Foreboding: Fractured Applauding The Team

One of the things we applaud and stand with is people who take risks and create on their own terms, seeing the team behind The Foreboding: Fractured do exactly this with a cleverly done horror that takes classic tropes and scenarios and makes them fresh.  

The premise of the film is straightforward and a classic of the genre with the teenage group heading into the forest to camp and telling scary stories over the fire and finding themselves caught up in the tale in a way that they did not anticipate. 

While the styling is simple, the cast and crew did a stellar job of making this their own with some subtle nods to those who came before.  The acting is naturalistic with character types being laid out smoothly, giving each of them a chance to develop and build to a grand finale that is chilling in its substance and still a classic that will have you jumping in your seat. 

From the camera work in the opening that is simple and clean to the more “found footage” style as the story progresses, you can see the passion behind this film and that a tight budget is not enough to stop creatives being creative. 

The Foreboding: Fractured, is a classic example of what can be done on a low budget with passion and deserves the accolades that will inevitably follow when it hits the festival circuit in full.  

Our prediction is that the people behind this are the ones to watch for the future as filmmakers and actors, they are gearing up for big things and this film is an excellent, creepy start on the road. 

To learn more about the film see:

IMDB The Foreboding: Fractured.

Horror Scream Video Vault Interview.

Blazing Minds Interview.

Podcast Interview.

Dark Forest: A Cinematic Short

Cinema started with the short film and it has been a long tradition of movie makers to take this process and work to create something fresh, a story that is strong enough to stand on its own and convey a message in a short amount of time, Nevis Studios is now stepping into that arena with their new crowdfund project: Dark Forest.

“In the gripping thriller "Dark Forest," Detectives Danny and Fiona pursue a serial killer terrorizing the Scottish highlands. The tension escalates as they close in on the elusive criminal and search for missing victim Anna Frey.”

With a creative vision that will open up doors to creativity as well as jobs, the team behind this crowd funder for Dark Forest, are looking at an expansive and long reaching movement of cinema.

Crowd funding is a common practice now and gives people the opportunity to be a part of the creation of cinema and the team behind Dark Forest are open to the challenges that this creates and see it as an investment in not just a film but in the process.

To learn more about the company or the project see:

Nevis Studios Website.

Nevis Studios Facebook.

Nevis Studios Instagram.

Dark Forest Campaign.

Film Thoughts with Peter Tilley Producer and Actor

Peter Tilley, actor and producer took time to talk to us about his latest co-project: The Foreboding: Fractured, and share his insights from not just this project but what the future holds for him as a creative.

You have been working on promotion for your most recent project The Foreboding:  Fractured, where you are part of the cast. Can you tell us more about the project and  your involvement?  

Back in the summer of this year I messaged my good friend Alexander Staunton-Hill, who is  an incredibly talented writer and actor. I said how I wanted to put my own spin on a teen  horror story and make a film specifically for the Horror-On-Sea Film Festival in January  2024. Not long later, he returned with a fantastic script that completely elevated the idea of  that take on a group of teens coming face to face with a deadly enemy in the woods. We  soon took this into production, undertaking the casting process and filming just a matter of  weeks later. I took on the credit of producer for this film, along with playing one of the titular  roles as Aaron. Balancing both learning lines and taking on all of the producer  responsibilities was certainly a challenge, but this allowed me to gain great experience within  the film industry and help to create something fresh and exciting.  

The film follows a group of university students who have just finished their first year of Uni  and decide to go on a little camping trip into the woods to celebrate, however this trip won’t  be so plain sailing as they soon encounter a deadly presence lurking within the forest.  However there’s a lot more to this story than meets the eye, for this isn’t your stereotypical  teen horror flick. What fates lie ahead for Aaron, Connor, Abigail and Lauren?  

As an actor what challenges did you face involving yourself in The Foreboding:  Fractured and how did you overcome them?  

There was quite a few issues that came up on set, some of which were completely out of our  control. For example, we were shooting for long hours going into the night and was hit by a  thunderstorm with torrential rain, temperatures hitting low figures in the early hours of the  morning not having very warm layers of clothing on. Filming these scenes out in the open on  a farm in the middle of Sussex with this bad weather certainly proved tricky, but we got  through those obstacles as a team still gaining good results. 

Which side of the camera do you prefer working and why?  

I’ve been fortunate to have experienced both now, however I am primarily an actor and  mostly enjoy working infront of the camera, portraying different characters and bringing  these scenes to life. Saying that, I worked as a producer on this film which was enjoyable  and would certainly dip my toes into that role again in the future, so it is fun to work on both  sides of the camera. It’s mesmerising to see how a production all comes together from either  side. I would never rule anything out! 

What have you got planned next as a creative that you can share and how can people  find out more about you and your work?  

We’ve got BIG plans for The Foreboding, so I will mainly be putting all my attention on that  going forward. I’ve got some other projects lined up for the year ahead but am just waiting  on getting schedules for those films, which I’m very much looking forward to shooting. You can find me on multiple social media platforms, on Twitter (or X now as it’s called!) at  PeterTilley20 and on Instagram with the handle @Tilley.Peter. You can follow the official page  for The Foreboding @theforebodingofficial and tickets are now available to purchase for the  film via horror-on-sea.com with it’s world premiere screening at the Horror-On-Sea Film  Festival on Saturday 20th January 2024!

To learn more about the film see:

IMDB The Foreboding: Fractured.

Horror Scream Video Vault Interview.

Blazing Minds Interview.

Podcast Interview.

Discussing Film with Kemal Yildirim

Expanding on our previous blogs with the team behind The Foreboding: Fractured, we talk to director, editor and DOP Kemal Yildirim about the films making.

You were a leading voice behind The Foreboding: Fractured as the director. Can you tell us a little more about the thought process behind the creation of this project?

When Alexander sent me the script I was immediately taken with the characters he created and how he captured that feeling of what comes next on our journeys into adulthood. I have always been a fan of horror and in particular ghost story and folklore genres. As Director and Cinematographer I wanted to create a sense of unease, that these characters who are on the cusp of adulthood are in danger. I also wanted to create a sense that the infamous woodland they enter has a life of its own and plays on their fears. I used the tropes from the folklore and supernatural genre to do this.

What challenges have you faced in the making of the project and how did you overcome them?

As with all films there will always be challenges. Our biggest challenge was how remote the location was and that it had no power outlets. So we had to rely on a generator to help aid our shoot. Our first generator blew up so that meant one of our night shoots was affected. The good old British weather was some of the worst I have seen with torrential rain and winds, but none of this stopped us. The thing I love about indie filmmaking is the tenacity and team spirit to get through stressful situations for the sake of the production, a singular goal of getting the film over the line and to see the vision through.

Now that the project is complete and you have started the PR and marketing what is next for you as a creative that you can share?

