Tell us a little bit about yourself?

I produce feature films and shorts through my company Strange Dog which was set up to produce Carine Adler's award winning debut feature Under the Skin. I have recently executive produced This Is Not A Love Song, written by Simon Beaufoy, directed by Bille Eltringham and produced by Mark Blaney. I hope to be going into production with Chris Cooke's digital feature One For The Road this summer. Prior to becoming a fully-fledged independent producer I worked at BFI Production and was the executive producer of the BFI and FilmFour's New Directors scheme, and executive produced over 50 shorts films including shorts by directors such as Lynne Ramsey, Andrew Kotting, Carine Adler and many more who have gone on to write and direct feature films.

Can you explain the role of your job an Executive Producer?

The role of Executive Producer varies massively from film to film and from situation to situation, depending on the team involved and what is needed. I see my role as exec prod of the Orange Film Four shorts as being a dual role: one, to enable the filmmakers and producers to make the best film they can through providing support and advice and two, to work with FilmFour and Orange to ensure that they are happy with the finished films and to represent their interests and needs.

How did you get involved with the prize?

Robin Gutch (the head of FilmFour Lab) and I had worked together on the BFI and FilmFour New Directors scheme and he approached me when the prize was being set up. I had thought that I had left shorts behind but I found that I was missing the fantastic buzz you get from working with a diverse range of directors over an intense period of time and helping them to realise their films. So I was delighted to become involved in the prize.

How involved in the actual productions are you?

I am currently looking over the budgets of all the films, approving cast and crew and reading new drafts of the scripts. During the shoot I will look at rushes and cost reports and then will view edits during the post production. I am also responsible for ensuring all the films are delivered to FilmFour. I will be as hands on as I need to be to ensure that the filmmakers and producers get the support and guidance they need as well as ensuring that the films stay on budget and schedule.

What do you think is the most important aspect in producing a short film?

The most important aspects of producing a short film are stamina, charm (and a bit of luck). It is a huge amount of work and I have nothing but admiration for the producers who take them on and work miracles with the budgets.

Have you experienced any problems with the process so far?

No.

On the same topic have you experienced any wonderful or lucky moments?

Meeting all the directors after they had been selected was great - their sheer enthusiasm and excitement was infectious.

Talk us through the steps involved in working with the finalists?

Since the Jury meeting, the finalists have been rewriting their scripts and have begun casting and crewing. My inital step was to meet with them all to discuss possible producers and production companies and then once the producers were all confirmed I began discussing the budgets and schedules with them all. I also organised a workshop designed to give the finalists access to help and advice in all areas of film-making.

How did you organize the workshop?

My intention with the workshop was to go through the various stages from script to screen and in the process hopefully demystify the process, excite the finalists about the potential of digital technologies and give them the opportunity to talk to an experienced writer, director, DOP and editor. I hoped it would be a combination of practical advice and inspiration. I was very pleased, and proud, that the workshop day went so well and really valued the contributions that were made. So much generosity and invaluable advice.

How are you and the finalists finding the casting process?

I have been keeping a back seat in the casting process other than to discuss progress and final choices. The relationship between a director and casting director is crucial and I wanted them to forge it without my interference. Having worked with Victoria (Beattie) on This Is Not A Love Song I know she will do a great job.

Is there a big difference in the level of experience that the finalists have and how did you get around it?

The directors do vary quite widely in their levels of experience. What I hope to do is to tailor the support I can give to the needs of each individual production. I also looked to put the less experienced directors with more experienced producers so that they would get hands on support from them.

What is the most valuable piece of information that you could give to a new writer/director?

Trust your instincts but never be afraid to admit what you don't know. Don't bullshit. Also be prepared to trust those around you and to let go.

What is your favourite film?

I can't give just one favourite film - impossible. Today's top three are A Matter of Life and Death, Taxi Driver and In the Mood for Love. Tomorrow’s will be different....

Who is your favourite director?

See above but I might have to add Jane Campion to the mix too.

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