sun for not even being able to produce a decent enough rough cut on deadlines. Wait until you get the finished product and count how many wide shots are in there, as if they're expecting audiences to put down their 3D glasses and replace them with a pair of binoculars!

Crap actors = People who cannot remember lines! Others who try acting a film as if it's a Shakespearean theatre performance and holds a wide-eyed 'DUM-DUM-DUUUUUMMMMMMMM!' expression at the end of every line, a consistent look that they're just solely focussed on line delivery then deliver them in unnatural pauses and laboured expressions.

Crap directors = The worst thing for a production is having someone who just gets a budgetable enough script, slapped a few actors together and never actually directs as they watch a shit performance in the wrong frame through their monitor and says 'ok, next shot' after one take and little concern for how this will later work in the edit. Furthermore, the absolute twats who say "fix it in post (production)" when the solution has not been provided during the shoot as if their editor is some sort of magician.

Whilst I see students make these mistakes, I also remember how shit I was when I first started. It is down to the teachers at the time to explain the importance of EVERYTHING here and then getting of your ass and putting it all into practice as many times as you can. Not only for the sake of passion but for the sake of getting it right.

When I did my first professional short 'Switching Beers' I knew enough to orchestrate it, I was ready! I knew how to write film and take feedback, how to cheat locations to look more than what they were on screen, how to look for, audition and direct actors, how to shot list, 1st AD and communicate to crew, how to cut film together effectively. Other tricks of the trade I learned from here but the important thing I'm trying to say is -


IF YOU DON'T KNOW WHAT YOU'RE DOING, GO LEARN SOME MORE OR LEAVE - THERE'S NO SHAME!!! Go too soon & your lack of professionalism doesn't just affect you, it affects ALL attached to the production!

Is it any surprise so many corporate clients out there think the way they do out there, when you've got so many indie's for example asking for tens of thousands when their promotional trailers look like they were shot in 5 minutes?

I can give you an example of one who asked for £20,000 just for their editing and distribution stage. The fucked up thing is, I acted for their "production company" at the time as did an actress I know for different things and on both occasions they post on every Facebook group with a new Indiegogo or Kickstarter campaign with a shit looking trailer each time.

Another "independent filmmaker" I know of, I acted for has a tendency to put himself as the lead role in each of his poorly constructed scripts, looking creepily 20 years older than his other cast members and inputting as many kiss sequences as he can with his lead actress, whilst being able to think adding scenes at last minute is completely acceptable as well as shooting everyone's lines, including his own separately as no-one remembers what they are, so nothing matches and so naturally the entire production collapses on itself. And yet - I ended up acting for this guy too because I just wanted to believe I was wrong and perhaps not giving him a chance.

It is through a pile of these experiences I have learned to trust my instincts about who to work with and who not to, for example if you see a trailer like this (brace yourself - it ain't pretty!) - Just get the fuck out of there!

My amusement reaches new levels when these people refuse to take advice from people like myself who clearly put more effort in and have earned a healthy reputation through nominations, awards and contacts, yet they're still determined to take the moral high ground.

My only guess is, they must have some pretty cowardly mates and / or family to never actually bother giving them some honest feedback or (much needed) areas of improvement!

A student, Adam Hannis who came on as my 1st AC on an MA shoot I was on last month sent me a questionnaire recently asking about my link to success through education. This guy is awesome because unlike most students, he's not some dork seeking work for a grade but because he actually just has a passion and genuine interest for it - good on him. The problem was I don't see myself as successful, but certainly competent in the trades I practice in but if we're going to talk about how education helped me with finding employment, there was no multiple choice option for "Education did fuck all!"

In my last blog, take one look at that timetable - GO ON, do it - What the hell do you think?