There are always more projects in the pipeline, I am lucky as I have a good career as a cinematographer as well so I am working with some really exciting filmmakers from the indie scene. I am also developing some really interesting scripts ready to launch into production when the timing is right.

Is there any advice you can offer to people starting out or creating their own film?

My advice is simple, the times we are in right now is a great time to be a filmmaker. Tech is more affordable and with so much talent behind and in front of the camera there really isn’t an excuse not to make your film. The script is key, have a solid script and build a team of like minded creatives to help bring that vision to life.

To learn more about the film see:

IMDB The Foreboding: Fractured.

Horror Scream Video Vault Interview.

Blazing Minds Interview.

Podcast Interview.

Expanding on The Foreboding: Fractured

We are always happy to talk to filmmakers and actors who take the leap and create their own projects and The Foreboding: Fractured is one of those films that captured attention from the poster, and of course the various interviews we are lucky to be able to speak to Alexander who was part of the trio behind the creation of the film.

You were a major part of the creation of The Foreboding: Fractured as both the  writer & of course the final film production, what was the thinking behind this  horror project?  

I suppose it would depend on what stage we are talking about. At the very beginning the  main focus was how we could make a teen horror flick without it being cliché or exactly  the same as the others. Then hearing the timeframe we had made me have one thought  “Let’s do it.” If we’re talking two weeks in then I was more thinking about the SAG AFTRA strike & whether continuing the film was a good idea since the strike was  something I supported. The answer became keep the film going due to the fact we don’t  have a big corporation behind us, it was myself, Peter & Kemal with a very dedicated  team. Honestly there were so many thoughts that went through my head throughout the  course of the project. Some were purely down to the script & the story, the others came  down to my acting. 

As a writer & creator, which part of the process do you feel you most enjoy? In  front of the camera? Behind the camera? Writing the stories? Or a combination of  these?  

I mean first & foremost I’m an actor, so playing Connor was something I really enjoyed &  also quite unexpected. In front of the camera it was a joy being able to work alongside  Eve Kathryn Oliver & Olivia Bennett. Obviously there’s Peter as well but I feel like that’s  kind of a given. Myself & Peter have been wanting to act alongside one another for a  while so finally being able to do it was brilliant. It just felt right. I loved coming up with  the stories, the characters & how the world intertwines with all of it. Having Kemal come  on & really embracing the world that the story is set in made the project that much  easier & he had such an amazing understanding of it. It got to the point where even  though I created this world, it felt like Kemal & Peter had a far better understanding of it  than I did in the end. I feel like they definitely know all my little tricks now. 

You & the team are currently working on PR for your project including interviews  & festival planning. What do you feel will be the next phase after this project & the  marketing?  

Well Myself, Kemal & Peter have been talking about the future of the world that’s been  created & if we were to return to it, how we’d go about it. We love this world, we love the  characters. We’ve spoken about making a feature however it is all up in the air. If the audience likes the film & wants to see what I would consider the true perspective, then chances are it’ll be made.  

What advice do you have for people who are starting out or looking to start their  own projects?  

I think the best advice I could possibly give is throw yourself into it. If you have an idea,  run with it as best as you can. You’ve got to be a little bit risky & you have to be okay  with the idea of not running through a wall but finding a way over it. On sets big & small  there are always issues, very very rarely is it smooth sailing & believe it or not that is  quite possibly the best part about it.

To learn more about the film see:

IMDB The Foreboding: Fractured.

Horror Scream Video Vault Interview.

Blazing Minds Interview.

Podcast Interview.

The Foreboding: Fractured

We are always impressed when people take risks and put together projects big or small to showcase their talents, The Foreboding: Fractured is just such a project and with the cast and crew currently doing the media rounds we will be talking in more detail with them soon but could not resist taking the opportunity to start that rolling with a featurette of our own on the film and a little preview set of images from the award winning film.

“Entering the woods for a simple camping trip, four university students find themselves hunted for reasons unknown. With their fates being intertwined in this place, how can they ever escape? Perspective is everything.”

With interviews already in motion, we were lucky to be able to get some of the images from the film and to be able to talk to Peter Tilley about his involvement and will be expanding on this soon in the meantime we suggest you check out their other interviews and IMDB to learn more about the film and to see the team talking about the project:

IMDB The Foreboding: Fractured.

Horror Scream Video Vault Interview.

Blazing Minds Interview.

Podcast Interview.

Frustrations Within Casting

Being an actor or working in the creative arts has always been something of a passion led career path with many feeling they cannot get a foot in the door thanks in part to the ability to gain parts, an agent, or that elusive and somewhat necessary profile with the #1 casting directory. This has come to a head now and people are feeling pushed out with the system being called elitist, we at the lost creatives wanted to share some insights and options that are gaining ground and opening doors to people with a few added options that even at the lowest budgets, can make the dream become a reality with strategic work and a little planning.

As regular readers will know, we advocate for indie film and the creative talent behind it from the cast to the crew with our own allegiances being openly stated.

We are happy to endorse creative and commercial avenues of filmmaking with companies such as New Village Video and HOD TV being two of our favoured routes,

*It is worth noting that HOD TV has parameters that you need to match to get through their vetting process, we have this in a document and will share with those who require it through email.

In casting terms, it is not quite as simple, there are certain sites and companies that have all but cornered the market and are seen as the gold standard, this however, has been changing slowly and we want to talk about 2 of those options and are open to hearing from new services that may appear or alternative options at any time.

vShowcards: a game changing paid for service with a dedicated team who not only help and support their members with advice, but a multi-faceted company that takes on actors and crew giving them a manageable route to showcase themselves and promote their skills to multiple audiences and welcome new and established talent because the site was built by actors, there is more understanding of the challenges out there.

Casting Callback: a free at point of use service for the UK, I personally checked out the layout and actors pages to see how it works and I am impressed, the company ethos is simple, they want to the creative arts to be open to all backgrounds making it one of the best of the free services for its open platform and honest approach to the industry.

With just these 2 options under your belt, it offers up scope in particular to new entrants, and with the media market slowly getting back on its feet with global financial concerns, it shows that no matter what your background, no matter your financial status as an actor or filmmaker, there is a means to promote and market yourself and fortunately, in this content hungry age, platforms available to sell your work.

Lost Creatives will be using these platforms both for casting and for promotion over the next year and focusing on opportunities outside the mainstream with digital TV and film being our goal and of course, supporting creatives across the spectrum with the blog being open to those who need support to promote their projects.

We will be talking in our next blog about commercial avenues for short films and touching on team building for projects with small budget.

IC9: A Glimpse Into The World of Film Courtesy of vShowcards

The Lost Creatives team always appreciates when we are given insight and a little bit of the background to a project and as always vShowcards has been part and parcel of that by bringing to our attention the new police drama IC9.

