Lisa Gornick wrote, directed and acted in two features: Do I Love You? (2003) and Tick Tock Lullaby (2007).

What training have you received?

I feel I learn all the time, more by doing and being with other people. It’s also good to watch film and television and either not like it and wonder why – or love it and unpick why. I have done some formal training too – I went to Bristol University’s Film and Television Postgraduate Diploma Course where I got a grounding in all sides of film production. I find the more I know about the filmmaking process the more intrigued I am to write for the screen. So far I’ve tended to write, knowing that I will direct the script. I think this makes me less formal in my screenwriting format and style – I have to say I like that – experimenting with how a screenplay looks and how it gets onto the page.

What themes do you like to explore in your work?

My immediate response to this is: opening up to one’s truth, exploring that truth and ultimately, not being scared to express it. My urge to write is to try and find out what we hide. My first two features are about relationships – and the mire and doubt we can get into. I tend towards the wry tone – as I can’t take things that seriously but now with some added sage to my life perhaps I would like to go for pure drama. Women have always been my protagonists; now I’m intrigued by men.

What’s the best advice you’ve been given as a writer?

I’m always on the look out for good advice. However, I’ve begun to trust myself more, which I like. The advice that I keep returning to is – write, keep writing, finish it, allow yourself to fail, don’t get hurt by rejection or bitter criticism, try not to read bitter criticism, play a lot.

Most significant moment in your career so far

The first huge laugh from the audience when Do I Love You? premiered at the BFI Southbank in London. I was sitting next to a woman who slept through the film, but the rest of the audience was fantastic. At the Q and A afterwards the cast and crew just made me love the experience we had all gone through.

You’ll die happy when…

A film I make inspires at least one person to stop using violence as a means of finding their inner truth.

www.Valiantdoll.co.uk

Armen Antranikian is an independent film director based in London. He made his first films while at school near Hamburg, Germany. Of his recent work, his short film KUBRICK was broadcast on Channel 4 as part of the Stanley Kubrick season. His short films GIRL and ONE-MINUTE GUIDE TO PLANET EARTH were sold to global distributor Ouat Media. Furthermore, he has received a Jury Commendation at Filminute, the international one-minute film festival. Armen is currently developing his first feature project whilst working on a short film titled ALICE ALIVE.

What training have you received?

I’ve graduated from the film programme at the Skillset Screen Academy at London College of Communication, part of the University of the Arts London. I’ve also completed a year-long course at the Met Film School, based at Ealing Studios. Moreover, I’ve done a number of short courses and seminars. Most recently, I’ve been selected for the Think-Shoot-Distribute development programme, part of the London Film Festival.

What kind of projects attract you?

I believe that storytelling is the essence of great entertainment. I’m drawn to stories that emphasise memorable characters and resonate with me on an emotional level. I want to make films on a visually epic scale, while offering audiences a refreshing take on traditional genres. At the moment, I’m keen to work on teenage stories that have an international appeal.

What’s the best advice you’ve been given as a director?

Surround yourself with the right people. As Henry Ford once said: “I am not the smartest, but I surround myself with competent people.” I think this is of particular importance to directors because filmmaking is such a collaborative process. The people you choose to work with define the quality of the work. And the right people allow you to work at your best.

Most significant moment in your career so far

I’m not sure if there’s a single moment that stands out. But there are lots of little moments that will hopefully add up to something bigger. For example, it was nice to see my short film KUBRICK being broadcast on Channel 4. Not only did it premiere during prime-time, but it was aired repeatedly as an introduction to some of my favourite Stanley Kubrick films.

You’ll die happy when…

There are no more awards left to win and box office records to break… Well, to be honest, I’m taking this day by day. I trust that something good will come out of it eventually.

www.antranikian.com

Phil Hawkins is the two-time winner of Best Feature Director at the New York Independent Film and Video Festival. His latest feature, The Butterfly Tattoo (based on a novel by Philip Pullman, author of The Golden Compass), was released theatrically in the USA in April. It has recently added significant weight to the illegal download debate after being downloaded illegally so many times that the subsequent publicity caused it to get to number 75 in the IMDB’s list of most highly searched titles. On the back of this success, the film will now be screened at select Showcase cinemas across the UK.

What training have you received?
Making films has been my training. I’ve not attended a film school or studied filmmaking in the traditional sense. I made my first short film when I was 13 and was hooked! Being a perfectionist, each short I made would have its own set of problems, which I strived to correct on the next one. With this approach, each film I created made me a better filmmaker, and that process continues to this day.

What kind of projects attract you?
Ones with great characters. I read a lot of scripts that have a nice idea or storyline, but the characters don’t interest me. I love working with actors and performers to bring words and emotions to the screen. I think where a lot of new filmmakers fail is that they’re obsessed with making it look good and ignore what’s important: the performances and the story.

What’s the best advice you’ve been given as a director?
Be cool under pressure. If all hell is breaking loose on set and the director doesn’t seem to be stressed, then people don’t panic. As well as being responsible for the final product, the director is also key in creating the working environment on set. A happy and relaxed set paves the way for a great film! Oh, that and Garry Marshall telling me: “You live and die by your day players.” Keep an eye on those performances!

Most significant moment in your career so far?
Sitting amongst a packed public audience for the world première of The Butterfly Tattoo thinking, ‘This is the moment of truth when I discover whether I’m a television director or a movie director.’ I’m a movie director!

You’ll die happy when…?
I can be remembered through my films (and can be buried with a BAFTA and Oscar!)

Philm.co.uk

Giles Borg’s short film HOME was nominated for Best Film at a number of festivals both at home and abroad. His debut feature as a writer-director, 1234, had its world premiere at the BFI 52nd London Film Festival.

What training have you received?

A BA in film and TV from WSCAD. Three years of being exposed to cinema from around the world was wonderful, unlike the films I made while I was there which were all terrible. As far as training for my feature goes, I’m glad I made a load of shorts beforehand, but in one way nothing prepares you for shooting a feature. By the end of the first week, I felt like I’d been hit by a train!

What kind of projects attract you?

Anything with good strong characters, emotional resonance and hopefully a sense of humour. And if it allows me to get Winona Ryder in for casting, then all the better. I like little stories and natural situations, but I really hate over-plotting. The mantra that you have to constantly drop in plot points at the anointed page makes me cry.

What’s the best advice you’ve been given as a director?

Cast the film right and it makes itself. At the time I thought it was rubbish, but every film I make just goes to remind me how true it is. As a director you can come up with some beautiful shots, but if the audience looks in the eyes of your actors and doesn’t believe what they see, you’re sunk. The second most useful piece of advice was look calm. Even when everything is falling apart and you’ve no idea what to do next, look as if you have. It will make everyone else feel a lot better. And if you’re going to cut, have a reason to cut, otherwise stick with the shot. With these three rules, I think you can do pretty much anything.

Most significant moment in your career so far?

The day we got confirmation of the shoot budget for 1234. After a year of talking it up, it was suddenly all very real. Absolutely terrifying and absolutely brilliant. The fact that some words I’d scribbled down in haste were now being pored over by a cast and crew ready to be put on celluloid was an extremely odd experience. I’ll never write a filler line in a script ever again. I know it’s a filler, but to the production manager and 1st AD it’s a late night shoot, a dozen extras and a truckload of props.

You’ll die happy when…

Winona Ryder removes the restraining order…

www.carsonfilms.co.uk ■