Film; the good, the bad & the butt-fucking ungratefully ugly!!!

You wouldn't believe some of the stuff that's happened to me lately even if I told you. Well I'm going to tell you anyway, I guess... So...

I have my share of support that always tries to remind me of the kind of stuff I've achieved in the last year alone but am constantly haunted by where the hell my next month of rent is coming from. not all but lets say half - think they're so bloody clever when all it would take is for them to just listen to themselves for a moment.
Despite a promising reputation I continue to grow on the UK's South coast, I'm still broke, thankfully almost free of the squeeze into a manipulative, piss-poor educational institute to help get myself by, working with entry level people half the time who - not all but half - pretend to be experts from day one when it would do them a far better service just to listen and ask questions rather than just crashing in. Jesus mate, there's no shame in being new at something - I'm always training up new people and you know what, I'd rather work with someone honestly admitting they need a bit of support better manners than someone who pretends to know it all and rarely uses any manners at all.

My applications continue to fly out the door as I pray for a steady flow of income at a respectable level in what I do. I managed to wrangle a camera assistant role for a called Graham, filming the Welsh elections in my first live broadcast for BBC Wales at their Cardiff studio. Talk about pretentious, the place seemed to have no young people in there at all, really. Whilst I was initially grateful for the experience, I soon found this guy to be quite condescending, which way a simple lid goes on a flight case, not to swear (not overtly obviously), whilst he was shouting and raving the words "FOR FUCK SAKE" multiple times when a button broke off his over-engineered jib then in the end stealing equipment that some of the lovely staff had given to me they no longer wanted like lenses and a couple of cameras, I could have used and /or rented!


For example, even after I promised I wouldn't produce for free anymore, like a dumb fuck, I came back to do one more - a short film called 'Flawless.' The writer and director was a youngster called Oli. I worked with him on a poorly constructed syllabus project during our BA's at that excuse for a University of ours and quite liked his filmmaking and acting. This project was taken by THREE MA producers who subsequently abandoned it... Thinking at least maybe some of the work would have been done already, this was not the case. It was an ambitious script with lots of complicated locations, mid-aged actors, props and needed an equally reliable crew & cast behind it.

I would like to announce a change of the definition of producer in the dictionary to the following;

'People with the right connections and attitude to carry a project all the way and fix every problem, giving up their lives and be constantly on the phone, emails, networking, recruiting and negotiations 24/7 in order to ensure it gets to production let alone all the packaging it requires thereafter... Furthermore, are dickheads to do it for free!' - Dickheads like me, clearly!

By far the most awkward bastard of a production I've ever produced and being told an early 20's actor can play a mid-life crisis role...?! Right because the viewers won't notice, yeah?

I like to have my filmmaking put to challenges but not questioned by someone who has no clue or relevant experience in what they're talking about.
Because there was no production studio or bank loan attached, I knew this production needed money, so I approach someone with a good reputation and due to my own, I try and get one of Dorset's known actors; Jamie Lee-Hill. "BECAUSE" of this, we raise over and above our target for which the actor can pay for himself (not as much as I would like but will be eternally thankful for his sacrifice) on a decent looking film. Rather than a 'thank you' my young director said he didn't want to pay him as much as I'd agreed and claimed I had "lied" to him - that 'I' said he would do it for free and that 'he' would not pay him what I'd agreed...?!

He was working for free, the money that came in was mostly down to his followers, not to mention some of my own, thus you're STILL not paying him nor I, nor anyone else a thing - this is not YOUR money - it's the production's! I already don't agree with paying one person more than anyone else on a  production but if that person's involvement has alone, literally raised almost £700 then obviously, I'm prepared to bend my morals a bit by way of gratitude.


I took further offence when I'd been told that the props had broken the budget when as producer I had only been told about some 'masks' (which I agreed to) and my DoP's requested lighting gear. The words used were;

"Dan, you would have bought shit! You reckon you could have done better?"

NNNNNooooooooooo - You don't saaaayyyyyyyy!!!???

ALL this I was willing to let go as the guy's first time on a major professional short film - It is very stressful for a newbie and I let it go! He obviously had forgotten at this point who had approached who at the beginning of this thing and after all my hours over many weeks of phone calls, emails, negotiations, meetings, networking and training alongside my own life and other projects I had on, whilst working for free and going insane, I set this guy into stride with 80% of his crew and all his cast not to mention the time on location procurement. Furthermore, having to pay one actor out my own pocket at one point. I had even dragged my girlfriend into this to maintain the public face of the project but met with negligent responses to her simple production stills and interview requests to feed back to the generosity of the crowdfund backers, both the director and I had agreed to so... What the hell... Just get in with it!