Tackling the controversial and very contemporary issues of people trafficking and illegal immigration, the film looks at the personal as well as the professional from a police woman’s standpoint as she hunts for her sister and discovers a startling, dangerous truth about her own family coupled with the harrowing insight into the world the trafficked people find themselves in.

With a stellar team both in front and behind the camera including such leading actors as Georgia May Foote (coronation street) and Richie Campbell (Grace, liar, ITV) and of course vshowcards founder and all round actor of note Darren Tassell who has (with permission) given us access to the documentation and files for the project.

vShowcards works hard as a casting site and has also played a part bringing in such excellent talent as Richie Campbell, and Georgia May to peoples attention thanks to their savvy use of social media and contacts, each member of the team of course brings their unique talents to the table and add dimension to a nail biting script by Kyle Titteron and Gulshan Singh making this more than a film but a true showcase of talents.

With filming underway at the moment, stories and images are leaking out that show not just a cast and crew enjoying the work but adding to a film that is gathering attention not just from social media buzz but from interested parties looking to the project to see what is happening in the business including bloggers, journalists and potential viewers who are seeing snippets and images sneaking through, the anticipation for this film is rightly high.

IC9 is a large scale UK indie production that is a showcase of talent, ingenuity and intrigue. A truly welcome project that will hit the high notes and with the support of vShowcards and many others who are seeing the potential of cinematic projects and how it can be achieved with the right people backing you.

Naturally, we will be happy to support the ongoing work and cannot wait to see the final film, we will be talking to key team members about the project itself looking at the casting process, making of, and what the future is for the production team.

For more information on vShowcards and what they do see: The vShowcards Website and stay tuned to the blog for further updates on the project.

Talking Books and Films With Ivan Peric

Over at The Lost Creatives, we are big fans of Ivan Peric and his book on filmmaking, taken from his own experiences and offering a solid plan for making and selling your work that resonates with our team. We are extremely thankful that he took some time out of his schedule to talk to us and open up about what he has been doing since the launch of “Don’t F*ck Up Your No Budget Movie!”

You are returning from a break after the release of your successful and lauded book “Don’t F*ck Up Your No-Budget Movie!” What have you been doing in that time that you can share with us?

Thanks for this question as it touches upon something that we don't often hear about, and that's taking ''breaks". Taking the time to not do anything and just relax. You scroll down your social media feed and all you see are people pushing the ''hustle'' and "grind'' lifestyle, it's rare you see someone talking about taking it easy and pacing yourself.

“The reality is that everyone needs to take breaks every once in a while in order not to burn out. This is especially true for us artists and digital creators.”

Most of us have full-time jobs and families, so all the extra work we put into our projects ends up taking a toll on our bodies. Just like any car, it doesn't matter if you use it for work or leisure, the mileage always accumulates. So that's what I did, I just took a break from it all, acting, writing, producing...My agent was sending me auditions and I just couldn't get myself to do them. I was physically and mentally drained.

I had written DFYNBM during the pandemic, the editing process was a lot of work and a lot of back and forth with the editors, then the publisher released it pretty quickly so I had to be on my toes and start promoting it right away.

With the uncertainties of the pandemic, everyday life at work, and writing this book, I never got to take a step back and refocus. After a few months ''off'', I now feel great and motivated to continue working on my plans for this book and other projects!

You have spoken quite openly about how your workflow has changed thanks to your experiences in filmmaking, taking you from actor to director/producer to give you control over your projects, how has this affected your style as an actor overall, and is it a method you would recommend?

Yes, I would definitely recommend any actor to pick up a camera and produce something themselves! It's the best experience and you get to see through the eyes of a producer and director. For me, understanding the process gave me much more confidence as an actor.

Once you get to understand how things work, you put much less pressure on yourself. Most young actors are very self-conscious, always wondering what everyone on set thinks of their performance. I was like that, always looking for that validation. By becoming a director yourself, you get to understand that performing is not that complicated and it often doesn't take that much of a ''performance'' as some actors might think.

It definitely grounded my acting style. Every subtle moment is blown up by 1000% on the screen, so it made me understand that less is more because the camera catches everything. You also get to understand the point of view of the director much more.

I remember being a young actor and being devastated by any notes a director would give me after a take. I would take it personally and couldn't understand why the director didn't like my performance. But the truth was that the director never disliked my performance, he just wanted to see something different and push me as an artist. Producing also makes you appreciate every single person on set. You see and understand that everyone has an important role in a production. You just respect everyone more, and out of that respect comes better performances because you want to contribute as best as you can to the project.

What is next for you in the creative arena? Do you have any new projects planned? Will
you be taking your method on the road and teaching the Ivan Peric method of filmmaking?

Every time I come back from a break I want to do it all! I feel inspired to act, write and produce! But I know I will have to focus on one thing at a time. I wasn't 100% satisfied with my book launch as it was rushed by the publisher and I didn't have much time to market it before I had to take a break. So the first thing on my list is to continue to push my book and get it out there to as many people as possible. Yes, one of the ways I will be doing this is by starting workshops for aspiring filmmakers. I would love to have seminars all around the world and inspire others to start making their own movies.

My main goal with DFYNBM was to inspire people who might not have a big budget, or any budget at all, to produce their own feature films. I believe these seminars can complement the book very well by being not only inspiring but also informative and entertaining.

I have so many stories and anecdotes I would love to share that didn't end up in the book! I will start locally here in Montreal, then hopefully expand to the rest of Canada and the US. The next goal after that would be to go overseas! I will also slowly get back into acting. I already have a few auditions lined up that seem like fun. There are also some unfinished scripts I'd like to work on and hopefully produce.

What advice would you offer anyone entering the film or TV arena as an actor, producer, or director?

Make sure you are getting into it because you absolutely love it. Don't do it for some kind of fame or fortune because there is a 99.9% chance you won't get it. Do it from your heart and not your ego. Take classes/workshops, and learn as much about your craft as you can. Watch a lot of movies and shows!

There is a lot of great content out there and so many outlets where you can expose your work. There is no excuse these days, the technology is affordable and platforms are always looking for fresh ideas. Finally, just do it! Pick up your digital camera or iPhone and just go out there and shoot. If you're an actor, record yourself doing scenes or shoot skits to keep yourself sharp, and never give up!

To learn more about Ivan Peric and his work or to purchase his excellent book see:

Ivan Peric Website.

Ivan Peric Instagram.

Ivan Peric Facebook.

Ivan Peric Twitter.

Ivan Peric Youtube.

Don’t F*ck Up Your No Budget Movie! Amazon UK.

Don’t F*ck Up Your No Budget Movie! Amazon USA.

Introducing Dead Origami Films

We are really pleased to be able to introduce the team behind the up-and-coming Dead Origami Films who have been making waves in the circuit. With a new project on the cards, it seemed to be the perfect time to talk about filmmaking and their collaboration with vshowcards.

You have been working on some smaller projects as a starting point for your new production company Dead Origami Films, can you tell us more about how you came to do this and your background as a team?