And nobody who graduated on it found employment either. How could they? And yet when I was having it out with its shitty 3rd year lecturer or the media school itself, no-one supported me. At least they graduated, right? - Too bad no employer gives a shit or they know what to do next. Can't say I didn't tell you so. Me? I recently shot and edited a film for Quakers Social Action & JP Morgan in just 4 days. It was low pay but it still paid for 3 months of my rent alone and I even got my invite to the hotel conference presentation and hand out a few business cards.

I took a visit back to where I first started at Ealing Studios Met Film School (you may have even noticed their adverts on Youtube) and you simply don't get as credible teachers anywhere near a typical University like the bullshit one I went to. For example, take a look at Philippa Goslett, still going strong, her film 'How To Talk To Girls At Parties' set to be number one of the most anticipated films for 2016. NOW - Compare her with any of the University writing lecturers... No, I mean that - Do It! ....... yeah, I rest my case!

Whilst, freelance is usually a posh term for unemployed most of the time, when that work comes I know I will deliver on every promise I make to the client and those I recommend in my circles are only those like this student I mentioned and those I know who are motivated by more than ego or grades. Another student I've supported & will continue to do so, being Sam Klein who just completed his first short film 'Mallard.' Not a bad effort either. In fact, its tagline works probably smarter than he and his team realise.
Furthermore, I bet you where I could offer feedback, these two would listen as opposed to others who would just moap - You just know who's serious about this film stuff and who's not. You don't have to be a writer to know actions speak louder than words. If you've got no work to show for your claims - leave the argument!

2015 is just about over. I've had some bloody tough challenges but I look back at the things I've got out of it.

6 new short films, a new radio play script edit project, fluency on the c300 & Canon 5D, my biggest client yet, a fully functioning website, a new showreel, 4 close-call career interviews of £30k upwards, 5 award nominations, 2 festival wins, an essay publication by Shore Scripts & 2 high profile international script accreditations.

* not to mention my 1st joint birthday with the 12 year younger brother and the 1st Christmas I've had some money to spend on gifts and go on holiday & even managing to find the time to go and see the new Star Wars film: The Force Awakens (fantastic by the way!) & had my first 'Comedy Store' experience in London!

2016 - I plan on the following:

Improved camera work range (i.e; more time with drones and the Arri Alexa), my attendance and whatever contributions I can make towards Gillian Tully's 'Film Expo South' event, 3 more short films, 2 more clients at least another 4 good interview offers and either the chance to work in the U.S or Canada or if I must stay in the UK, I want my Jeep and / or some more camera equipment.

For those of you I've insulted - Go have a nice cry!

For those of you I've encouraged - You're the one's I write for - Have a great New Year!  :)

Why I Chose NOT To Go To Graduation

Why I Chose NOT To Go To My Graduation

It was a nice position to be in - Being the first in two family trees to have gone to University. Furthermore, to have passed with a 2:1…

But what pride can you take in something that has offered no challenge, no fulfilment & no industry contacts? Out of the £24,000 you spend on a degree, your University has ignored any argument or complaint and would rather just keep taking the money out of young adults for as long as it can get away with rather than earning it.

My non-attendence at the graduation ceremony is one I took out of moral protest. I have worked damned hard for many, many years of my life. Like any other taxpayer will tell you: Full time means 9-5 Monday to Friday, no half-terms, no "reading weeks", no summers, Christmas, Easter and sometimes not even bank holidays in the real world. 

However, we're clearly not talking what's right and what's wrong when it comes to higher education anymore. It's become what's illegal and what can we get away with?

Since there's no 'technical' amount of hours a full-time course has to adhere to & there's no transparency on 'exactly' how many hours you'll spend on these, you can bet the greed will continue to grow in higher education.

You want the truth of my "full-time" timetable during my 3rd year scriptwriters BA (Hons) degree? No University wants a student's parents to see this on public domain, that's for sure! (test it - prove me wrong!) But here it is - I'm not joking. Ask any of the alumni you wish, whilst you're at it. Ask a few of the 1st or 2nd years what theirs are like. If you think this is shocking, imagine being in my position and having collectively paid almost £26,000 in tuition fees alone, not to mention you're living costs! 