Luckily, I've straightened most things out with this guy now, including most of my money back but I learned never to have my better nature ever taken advantage of ever again. It's a shame, I still like the guy, just unfortunately not the way he does business. I got told later that there were a number of my crew who felt mistreated and money spent on props beyond my permission as producer, that could have been used to treat them to a few pizzas or something at the end instead for example just wasn't on. Knowing I could have shut it down any time I want, I had too many of my own people attached working on this who deserve to get something for themselves and I would be going down this guy's level if I'd taken that decision. Although a great looking film, 'Flawless' I'm afraid, I shall be using as my example of why I shall never produce for free again. I felt I had been completely abused and taken for a ride.


The positives - I got Jamie Lee-Hill as my protagonist and even Justin Hayward coming back for his 3rd time with me, a make-up artist I've wanted for a while; Rachel Collins and Ben Chick - Ridley Scott's sound designer + I've even been able to find a brand new talent, Will Pattenden for my future productions and even got to work with my new sound recordist contact, Marta Batinic, who's really great to work with and also at an age where she takes things as seriously as I do and does it well.

... and once again despite the speedbumps, the awesomeness of the others involved, we came through!



Whilst I've been going round the bend, I'll soon not only have this 'Flawless' project as proof of why degrees "are (I told you so) bullshit" but I also got my latest festival win with 'Accolade Global Films Competition' with my 'Last Light' film and even got to meet my LA composer, Michael O'Neill yesterday for the very first time. He was performing as 10 time grammy award winner, George Benson's guitarist at the Bournemouth International Centre and I got to see them both before and after the show for a chat. This will be own strongest 'power of networking' story I will be telling for years to come.

I already thought Michael kicked ass but we talked for ages. Yes, some of it even about the stupid result of Britain leaving the EU recently but it was great and the philosophies we shared though an entire generation apart in our creative pursuits, I only wished my dad took a leaf out of this guy's book - How awesome would that be?
Take a look at George - 72 and STILL such a super cool cat to be around!
Once we hung out with George for a bit, I got to check out the dressing rooms and even got to walk around and chat for a bit in their £750,000 tour bus.

Not only did I find out I was a bigger fan of jazz than I thought by the end of the night but came to realise not only how powerful of a connection I had made but also a terrific damn right nice friend. Before the night was over I even got to meet the rest of the band before they had to jump back on the tour bus to play at their next gig in - guess where - the midlands!



I've also been contacted once again by Gilly Tully at FES that wants me to film their winning script at the pitch; Paper Stain by Ida Frank, which is looking like a big deal. Especially as I'm currently the face of the new Dorset Film Office on their website. I was asked to play a paid role on their first production 'Time Of Their Lives' in Portsmouth but unfortunately I was just too busy. Damn shame! Just the other day though I got another call from her asking for my possible involvement on their latest dealings into a co-production sports documentary, so will be interesting to see how that comes along.

Really hope this thing keeps going from strength to strength. All I know is I'll keep supporting Gilly with whatever I can, as long as I can.

I'm still trying to lock in regular clients as I just heard back from my BBC producers role that I wasn't going to get any further with it. Needless to say I was gutted! You wouldn't believe the amount of interest they expressed in my 'Survivor' project. Was actually quite flattering - Good luck finding a candidate who can put one of those together mate. I mean - 'COME ON' - who else has as many projects, awards, contacts and skills as me at this stage after all my several years of hard work, I mean, "just look" for crying out loud! - BEAT THIS! What more do you want?

Speaking of unreasonable, a funny thing also cropped up regarding my previous bullshit sales life with a company I hadn't had anything to do with in almost 10 years - Merlin Entertainments Group' and the fact something's simply don't change!

These two employees wanted me to film two things for them working for this company and edit it all for a poxy £200. Why the fuck is this the case when that sod of an organisation makes millions year in, year out?

For you employees - Please take a LONG hard look at our filmmaker role day rates before you waste any more of our time. You wouldn't like me to pretend I can do 'your' job as well as you without any training, software or know-how, would you? Moreover, work for an insulting amount.

I obviously went and did part of the job as it's a big client, not to mention being desperate for the money but for fuck sake, "JUST THINK" - I know it may well not be their fault directly but given their employer couldn't have just bunged them a simple £300 or so when they plan on using this to represent themselves online internationally and rely on two employees who have 'no clue' what they're doing - You're a moron! Furthermore, when you're asking someone with my profile to work for almost 2 weeks on less than minimum wage and get all shitty with me when I refuse then I shall refer them as well as ungrateful directors from this point on to this image.

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!  :)