I had written the script for our first short film 'Ellipsis' and I was trying to find a crew to make it with through my university but I really wasn't getting anywhere until I met fellow students, Alex Chalatsis and Nikko Turner (who had the same roles). We found that we not only worked exceptionally well together but that it was a team dynamic and with a group of skills that stood out on set as well, to very positive notes from others. We'd already begun talking about doing other films together by that point, but after we finished shooting Ellipsis we set about bringing that dream to life through the foundation of our production house, with Tequila Carter who was a producer and SFX makeup artist from Ellipsis, who we found to be incredibly resourceful and passionate.

Whilst Alex and I have known each other for about a year now, it's amusing to think that Nikko only joined us six months ago and Tequila a month after that, when I feel like I've known and worked with them all for much, much longer - we've got an unusual kind of symmetry that makes working together fun and effective. We all have weaknesses and strengths that complement each other and more than that we're incredibly passionate about what we're trying to build as a team.

You are working on a new short film at the moment, what can you tell us about the project and your plans for this film?

Absolutely, it's called 'Brutus' and it is a modern adaptation of William Shakespeare's Julius Caesar (Act 1, Scene 2) which we're shooting in Southend-On-Sea in late September. It portrays the titular Brutus and his fellow senators as a group of gangsters plotting to kill their boss in a pub. Narratively, the film follows Brutus' journey through a single night as he wrestles with the decision to murder his close friend for the sake of his people and the consequences of that emotional turmoil on his marriage.
I'd tentatively call it a proof-of-concept piece as I do have interest in the possibility of adapting the entire play into a feature eventually, but by the same token, I'm adamant in my desire to make this film feel capable of standing on its own two feet as well.

One thing that has been noted is that you're working alongside vshowcards: what was the motivation behind this and how has it affected the dynamic of your projects?

I became aware of vshowcards at the Southend Film Festival, where I'd just watched the feature 'Fixed', which had cast Darren Tassell, one of their founders. I'd already been thinking about doing some modern adaptations of Shakespeare for a long time, but it wasn't something I took seriously until I met Darren and thought to myself, "That's my Brutus!". From there things snowballed, and it became Dead Origami Film's next project.

I had a meeting with Darren shortly after the festival and he told me more about vshowcards and what they were trying to do with it and I decided to try casting the film through their network, which I found to be a brilliant asset. It was more the case that I just found the people I felt were perfect for the roles there, rather than the idea that I set my sights on casting through vshowcards exclusively, a fact evidenced by my casting Kim Gjersøe who I'd worked with on Ellipsis. But how vshowcards is set up, just lent itself naturally to helping me make clear-cut casting choices.

With Dead Origami Films now moving forward, what is the goal of the company in film terms? Do you have a genre or particular theme you want to continue with?

Well, we've got four more short films slated for production after the Brutus. Next, we'll be doing 'Garmr', which is going to be the surrealistic exploration of a deranged WWII sniper. After which we'll be doing two more modern adaptations of Shakespeare (Macbeth + Romeo & Juliet), which brings us to 'Iscariot: House of the Red Door', which I'm extremely excited about in terms of our set design and visual effects.

Through 2023/2024 we've been talking about doing our first feature film, which will be named after and inspired by Victor Hugo's 1829 seminal novella “The Last Day of a Condemned Man”, which will philosophically and morally explore the mindset of a prisoner sentenced to death.

Nikko and I are blessed in that we have incredibly specifically similar tastes in film, heavily leaning towards the surreal and dark themes in general which pairs well with Tequila's love of horror films. Alex loves anything starring Tommy Wiseau, but we forgive him for his sins. I think those themes ring true in a lot of what we're planning on doing over the next few years, but on a personal level I wouldn't want to see us pigeonholed into doing just one genre of filmmaking, I've certainly got aspirations towards making other kinds of films.

What advice would you offer to people looking to enter the film/TV industry based on your own experiences?

That's a challenging question to answer as I imagine most people's situations would be quite different from my own. I'm lucky in that I found a group of people who believe in me and in each other and want to see where we can go with that belief. For us, that extends into developing a youtube and Patreon community with a large amount of content we'll be developing from next month - this allows us the opportunity to not only get in practice as filmmakers between short films but also ultimately, develop a financial stream that will allow us to function self-sustainably in the future if need be.

“I think I only have one piece of advice worth sharing that is as true to life as it is to filmmaking. Find yourself good people to enjoy life and create art with, people who will embrace you for who you are and you them. It might take a lifetime to find them, but they are out there.”

To learn more about Dead Oragami Films or their project work see:

Dead Origami Films Twitter.

Dead Origami Films Facebook.

Dead Origami Films Instagram.

Dead Origami Films Youtube.

Patricia Jones: An Actors Journey

Patricia Jones has created a stellar career as an actor and is now the author of the book Opening Doors for Working Class Actors.  We wanted to gain a little more insight into the career, and thoughts of this stellar actress and how she came to be where she is. 

can you tell us more about yourself and your career path as an actress?  

I always knew that I wanted to be an actor from a very early age so in a way it was easy for me to know where I wanted to be. I didn’t go to drama school due to lack of funding which was in grant form at that time but started to chart a career for myself in fringe and small-scale productions in London in order to build a cv for myself. I eventually landed some good theatre work and then was offered a regular role in the TV series ‘Byker Grove’ where I stayed for four years. This was an amazing opportunity to learn my craft and to meet many different directors who I subsequently worked with again on various shows and this was how I began to build a television career. I took a break when I hit my forties thinking that work was getting scarce but returned 10 years later and started again. I think that if I had my time again I wouldn’t have taken that break. I am not sure I believe it is true about actresses getting less work as they age. I think you just have to stick with it. Stay at the top of your game and be patient. Things are beginning to change slowly and it’s important to give a voice to the stories of older women.

You have worked a wide range of roles over the years, and secured some interesting parts, would you say the industry has changed over the years and if so how? 

In a way, I think the industry is much more open now. With the advent of online casting sites and workshops for actors there is much more opportunity to be present, practice your craft and meet casting directors and agents. We are learning to take more care of our health and wellbeing as artists which is hugely important and didn’t exist at all when I was starting out. Social media platforms can offer access to casting information to everyone regardless of training and makes the industry more accessible to those starting out. Casting Directors are now more accessible too. Back in the day, there was the idea that they were gatekeepers in ivory towers but that is changing too now. This is not an easy profession for sure, but if you run yourself like a business, stay in touch with what is going on, and take action to promote yourself, it is not impossible to create a career. Staying positive and having an interest outside of the business is essential. Purely defining yourself through acting is not healthy or helpful. Finally, stick with it. This has always been the case and always will be so get ready for the long haul. Enjoy it and if you stop doing so, get out and do something else. The going can get tough so you need to love what you are doing.