September 2014
= 8 hours

October 2014
= 12 hours

November 2014
= 12 hours

December 2014
= 5 hours

January 2015
= 1 hour

February 2015
= 4 hours

March 2015
= 2 hours

April 2015
= 0 hours

May 2015
= 2 hours

June 2015
= 1 hour

July 2015
= 0 hours

TOTAL CLASS HOURS IN THE WHOLE 3RD YEAR - 37 HOURS!!!

What you paid for this - £8,000 - £9,000 

Naturally, I've complained about this to the media school dean, which merely resulted in some of its course leaders taking offence and changing a door code that didn't allow me to work on my scripts at the uni anymore because I had already graduated (so to hell with all the money I contributed to your salaries and institution then, I guess). I had little feedback with the changes I had suggested to make the course better... More importantly, something to take some pride in + would even raise its sinking scores even when a few friends in the lower years let me in anyway, I find out they have had their 'Final Draft' (scriptwriting software) taken away. So I'll bet you any money now, next year's prospectus / itinerary will read, students are required to have their own laptops and scriptwriting software and we are not prepared to provide a suitable working station to give you the option to work if you do not possess this!

But lets come back the fact that this course comes just under what a full-time taxpayer works on average. Worried?
You should be – this is what a young adult graduates concept of full-time is being taught as. Whilst most may not have ever had to have fought to pay their own rent before with ‘wages / salary’ – NOT a student loan – that’s what has been made possible and you know the worst thing? There are over 100 courses out there across dozens of Universities that are doing this and no-one seems to give a shit. Not even the students who’re going to be in debt for years to come. Then again for most that are barely motivated to do anything but what they’re supposed to, such as working towards a “grade” then suppose you could say ‘fuck ‘em!’ – right? NO – A thousand times ‘NO,’ – Jesus, Britain’s haemorrhaging enough money as it is from greed but now out of ignorance and / or laziness, wouldn’t it be better for people’s life choices and the economy if after students passed their G.C.S.E’s or maybe even their A-Level's they went and worked full-time for 2 years so it sharpens their work ethic and long-term focus? – WHY NOT?

By the way, should any of you, wish to see the complaint letter I wrote and the diabolical response I received from their 'Quality & Enhancement Officer' then please let me know. Then again by now, you'll hardly be surprised.

What would I have put into all these blank hours of the timetable?
Just to name a few, how about;

• Field trips to broadcasters / literary agents / residency programs 
• Expanding the course into writing for radio & theatre, doubling the size of your portfolio as a student, CV & showreel building sessions, 
• Writing practice sessions for applying for literary agents and analysing these, 
• Copyright laws, merging the course with journalism for example so employability ratings go up for the student who’s invested so heavily into the University they attended
• A collaborative project that measures their filmmaking / writing skills for the screen at the start of the course and again at the end to acknowledge how far they have come and something to put out into the world when they leave.

Instead of these things - Bournemouth University has pretty much ignored me with the mere “we’ll look into it” speeches and hundreds of students who just accept it for either not knowing any better or felt threatened that those they complained to would take their final result down – although that last point I challenge with something any professional writer should have told them during that course (for the last time): “GRADES DON’T MEAN JACK SHIT IN SCRIPTWRITING (let alone in the film industry as a whole)!” Although, its clear Bournemouth would rather have young writer beginners think otherwise where else are they going to get extra money at the end of the day, right?

Speaking of their spendings, if you want an idea of how irresponsible Uni's like mine are when it comes to spending money, sticking up TV's where they're not needed or asked for, erecting buildings, usally for the sake of ego over function, then wait until you read about their £2 million grant to study the relationship of chickens! 

This is what I find most absurd – That course could be fixed in less than a day if they wanted. They won’t and my formal complaint was rejected (obviously) because those earning from this false structure, if properly exposed could potentially lead to the refunding of students and graduates up & down the country millions of pounds – Well, I’m going to give it a try.