Your new book Opening Doors for Working Class Actors touches on your own journey but also looks at alternative paths to entry into the industry, what was the impetus for you writing the book, and what is your plan for the future? 

The book came out of the lockdown and the online workshops I attended during that time. Casting directors and agents were really open and helpful and I noticed a lot of the same questions coming through time after time about headshots, showreels, self-tapes, etc and I thought, why not put all this together in one place for those starting out? Although the title aims the book at working-class actors it is in fact for anyone who wants to enter the industry and doesn’t necessarily have the financial resources to go to a traditional drama school. The idea for it, going forward, is that it will be updated on an annual basis with new courses, workshops, and information. I am in contact with organizations throughout the UK with the intention of keeping the book relevant and useful.

Is there a role in film/TV/theater you would love to tackle as an actress?  Is there a particular genre you would like to enter into from a purely acting stance?  

I can’t say that there is a particular role I am desperate to play but I would like to be seen as a vital part of the stories and representation of older women in theatre and television. There is a wealth of untapped experience to draw from here and I would very much like to be part of that narrative.

To learn more about Patrica Jones or to purchase her book see:

Patricia Jones Twitter.

Patricia Jones Spotlight.

Patrica Jones Management team.

“Opening Doors For Working Class Actors" Amazon UK.”

Talking Acting, Filmmaking, and Storytelling with Kate Perry

Having caught Kate Perry’s fantastic character-based showreel on her Twitter account, we couldn’t resist reaching out to talk and getting a little more insight into the woman behind the video and talking about acting, filmmaking, and storytelling with such a talented performer.

Could you introduce yourself to our audience and give us a little background on your work? 

Hello, I’m Kate Perry from Derry, an actor/writer/sketch comedian from Northern Ireland. My passion for storytelling began at ten years old, watching Westerns in a town called Dungannon. I’m from a family of twelve children so my elder brothers would take the younger ones to ‘the pictures’ on Saturday mornings to give my mother and the neighbors a break. That’s where I fell in love with storytelling, westerns, and cinema. I loved the genre for blending the comical and serious, farcical and cerebral, highbrow and lowbrow. I believe these elements have influenced my style of writing ever since. 

I have written one-woman shows, sketches, radio plays, and short films. I live in London now but prior to that, I spent time in South Africa, the US, and Ireland. 

You have been sharing your showreel via Twitter, which includes a series of comedic characters, can you tell us more about this and if there is a plan to expand on the concept? 

I began my writing and performing character comedy while living in San Francisco doing spots in the evening at a club called The Marsh. I had a full-time job at the time as an events manager so never thought of making the commitment of moving into the arts full-time. However, due to the encouragement of friends and co-workers, I developed the characters which eventually turned the 10 mins spots into a one-hour one-woman show. I toured the show in Ireland to critical acclaim, came back to the US, quit my job, and returned to Ireland to live in Dublin. I continued acting and writing and wrote a sketch show called Do Not Adjust Yourself for the Dublin Fringe Festival which led to writing opportunities at BBC NI, which led to commissions for BBC Radio 4 and RTE Radio 1. I also went to college for the first time in my 40s and did an MPhil in creative writing at Trinity College and then a master’s degree in screenwriting at the Institute of Arts Design and Technology in Dun Laoghaire. I moved to London in 2011, kept performing, and eventually took The Very Perry show to the Edinburgh Fringe. On the back of that, I was invited to the San Francisco Theatre Festival and The United Theatre Solo Festival in New York, where The Very Perry Show won the best comedy award. I have been working on other projects ever since but now I'm back writing new material and developing other comedy characters.

You have a short film currently doing the festival circuit and winning awards, what can you tell us about the project and how it came about? 

I was originally commissioned by BBC Radio 4 to write a fictional short story for a series called Under My Bed with the remit of exploring memories and stories of what characters might have found stashed away in the dark. I called it Ruthless. 

I came up with the idea of a ten-year-old boy who finds a prosthetic leg under the bed and how he uses it as currency to get something he desperately wants, which is the latest T. Rex album, Electric Warrior. He has also recently lost his mother, his father has shut down emotionally and they are stuck in a mire of grief. The problem is that PJ is skint and his Da is on the dole so PJ comes up with a cunning plan to get the dough, involving a pawnbroker, a sock, and a prosthetic leg.

I wanted to explore that sense of loss lifted with moments of comedy and lightness using the backdrop of the troubles and the glam rock movement happening in Northern Ireland. In Belfast, in the early 70s something was in the air and it wasn’t a bomb, it was a revolution. Glam Rock was drowning out the noise of armored cars and as British soldiers patrolled the streets, kids were glued to Top Of The Pops, entranced by Marc Bolan, the androgynous, satin-clad, glitter-god. 

In a nutshell, the prosthetic leg and a T. Rex album become the conduit for overcoming grief. After I wrote the radio play I knew it would make a good film so I adapted the story to a screenplay and applied for funding through Northern Ireland Screen. Luckily they liked the script, I found a producer and we shot the film in Belfast in 2019. Ruthless is currently on the film festival circuit and has won 5 awards so far and been nominated for six so I’m over the moon for team Ruthless. 

Is there a particular role or project that you are working on at the moment you can tell us about and is there a particular role you would love to be cast in?  

I am currently writing a children’s book called Saucepan Eddie. Hard to talk about as it’s in the early developmental stage so not sure where it is going….but it’s going somewhere. 

As for a role I’d like to be in, I was cast as one of the Yoga Mums in season two of Ted Lasso and would happily jump into that lycra again!

To learn more about Kate Perry and her work see:

Kate Perry Twitter

Kate Perry Youtube.

Kate Perry Website.

Talking About An Agents Life With Louise Gubbay

There are so many talents in the creative industries and we are lucky enough to be able to talk to Louise Gubbay about her work as an agent, and how she has built her talent agency and a stellar reputation with production companies as well as actors. Offering insights into the world of casting, Louise brings a fresh perspective to the world of film and TV sharing the journey with us.

Can you tell us more about yourself and your agency?  How you started out and what do you do as an agent in the social media age? 

Firstly, thank you for inviting me to do this Q&A! I sincerely hope everyone that reads this will find it of use.

After spending many years in different parts of the industry, my passion was to eventually become an agent and when the kids came along, I decided it was the right time to set up Louise Gubbay Associates back in 2006.  I have always been a boutique agent representing actors across the board.  

A few years later, I decided to set up an LA side to the agency! This certainly was not an easy task and took many months before I eventually became a US taxpayer! That was a hugely proud moment in my career! The only reason I eventually closed it was because six years of working from 9 am – 3 am Monday to Friday started to make me a tad tired! But it was a very rewarding time! 

”I never trained as an actor and as I occasionally put out on Twitter, that was a good thing as, to be frank, I would be utterly shockingly bad but envy every actor who does their job brilliantly.  When I see my clients on stage, I am like the proud mum in the audience and generally fighting back the tears! “

I believe social media is important for any business.  It helps you connect with others, support others and promote yourself.  The power of social media is extraordinary. For me though, the way I use social media is to announce confirmed castings of any of my clients and support other actors the best I can.

You have become something of a sensation on Twitter for your motivational Tweets and posts about your client's achievements.  Can you tell us what is your thinking behind this and why you feel it is important to show support across the network? 

I am not sure I would go that far but thank you! I didn’t use my Twitter that much until Covid hit us although I would always shout my client’s credits from the rooftops on it. It is a fantastic feeling when they get cast as we all know this is not an easy industry! There is a lot of rejection for actors, so when we get positive outcomes, I need to let the world know! 

When the entire industry shut down back in 2020, I read many tweets of uncertainty from actors, some of who were the ‘class of 2020’ and others who were left with anxiety as to when and how the industry would reopen, much like we all were and I wanted to give support which has carried on to present day and will continue to carry on.  I was (and still am) inspired by my actor John Craggs who runs The Actors Support Network (@network_actor ) and thought that if I could also offer support, then maybe it would give actors additional hope.  At the best of times, the industry is not an easy one but actors need to keep believing in themselves, do what they need to do to market themselves and keep plugging away.  Good things do happen in the biz and whilst some of the time, actors may feel negative, as I always say, a negative will turn into a positive at some point!

I am in my 17th year as an agent and like everyone has good days, bad days, frustrating days, and positive days but I still look forward to starting work on Monday mornings! The best part about our industry is anything can happen in the next five minutes and sometimes, it does exactly that! 

My motivational tweets are usually thought of when I am walking Mr. Sweetface (aka Zeb, the double terrier) out in the gorgeous areas of rural Devon where I am lucky enough to live. It gives me a chance to think about actors who I do not represent and how I can help, advise or support them but predominantly, give them positivity.  It is so important to me. Not every actor will have representation and those are the ones that need guidance to help make that happen.

What advice would you offer someone looking for an agent to represent them and if they are looking to join your books what would be the best approach? 

It is so important for actors seeking rep to keep reminding themselves they too, are a business. Agents get a huge amount of representation requests throughout the year and so it is important to make sure you stand out.

There is no point in sending an email saying simply ‘Hello, I am an actor and looking for representation but I am working on my showreel’ for example.  That is not selling yourself.  I’m not saying many do but the occasional one does come in.

All actors need to have a showreel.  Agents need to see if they can act.  It might sound daft as they are an actor who is approaching an agent but if I had an email such as that with the actor wanting to meet up for a coffee, why would I take time away from my own clients as well as spend money on travel to meet that actor when I have no idea if they can actually act! It may sound harsh but it is reality.

Actors need to be happy with the package they are sending over to agents which would ultimately include headshots and some kind of reel.  If they are starting out, it won’t be a professional reel with clips of scenes they have done on a professional level but they can create their own scenes and that is perfectly acceptable as long as the sound and quality are at a decent level.  Something is always better than nothing! Actors are creatives, so create!

Also, and importantly, actors need to research the agents they are interested in. We don’t expect any actor to just pick one agent to approach at any one time but look and see which ones you think you could be a part of.  Working with an agent is a two-way street.  Both are after the same goal so it is imperative that both sides can work together.  I cannot guarantee that I would get any new client seen tomorrow, the next day, or the next month.  I am not psychic (sometimes I wish I was!) but the most important factor is for any of my actors to have that trust in me knowing that I am doing my job, which thankfully they do but also for me to know that those that who are also starting out are being proactive too.  A saying I have had for years is to never wait for the phone to ring….

This industry is all about selling yourself so actors should pinpoint the highlights of their career achievements so far. This could be that they have just graduated or they have just been cast in a short film or that they have just finished in the West End.  It doesn’t matter how big or small the credit is, it is simply about selling themselves.

Can you tell us what would you say to aspiring agents out there?  Is there any advice you can offer to new and potential agents to help them grow? 

If they really want to become agents, then do it! I feel absolutely blessed to have a job that I am so passionate about and feel the same enthusiasm today as I did on day one.  

I have advised a couple of new agents recently who have got in touch and am very happy to do that as I was a new agent once.  It is not the easiest career to get started but it is doable! Like any business, again, it’s all about marketing yourself, making contacts, and not giving up. When I see new agents on Twitter and see how passionate they are, I will always happily re-tweet them. Support goes a long way for any new business! Make it happen!

To learn more about Louise Gubbay and Associates or to get in touch see:

Louise Gubbay and Associates Website.

Louise Gubbay and Associates Twitter.

Louise Gubbay and Associates Facebook.

Louise Gubbay and associates Linkedin.

Don't F*ck Up Your No Budget Movie! By Ivan Peric

As an accomplished filmmaker and actor in his own right, Ivan Peric has become something of a maven for the digital content market and with his book “Don’t F*ck Your No Budget Movie” takes you through the hard-earned and hard-learned process that took his passion for acting and film to a wider audience, detailing the process with retrospective ease to help others in the same place.

Working backward, Ivan Peric talks about his own experience of starting out as a filmmaker taking the mistakes he made, the lessons he learned, and compiling them into an easy-to-follow and frankly common-sense manner that will change the way you look at digital filmmaking and selling your product.

Many new and established filmmakers have the belief that “If I make it, they shall come,” and focus on film as an art form rather than a commercial venture, which if you want to make a career out of this is the wrong approach and often leads down the path of shelving a project. What this book focuses on is taking the art, and the commercial, combining the two, and producing work that will be a showcase of your talents and commercially viable.

What is really refreshing about “Don't F*ck Your No-Budget Movie” is the candor with which Ivan approaches the process, he openly talks about how hard it was to make things happen and why, giving a first-hand view of what he did, how he achieved it and what pitfalls he faced in the journey.

As a team, we can see the value in this book and fully endorse it, our team has worked behind and in front of the camera for over 20 years and we decided that we wanted to focus our energy on producing for ourselves which we had a broad idea of what was involved from previous work, however, taking that knowledge (along with our contacts in distribution, casting, etc), alongside the stellar advice offered by Ivan Peric in his book, we can clearly create a path that will reduce the process of creating a TV or film project and streamline it making it a much more cohesive journey. *It is worth noting even with the experience we have it is always good to source additional information and add to the arsenal of information we have in our pocket, which this book did by verifying our thought processes and giving a clear and concise plan that filled in certain gaps in our knowledge.

To learn more about Ivan Peric or to purchase the book see:

Ivan Peric Link Tree.

Ivan Peric Twitter.

Don't F*ck Up Your No Budget Movie! Amazon UK. (Kindle, Paperback, and Hardback)

Don't F*ck Up Your No Budget Movie! Amazon USA. (Kindle, Paperback, and Hardback)

Don't F*ck Up Your No Budget Movie! Barns and Noble USA

Don't F*ck Up Your No Budget Movie! Google Books.