I’m certain the students I asked to support me whom were too ignorant or coward to would certainly come charging back if there was money in it for them that someone else had fought to get. And do you know what – I bet I wouldn’t even get a thank you from some of them because they, like the people who have charged them through the nose – refuse to listen, take responsibility and accept they were wrong. It’s a shame as personally, I’m not the kind of bloke who’d say “I told you so,” in fact it would be more like a handshake, a smile and a pat on the shoulder.

Watch 'SEASON 7 - EPISODE 5 of 'The Good Wife' 

I found to be quite entertaining as it saw Alicia taking down a dodgy University for unfair practice. An interesting & inspiring piece for your lawyers & solicitors guys ;)

NOW THE BIGGER PICTURE & WHY I WENT TO THE GRADUATION BALL!

Yes, there were some lazy people during my time at University but that’s not to paint them all in one colour and that I still enjoy the company of likeminded visual storytellers any day of the week and I will go on record & say I had a bloody good weekend being reunited for the last time amongst them.
People asked me why I hadn’t been seen at the graduation ceremony but I obviously hadn't written this blog yet to direct them to. Ha ha haaa

To name a few of the stars of my time here and those I wrote for or worked with and really stood out:

Murad (@Murad_Ali_ )- Embrace, Virtuoso Rose
Slavi (@slavica_rockov) - Virtuoso Rose, Solace Of Faith, Survivor
Anna (@Annaunlimited) - Embrace, Virtuoso Rose, Purgatory
George (@GeorgeLock13) - What's Up With Seth?, Media Wars, Survivor
Tom (@tommsmith1993 ) - Virtuoso Rose, A Killer's Confession
Ryan (don't think he's on Twitter) & James (@JamesMurphin) - with a coffee each' (seriously, that WAS the name of their radio show), That's What I've Heard - both funny as hell!
Ben (@ben_cb) - Pete & Patch Do Pills
Luke - The Device

... I wish them all the very best!

Hope to see them making their way through the beast of industry soon!

IN OTHER NEWS!

Only as few days ago I’d met one of my most respected writers, KT Parker, whom you may recall, I attached a link to her blog with regards to the ‘London Screenwriters Festival 2014.’ You should have heard her reaction to the short amount of hours the University offers an undergraduate writer – Why is this so important to acknowledge? – Because it is an insult to those of us who love the craft so much that struggle our backsides off whom ‘hand on heart’ could honestly go into that bloody course and teach it ourselves and would even do it for far cheaper. After all, we’re usually idealists first, capitalists second. Although, I have to say I was pretty gutted to have to turn down a ticket to see the new James Bond ‘Spectre’ film alongside KT for being stuck in two other projects at the time. Next time KT! – I Promise!

I capitalised on the chance to walk onto the MA in Cinematography following some reliable sources telling me about the access to equipment I would have and proof of the amount of time I'm required spend at the campus (this time; 14 - 20 hours a week) and new assignments each week, which has been a damn sight more rewarding than my best forgotten BA there - "About Time!!! Woo Hoo!!!"
It had already paid for itself within the first couple of weeks and my lecturer, Mark Bond is undoubtedly the best lecturer I have come across since college. When it comes the graduation ceremony for this course - you can bet your bottom dollar, I'll be showing up!

For now I have a new wave of the filmmaking family to work with. Unfortunately, there's a lot of first-timers, so although the conversations can be great, the experience, attention to planning and communication is under what I'd prefer but hopefully that's going to change very soon.

I have made another independent film ‘Echo Screen’, I have at least 2 more shoots on the go, a couple more job offers and even the new ‘Film SouthExpo’ (@filmexposouth) event in February 2016 I’m supporting in every way I can, being ran by the lovely Gillian Tully (@GillTully). Please go if you can. I've already got my ticket! :)