Don't F*ck Up Your No Budget Movie! Apple Books.

Project Development With The Team Behind The Memento Mori Portrait film

With an important and historical message, the short Memento Mori Portrait film is tackling a heartbreaking moment in Western history and bringing it to a wider audience.  

Having already won 7 awards for the script, the film itself is a love story with a twist, looking at the voices of those left behind and mixing in science fiction, imagination, and memory to create a beautifully sculpted narrative that takes the Holocaust and gives voice to the people who were lost with, the pink triangle badge, being the symbol of their shame and degradation.

An excellent team of filmmakers are already behind the project with accolades across genres and a collective CV of note, this film is a project designed to showcase their work, the story being part of a larger tapestry, it is a moment in time that is important to highlight and a story that deserves to be heard. 

The importance of the message this film creates is part of the reason it is being made and shows that there is still a long way to go with certain rights in the global narrative.  

To learn more about the project or to offer support see: 

Memento Mori Portrait Fundraiser.

Memento Mori Portrait Facebook.

Lumino Films.

Talking Acting and The Vshowcards Site With Alex Reece

We are incredibly proud to be able to talk to some of the leading talents in the UK about their careers and plans, with a CV that spans the world, and a down to earth attitude Alex Reece is not only an actor of note but the co-founder of vshowcards the newest talent spotlight site to hit the market and create a storm.

As an actor you have had a varied career, can you start by telling us about yourself and the work you have done?

“I’m an adventurer at heart. I love new experiences and extreme ones too. I’ve traveled and lived on different continents and learned languages and studied martial arts and cultures as diverse as Capoeira in Brazil and Kalari Payatttu in India.”

I’ve lived in the mountains in Spain where I scratched a living working for the local farmers and builders. Acting is an extension of that. It’s a way of going to new places, from a perceptual point of view… investigating new characters and immersing myself in different stories. It’s a great adventure.

What has been the highlight so far of your career and is there a dream role you would like to take on?

There have been several huge highlights… getting flown to Canada to do a great role as a Hindi speaking English spy ( I’ve been learning Hindi since doing a huge movie Sajjan Singh Rangroot with Punjabi superstar Diljit Dosanjh) and working with Daniel Craig on the Heineken Skyfall Commercial and getting cast as the lead villain in Danny Patrick’s latest movie ‘The Aryan Papers’ - Danny won the Cannes Film Festival Best Director for Independent film in 2021 and to be working with is just huge.

What advice would you offer to a new or aspiring actor?

Get proactive. Don’t wait for the jobs to come to you. Keep at it, the craft, the marketing, the networking. A powerfully positive mental attitude is your best asset. And get a vShowcard. It’s the best way to put an actor’s professional information all in one link.

You are one of the founders of vshowcards, can you tell us a little more about the site and how it works?

The vShowcards site lets Actors put all of their information in one link. This saves the casting directors so much time. These days you need to have all your links in one place. A vshowcard is the next best thing to actually meeting people. Meeting people is the best way to connect and network, and the vShowcard is the best link to send to people so that they can see as much of you and your work all in one place.

To learn more about Alex Reece or to discuss booking see:

Alex Reece vshowcards.

Alex Reece Twitter.

Alex Reece Instagram.

Alex Reece Facebook.

Alex Reece Spotlight.

Alex Reece IMDB.

Making No Mercy a Boxing Odyssey

When it comes to indie film the process can be arduous and full of obstacles but the outcome is worth every step. Tackling not just acting but producing, directing, and more we talk to Louis Findlay about his latest film No Mercy, a film about the darker side of boxing, taking the gloves off and looking at it from a different angle.

Filming a project on this scale is a big undertaking, what have been some of the challenges you have faced in the process and how did you overcome them?

The biggest challenge for this project was money. I must have spent around £2,000+ on the project which is all I could really afford. Most of it was my own money and then the rest was via GoFundMe. The way I overcame potential challenges prior to filming was by writing locations I knew I had access to and casting friends I had worked with before. Then it was literally asking a LOT of favors from everyone else. One challenge I wasn’t prepared for was COVID. We literally had the training montage to film which is one of the most important scenes in any boxing movie,  so we couldn’t wrap it till we shot that but no one knew how long lockdown would last.  I felt about pulling the plug on this project so many times when the going got tough, but I just had to fight my way through it (no pun intended) 

The style of the film is very close to the docudrama or docusoap style, do you think that will change how people will look at the film and the people involved?  

Yeah, I hope so. The main focus was about making these characters feel real and forget people are actually playing these parts. I wanted to show this working-class family who are incredibly close, who have had their ups and downs and a fair share of family drama but at the end of the day, you can relate and fall in love with them.  I wanted it to feel natural and I think the visual style really helps to sell that. THAT and the fact everyone just bossed their roles. 

What was the motivation for this project in particular the look at boxing and the behind the gloves side of the business?

 My dad used to box back in the day, not professional but had a few bouts. He tried getting me to do it as a kid but I felt bad hitting people in the face. I have fond memories of his Mike Tyson VHS tapes on the shelf (which eventually made their way to the loft.  Dad and I watched them a few times when I was a kid and I thought it was pretty cool but had no interest in pursuing it other than working the bag and pads in the gym as I got older. 

But I think what makes any boxing film great is the story outside the ring, I think southpaw is a great example of that because he’s fighting for his daughter, not about being champ.  For my film, I wanted to focus on the darker side of boxing which is reflected in some of the dialogue and the way the promoter goes about business. I took a lot of inspiration from DareDevil, between a prize-fighting father and a son who looks up to him, but behind the scenes the promoter is dodgy. I also threw a lot of personal stuff from my childhood into the project too. 

There have been many who have taken the step over the line from actor to director/producer and worked both sides of the camera. Do you think this is something you will continue between acting jobs as a means to not only showcase your own concepts but to create opportunities for others in the creative fields?  

Absolutely, 100%. I had no idea how to get into the acting business when I left school so I started making my own films. In essence, I’ve learned other skills along the way by doing that such as writing and learning how a camera works.  But I’m very much a person who can’t sit still, I don’t wait for the grass to grow and if no one is going to give me the roles I want then I’ll go out and get them myself. I could’ve been waiting years for a role like this and it may have never come my way.  I think it’s so important for actors to make their own work and if I can help others out along the way and offer opportunities in front or behind the camera then that’s what I’ll continue to do! 

 What is next for you and your team? Do you have any projects in the works that you can tell us about?

 Yes, I’ve got a micro shortcoming very soon that we shot on the sky in Trafalgar, a short film called RoadKill that I had hoped to turn into a feature and a drama coming very soon which is about a man confronting someone from his past revisiting some disturbing memories. I have also just written two new features. 

What advice would you offer to someone starting their journey as a filmmaker and actor?

As I said, don’t wait for the grass to grow. It is so easy to make a film nowadays, we all have a camera in our pocket so just write something and film it.  Find like-minded people who can help you and if you’re really nice to people they’ll go out of their way for you. If you don’t ask, you don’t get - simple! 

*I would like to add a huge thank you to everyone involve and in particular Marcus O’Brien, Brandon Bailey, Dan brooks, Richie lamb, Gerard, and Keith Scott.

To learn more about the film or the team see:

No Mercy Trailer.

No Mercy Facebook.

No Mercy Twitter.

No Mercy IMDB.

Whouknow a New Marketing Tool

We were really intrigued by the idea of the site Whouknow for marketing targetting the creative side of the world and opening up doors to new and interesting prospects with both clients and collaborators. The site itself is straightforward to set up and our creative director JamesC has already thrown his cap into the ring and created a profile.

“There's no such thing as buyers and sellers in creative communities, which is why Whouknow works the way you do. We've also thrown in a bunch of other features that'll make your life a whole lot easier.”

Whouknow offers the option to set a base budget and offer your services to projects on other terms such as barter, it has real scope for marketing and has gathered some interesting talents to the table who are open to opportunities and marketing their skills through the site.

Naturally, we plan to use this as a part of our upcoming projects and where possible source additional team members to the fold for this. In fact, with our 3 shorts and a small-scale commercial/showreel project in the works, this could be something positive and give us access to a host of new faces to work with which is a real boost to our goals both short and longterm.

We recommend you go check out the site and see the potential for yourself:

Whouknow website.

Whouknow Instagram.

Whouknow Facebook.

Whouknow Twitter.

Talking Acting and Directing With Paul Andrew Goldsmith

We wanted to take a look at the life of a full-time actor and creator, asking questions about the journey and upcoming projects with the help of Paul Andrew Goldsmith we were able to gain a little more insight into the world of an actor/director as he prepares for his new work.

Can you tell us a little about yourself, your career, and your own projects and plans? 

Whatever it is, the way you tell your story online can make all the difference.

I’m Paul Andrew Goldsmith, a professional creative based in little old Norfolk. I’ve had a very varied career including theatre, film, and TV work, and particularly proud to have been able to make my full-time living from the industry. It’s nowadays so hard to actually describe your profession, I act, I direct, I write and I teach. I literally do as much of anything I can in order to earn a living. I consider myself really lucky to be able to do so. Though let’s be honest we can all forget about 2020. 

Alongside my current project, my first feature film, I’m excited to get back to directing the  Warner Bros show, ‘The Polar Express’ this year and taking our street theatre show, ‘Ulysses’ out in the summer. 

So far in your career has there been a milestone that you want to share or a project you are particularly proud of? 

When I first started out full time as an actor I set various goals to achieve, 1st theatre tour, 1st film role, getting on spotlight, 1st agent, and so on. I think it’s always wise to have a stream of achievable targets that can adapt as you go but you must start out small so you don’t feel like a failure early on. It’s also worth keeping that list to always look back on to remind yourself exactly what you have achieved and how far you’ve gone. I think this is very true for the past year of lockdown when many of us have felt it’s not happening. 

As for milestones that make me particularly proud, I think it’s probably two. The first time I got paid for my work and secondly the first time I was able to pay others as a result of my work. It’s an incredibly empowering feeling to be able to bring employment to other creatives through things you’ve created. Again, especially after the past year. ‘NOTE I promise that’s the last time I’ll refer to the unwelcome visitor of 2020. 

What has been the biggest challenge you have faced so far as either an actor or as a director? 

Self-doubt and imposter syndrome for both. It never truly goes away however many years you’ve been active and how much work you’ve done. However, you can dampen it again by reminding yourself of the things you have achieved. 

You have a new project that you are crowdfunding. Can you tell us a little more about it and what was your motivation for creating it?  

When I was first starting out as an actor, I wanted a job to help earn yet be flexible enough to enable me to book acting work. I became a support worker for adults with learning disabilities. I found that I was a natural with the work and soon became a home manager before eventually opening my own day service. During my time working in the industry, I was alarmed at some of the treatment that goes on, intentionally and unintentionally with lifestyle choices being decided by care plans and risk assessments. I felt true freedom of expression and choice was regularly blocked and very often just to suit a particular organization rather than the person paying for those services. At the time I realized there were stories to be told, particularly a situation I observed with two service users who were clearly in love, yet kept apart. I began noting things I noticed that I felt could become part of a theatre show or film and now, some years later, I’m ready to bring it all together in a film. 

SAGACITY –

When a support worker realizes two men with learning disabilities have fallen in love at a daycare center, he fights for their rights to form a full relationship but is thwarted constantly by governance, staff members, and the care home management. 

Whatever it is, the way you tell your story online can make all the difference.

I’m currently sourcing funding for the film in a variety of different ways as it is essential for me to be able to pay all those involved. Sadly 2020, Damnit I mentioned it again, wiped a huge amount of my savings out so I’m starting again from scratch. 

We’re all in the same boat so I’m asking people to just ‘Buy me a coffee’ from as little as £2 or to follow/share media as much as possible to raise awareness. 

Is there any advice you would offer someone entering into the creative arts and media? 

Believe in yourself. Be open to every opportunity, often the small things become lifelines and away into something far more. Get to know others, but always work based on what’s best for you and what works for you. Whilst many will claim there is, there truly aren’t any rules to what the industry is for you. It’s the arts, after all, it’s supposed to be for everyone. 

To learn more about Andrew Paul Goldsmith or his current projects see:

Paul Andrew Goldsmith Vshowcards.

Paul Andrew Goldsmith Twitter.

Sagacity Campaign.

Sagacity Twitter.

Sagacity Facebook.

Short and Micro Films

We have been extremely lucky with our contacts across the board and privy to a variety of amazing short/microfilms that have been either experimental or designed to augment actors’ showreels. Each that we have seen (both the public and password protected) had a common thread: they make you think.

Taking this further we have been discussing with the very talented, Alistair Smith, his own scene work as potentially a festival project. *We were lucky to be given access through a password-protected link, but can honestly say that he has got us thinking about micro/short projects as a tool to promote.

We are supporters of using short and microfilms as promotional tools and understand that the concepts can vary from a 30-second commercial to a 20-minute film, the key to this for us, is the story must work and make the watcher think. You should want to see more or ask questions about the backstory, this for us is successful.

Someone else who appreciates this idea is the team behind Micromania Film Festival, focused specifically on films under 5 minutes, there is a real challenge to the process of filmmaking in general but the potential of a film of 5 minutes or less is to us, something we want to explore in more depth as a combination of marketing tool and experimental process with films that will challenge us a team.

We are going to be reviewing options and looking at scripts that will give us that room to experiment, showcase the talents of both those in front and behind the cameras with the added element of documentary footage, and potentially showreel material for certain members of the team.

Stay tuned for updates.